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Subject: Re: Doktor Faust Is Excluded
From: London Tier <[log in to unmask]>
Reply-To:London Tier <[log in to unmask]>
Date:Thu, 3 Nov 2016 08:59:25 -0700
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Taruskin has managed to step on more toes than I can easily count. Our
paths crossed somewhat unpleasantly one time over differing views of
Prokofiev's opera The Fiery Angel. In fairness to him, he knows a lot about
music, but some of his opinions in the past have been controversial and in
some cases poorly thought out. Moreover, he has struck me as someone all
too willing to be contentious. In 1991 he wrote an article in the New York
Times attacking Prokofiev (to coincide with the 100th anniversary of his
birth!). The piece drew six letters, all, as I recall, challenging one
aspect or another in his rather ridiculous article. One of the respondents
was composer Ned Rorem and another was Prokofiev biographer Harlow
Robinson. I believe there were one or several other prominent people who
wrote in to voice their disapproval, as well. About ten years later
Taruskin wrote another article in the NY Times that, to my great surprise,
praised Prokofiev's opera War and Peace. What changed in that decade? If I
were you, I wouldn't feel too bad that Taruskin gave short shrift to Busoni.



On Thursday, November 3, 2016, Genevieve Castle Room <
[log in to unmask]
<javascript:_e(%7B%7D,'cvml',[log in to unmask]);>> wrote:

> I've just noticed that Busoni receives short shrift in Richard Taruskin's 6
> volume *Oxford History of Western Music*, with only a brief mention of his
> futurist microtonal speculations; there's absolutely nothing on 'Doktor
> Faust'
>
> 'Palestrina' and 'Mathis der Maler' get a paragraph each but Busoni's
> masterwork is completely forgotten and passed over.
>
> Very disappointing.
>
> :-(
>
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