This review exemplifies David Tudor’s reception during the 1950s. On the one hand, there is a sense of scandal over the musical avant-garde, as shown through remarks about audiences dwindling away, protesting, or ignoring the music. On the other hand, there is an unflinching admiration for Tudor’s technical expertise and credibility as a pianist. This proved to be a powerful combination for these composers; an audience member could complain they did not like the experiment, but Tudor’s expertise thwarted accusations of outright fraudulence.
030
| Title | “David Tudor Program Opens Sunday Afternoon Series,” Hartford Times |
| Maker | George W. Stowe |
| Date | November 1953 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 62, folder 5 |
Cite
Stowe, George W. “David Tudor Program Opens Sunday
Afternoon Series,” Hartford Times, November
1953. Getty Research Institute, David Tudor Papers,
980039, box 62, folder 5. In
The Scores Project: Experimental Notation in Music,
Art, Poetry, and Dance, 1950–1975, ed. Michael Gallope, Natilee Harren, and John
Hicks. Los Angeles: Getty Research Institute, 2025.
https://