Once a composer has been sonically politicized anything goes. I've said this before about the Paul de Man bruhaha. Same here. I agree with Philipp and Colin, yet they are as I am ( I think I avoid this) dismissed as partisans so my post takes the measure of the times and finds that this is not an unusual practice at all.
Sadly, I must disagree. The perspective at said “salon” is not level headed at all. Rather it is a strictly one sided affair. Fine.
Nor do I find it interesting when supporters rally round the flag or when detractors,well detract. This isn’t the first time that; “what you see is not what you get.”
Nor will it be the last.
I suppose it might get my dander up to have it implied that even “stolen” music is much better than any “original” serial music. Nope.
On the other hand what of all the professional enabling of famous songwriters to create concert music and opera? Naturally these folks don’t read or write music. Nor are they actually inspired to compose these works themselves. They have handlers. Then we get to read the reviews critiquing the orchestrations that they did not create, harmonies they did not write, vocal lines that “professionals” also made for them.
Is this any worse?
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“Golijov had full permission to use the music he used.”
There is certainly nothing wrong with making money off the work of others. Nor becoming famous by the work of others. Truly, who would turn down that opportunity to be presented by major orchestras? Not me. Anyway ghostwriting or for us ghostcomposing is a well know professional activity (mostly associated with films and popular music). It seems that brand names can count more than the product.
As far as I can see the only problem is; does he fairly compensate his subcontractors?
