Bill Hong writes:

>In today's Washington Post, I spied an article by Jonathan Yardley (who
>is NOT their music critic, BTW), discussing a review of the New York
>Philharmonic's 10 CD set entitled "An American Celebration".  The original
>review of this set of NYPO archival recordings that Yardley refers to is
>by Jay Nordlinger, in the National Review magazine.

I read the Yardley and became immediately annoyed with both him and what
he reported of Nordlinger for the following reason:  both assume that
American concert music, with a few works granted beatification, is unworthy
of European music.  Nordlinger seems to do this as an excuse to rant about
"inclusivity" while Yardley just assumes it without ever questioning it.
Well, bull.  They at least owe the reader some explanation for why they
think this.  And to me, it's quite an extraordinary assertion.  Charles
Ives, Walter Piston, William Schuman, David Diamond, Harold Shapero, Lukas
Foss (leaving aside the question of his artistic nationality), Leonard
Bernstein, Roger Sessions, Elliott Carter, John Adams, Christopher Rouse,
Benjamin Lees, etc.etc.  have absolutely nothing to apologize for.
Copland, Gershwin, and Barber are all fine composers, but they're not alone
in the American wilds.  In fact, I could well argue that most German music
of this century is "paler," less strikingly individual, more "pampered,"
and far less adventurous than most first-rank American.

Steve Schwartz