Title Page
Copyright
Contents
Preface
Acknowledgments
Introduction
On the “Minnesota Workshop” Lectures
Part I. Basic Needs for a Music Situation That Is Alive
On Artist’s Originality
On Music Tradition
Composer’s Own Training as a Criticism of the Society
Composer as a Critic of Contemporary Music, Art, and the Audience
The Historic Relation between the Public and the Music Profession
Music as a Force of Communication
The View of Twentieth-Century Music through the Present and the Past
Composers as Critics of Their Own Works
Toward “New Virtuosity”
Piano Sonata (1946)
Toward Metric Virtuosity
Part II. How to Live with the Musical Present
On Charles Ives
Luigi Nono’s Il canto sospeso
On Pierre Boulez and Karlheinz Stockhausen
On Edgard Varèse
On Krzysztof Penderecki
What Is the Domain of Serious Music? A Case Study of Olivier Messiaen
On Musical Thought
Part III.
The Symphony Orchestra: Relic of the Past or Active Force for New Music?
Sociological Aspects of the Symphony Orchestra: State-Supported and Privately Funded Orchestras
Pocahontas (1939)
Holiday Overture (1944)
Variations for Orchestra (1953–1955)
Part IV. Can an Established Musical Form Like the Concerto Have Any Relevance Today?
J. S. Bach: Brandenburg Concerto No. 5 in D Major
Mozart Piano Concerto No. 24 in C Minor, K. 491
Alexander Scriabin: Prometheus
Igor Stravinsky: Concerto for Piano and Wind Instruments and Capriccio for Piano and Orchestra
Double Concerto for Harpsichord and Piano
Piano Concerto (1964–1965)
Notes
Bibliography
Index