Janos Gereben's reaction is so predictable, there is little reason to
discuss it specifically.  The escalation of vituperative rhetoric over
the years, a perverse insistence that Scelsi actually wrote only five
orchestral works...  these make for amusing interludes only.

Scelsi is one of those composers one either "gets" or doesn't, and
evidently a composer who tends to spark a strong reaction in any event.
It is gratifying that Janos Gereben feels so strongly about Scelsi, even
more strongly than a few years ago.  I can only guess that by the time the
fifth orchestral work is played in North America, Scelsi will consume his
thoughts.

My Scelsi-related correspondence continues to increase, as more recordings
appear and more conservatories take up the music.  The diverse people who
have expressed a sincere interest in his music make for an interesting
circle, and indeed I've already received inquiries in the wake of this
most recent concert.

I am certainly pleased that Michael Tilson Thomas has seen fit to program
these works in such a venue, and it was interesting to watch the audience
as well.  They were intrigued, I'd say, not knowing quite what to think,
but generally respectful.  The old woman in front of me went back to finish
reading the program notes on Konx-Om-Pax during intermission.  Of course,
the reaction was nothing like the standing ovation they gave a relatively
mediocre Beethoven pairing.  In both pieces, I thought the dynamics were
out of whack in the upper registers, and I guess I was somewhat relieved
it wasn't only in the Scelsi.

Michael Tilson Thomas' opening remarks were nicely personable, but the
idea of a prohibition on Italian performances was certainly news to me.
Many Italians have been involved in performances of Scelsi, but I take
it the man was inclined to make all manner of statements.

Now, as for his music being a "combination of sounds," I suspect Scelsi
would have approved of the idea.  Most music is, after all.

Todd McComb
[log in to unmask]