Steven Schwartz <[log in to unmask]>

>What's so simple about writing a string quartet? By the way, what about
>string quartets with the addition of voice or some obbligato instrument?
>Are those theatrical gimmicks as well?

Stripped of all the dogma, the answer is, essentially, yes.  Adding
offstage instruments (brass bands; or soprano vocalises) to symphonies,
likewise.  The real question is: whether those theatrical gimmicks works
in the context of a theatrical presentation of music? It's my experience
that: whenever a device of this kind is referred to as a gimmick, it
_hasn't_ worked; & has been an idea more interesting in the explanation
than the execution.

Please note, however, that none of Stockhausen's should really be called
experimental: by definition, art is hardly a falsifiable process; &
without falsifiability, there's no experimentation ("Idiot's Guide to
Popper", ch.2, pg7-9).  What they should be called is _demonstration_
pieces; because they're primarily designed to demonstrate the processes of
the composer's current aesthetics.  Unfortunately: _experimental_ sounds
the more objective (& definitely progressive) title; & (i suspect) is
therefore more emotionally appealing to both the artist & his/her
supporters....

All the best,

Robert Clements <[log in to unmask]>
<http://www.ausnet.net.au/~clemensr/welcome.htm>