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SEQUENZA21/
340 W. 57th Street, 12B, New York, NY 10019

Zookeeper:   
Jerry Bowles
(212) 582-3791

Managing Editor:
David Salvage

Contributing Editors:

Galen H. Brown
Evan Johnson
Ian Moss
Lanier Sammons
Deborah Kravetz
(Philadelphia)
Eric C. Reda
(Chicago)
Christian Hertzog
(San Diego)
Jerry Zinser
(Los Angeles)

Web & Wiki Master:
Jeff Harrington


Latest Posts

It's a Boy, Mrs. Minchew. It's a Boy.
Last Night in L.A. - Messiaen Marathon
Mr. Postman, If You Please
Blackdogred Friday aka Scooter's Lament
I Come in Peace Edition
Granny Rehearses the Choir
�The Mines of Sulphur� at City Opera
Gy�rgy Ligeti's Private Passions
Once More Into the Breach
The Percussive Guitar of Arthur Kampela


 

Record companies, artists and publicists are invited to submit CDs to be considered for review. Send to: Jerry Bowles, Editor, Sequenza 21, 340 W. 57th Street, 12B, New York, NY 10019


Tuesday, November 01, 2005
New Music in New York


'Audiences are prepared to damn a new work before hearing it... If a person hears such a work and doesn't like it he is entitled to his opinion. But just to stay away when one is programmed certainly does not help the promoter or the conductor in their efforts to give new music a proper chance.'

The problem may sound familiar, and the city is New York. But the year is not 2005, it is 1938, and the spirited defender of new music was John Barbirolli.

The English conductor was the surprise choice to take over the famed New York Philharmonic from the legendary Arturo Toscanini. The begining of his seven year span as Music Director was a honeymoon period. Barbirolli's reputation was built on the romantic repertoire, but he was also unstinting in his advocacy of new music. The US based composers that he programmed included Daniel Gregory Mason, Joseph Deems Taylor (excerpts from his comic opera Peter Ibbetson), Abram Chasins, Samuel Barber, Ernst Toch, Arkady Dubensky, Charles Wakefield Cadman, Quinto Maganini, Gardner Read, Charles Griffes and Quincy Porter. From further afield came first New York performances of compositions from Ibert, Gossens, and Britten.

But ultimately Barbirolli's programming and performances fell foul of both the New York critics and audiences. His last concert as Music Director was in March 1943, then he departed for wartime England and Manchester's Hall� Orchestra. He excelled there and continued working with the Hall� to the end of his life in 1970. He also held the position of conductor-in-chief of the Houston Symphony for seven years. In 1959 he returned to guest conduct the New York Philharmonic, and it is appropriate that the first concert he played included Vaughan William's Eighth Symphony which he had premiered in Manchester just three years earlier.

For the full story of Barbirolli's years in New York, and the new music he played, including links to many 20th century composers, take An Overgrown Path to 'Glorious John' in New York.

 



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