Bernard Chasan replies to me:

>>General recognition is as much a matter of luck as anything else, and
>>people seem to understand this with respect to all music except what's
>>generally called "atonal." ...
>
>My explanation is that atonal music seems to have lent itself to
>expressions of angst, strain, and extreme neurosis.  There may be
>historical (hysterical?) cultural reasons for this but this is the way
>it sounds to me.

I used to believe this as well, until I heard rapturous, elegant, and even
funny atonal music.  I think it's at least as much a matter of composers
who express angst, strain, and neurosis, particularly in the early part of
the 20th century.  Artists and writers did as well.  On the other hand,
every language has its cliches, and atonal music is no exception.  Some
composers, I suspect, cannot express themselves except in cliches, which
they perpetuate.

>The music of Roberto Gerhard (an interest of mine and perhaps of not
>another soul on this list) is further evidence.

I love Gerhard's music, particularly the late stuff.  Let's talk.

Steve Schwartz