tag:blogger.com,1999:blog-8827040061563065922.post8885929083650633012..comments2024-03-27T23:06:03.736-05:00Comments on The Music Salon: Friday MiscellaneaBryan Townsendhttp://www.blogger.com/profile/09482696991279345516noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-8827040061563065922.post-44466902340538396342018-02-23T14:41:05.138-06:002018-02-23T14:41:05.138-06:00Yes, you are correct, this is his central claim. P...Yes, you are correct, this is his central claim. Perhaps I should dig into this in another post, because it is an interesting claim.Bryan Townsendhttps://www.blogger.com/profile/09482696991279345516noreply@blogger.comtag:blogger.com,1999:blog-8827040061563065922.post-26027764746046413682018-02-23T09:21:43.772-06:002018-02-23T09:21:43.772-06:00Am having to go out to the office but noticed this...Am having to go out to the office but noticed this, in the Kosman piece.<br /><br />"But a better way to think of Glass’ creative output is as a long series of variations on a few basic themes. Instead of posing and then solving a fresh array of artistic problems with each new opus, he uses each work to chip away at some detail of an overarching creative project.<br /><br />This is an esthetic framework with a long and venerable history (albeit one that came into disfavor at the beginning of the 19th century). It’s what allowed Bach to write 200 cantatas, or Handel to create some 40 operas and as many oratorios; it’s the difference between Haydn’s 104 symphonies and Beethoven’s nine."<br /><br />Is this true, I wonder. There are too many minor variables for me just at the moment to get to what is presumably Kosman's major hypothesis.Marc in Eugenehttps://www.blogger.com/profile/04331547981498637474noreply@blogger.com