music. Partly, to make a living; partly,
because I do not believe in technical
specialization, but rather in the 'encyclopedic man.' But all I do fits into a
pattern, clearly understood, which deals
with the formulation and exemplification
of what I consider the principles and
fundamentals of a new Western civilization in America--now slowly in the
making. I believe creative artists should
be leaders in this, assume social responsibility of a sort, become prophets
and 'civilizers' rather than craftsmen
lost in technical invention."I absolutely oppose neo-classicism as
a defeatist reactionary product of European post-war mentality. And I feel that
the curse of modern American artists
(and critics, even more!) is their slavery
to the tradition of European leadership
in culture. Europe now leads only to decadence and utter death. I say this deliberately, as one born in Europe. There
are still very great Europeans, just as
there are seeds in the decaying leaves on
the ground in the Fall. But unless they
have become utterly consecrated to the
'New,' their influence is absolutely pernicious to Americans."The best method to produce great
music is to be first a great human being.
This, however, is not intended to belittle
technique. It should be only a means
to an end. I work at the piano, because
I deal with 'tones,' not black dots on
paper. But this has its limitations. One
ought to be able to work directly in the
resonant substance of all instruments." Rudhyar further confesses that he is
interested in "all music which is born
of life and arouses more life, and so fulfills a spiritual function." Folk music,
but not of Western Europe save Spain,
interests him most keenly--and he is
particularly fascinated with the Oriental
music of Java and Bali. The best music
of the eleventh to the sixteenth centuries, ending with Palestrina and Vittoria, is an endless source of inspiration
to him. Among the great composers,
those who appeal to him most strongly
are Wagner, Chopin, Franck, Scriabin, Debussy and the Stravinsky before the Les Noces period; practically nothing
of recent European music attracts him,
save a few scattered works. He believes firmly in American music and
feels that composers such as Carl Ruggles, Charles Ives and Edgar Vargse
touch genuine importance.He has only one hobby--and that is
Work.Principal works by Dane Rudhyar:
|ORCHESTRA : Three Dance Poems; Sinfonietta; Desert Chants; Surge of Fire; Ouranos; Five Stanzas; To the Real; First Symphony; Hero Chants.|
|Compositions for voice, piano, two pianos,
About Dane Rudhyar:
Rosenfeld Paul. An Hour With American
New York Tribune December 28, 1925.
Carl Ruggles 1876-
"His work is reminiscent of no other
man, school or style."--
CARL RUGGLES, an important
member of the group of "Younger
American Composers" was born in Massachusetts in 1876. He attended Harvard University where, taking
music courses under Walter Spalding,
he was definitely turned towards a musical career. Leaving Harvard, Ruggles
went to the West, which he made his
temporary home, founding a symphony
orchestra in Winona, Minnesota. At the
same time, he began serious work in
composition. In his early works--a
Questia, a part of Gale, Cengage Learning. www.questia.com
Book title: Composers of Today:A Comprehensive Biographical and Critical Guide to Modern Composers of All Nations.
Contributors: David Ewen - Editor, David Ewen - Compiler.
Publisher: H. W. Wilson.
Place of publication: New York.
Publication year: 1934.
Page number: 221.
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