The author of this review of a recital by David Tudor at the Carl Fischer Concert Hall in New York in 1954 wrings their hands over the absence of traditional musical styles and the onslaught of “strident, percussive, and brutal” sounds. But they also recognize the typical midcentury claim of aesthetic autonomy as having an ethical value in the context of modernity: “[The concern of aesthetic fraudulence in this music] has its problems, but as a relief from constant percussion, it has its virtues.”
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| Title | “Concert and Recital: David Tudor, Pianist,” New York Herald Tribune |
| Maker | L. T. |
| Date | 15 April 1954 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 62, folder 7 |
Cite
L. T. “Concert and Recital: David Tudor, Pianist,”
New York Herald Tribune, 15 April 1954. Getty
Research Institute, David Tudor Papers, 980039, box
62, folder 7. 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.
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