Denis Fodor wrote:

>The Henzes, the Nonos, the Stockhausens of our time were instructed
>musicians, yes, but their fame is mostly due to what I'll call the
>sociolology of music.  Following on the counter-tradition of the belle
>epoque, where received aesthetics were scorned and absinthe made the heart
>grow more beautiful, we got the political musicians, supported by the
>gobbledygook of Theodor Adorno, who went into a new round of the merry
>game called epatez les bourgeois!  What a bore!

I just don't see where Henze fits in all this?!? Do people really think
his music should be grouped w/ Stockhausen and Nono? Stockahusen probably
wouldn't think so and I see Henze as a logical continuance of Germanic
coming out of Hindemith and Krenek.  While his political/aesthetic
opinions are always cited in liner notes and interviews i don't find them
a predominant characteristic in his music like I do in Stockhausen and
Nono. Wouldn't James MacMillan fit better into this cateogry than Henze?
Although no one seems to compalin that his music is over-political......

Marcus Maroney
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