Terry Teachout's Blog, page 282

PLENTY OF NOTHING

" Who deserves to be considered America's most significant classical composer? Concertgoers of a certain age will doubtless choose Aaron Copland or George Gershwin, the creators of the first distinctively American-sounding styles of classical composition, while more contemporary listeners are more likely to cite Philip Glass or John Adams, who made minimalism the dominant classical-music idiom of the postwar era. But if 'significant' is taken to mean 'influential,' then a strong, if seemingly paradoxical, case can be made for a composer who, for all the undeniable influence he has exerted on American music, failed to write even one work that has made its way into the repertoires of any well-known orchestra, opera company, chamber group, singer, or instrumentalist..."

TT: Snapshot

Ginette Neveu plays the coda of Ernest Chausson's Poème:



(This is the latest in a weekly series of arts-related videos that appear in this space each Wednesday.)

TT: Almanac

"It is uplifting to lose one's faith in a reality which looks the way it is described in a newspaper."

Karl Kraus, "In Praise of a Topsy-Turvy Lifestyle"

TT: Well spent

I've had some sharp things to say in the past about the MacArthur Foundation's "genius grants," so I am entirely delighted to report that David Cromer, the greatest American stage director of his generation, and David Simon, the creator of Homicide, The Wire, and Treme, have both received MacArthur fellowships .

I'm especially pleased about Cromer because of the role that my Wall Street Journal drama columns, in particular this 2008 piece , have played in bringing his work to the attention of a national audience. So far as I know, I'm the first person ever to have described him as a "genius" in print, in my review of his extraordinary production of Our Town. Of all the useful things that a critic can hope to do in the course of his career, few are more gratifying than ringing the bell of acclaim for an artist deserving of much wider recognition, then looking on from the sidelines as he receives it.

I am enormously proud of having written with enthusiasm in The Wall Street Journal about Diana Krall and Maria Schneider long before they became widely known. Now it is my privilege to add David Cromer to that list. I hope his name won't be the last one on it.