Panel Discussion – Aspects Of Contemporary (Classical) Music – 4th Annual Contemporary Music Festival – 1951
A panel discussion, given during the 4th annual Contemporary (Classical) Music Festival at Illinois State University in 1951.
The panel consisted of Virgil Thompson, Roy Harris, British composer John Veale, Robert Kelley, Hubert Kessler, Eugene Weigel, Gordon Binkard and Norman Cazdan. With the exception of Thompson and Harris, most names are prettyu unfamiliar now, but at the time represented the state of Contemporary Classical Music in America during the early part of the 1950s.
Probably the most vocal of the group is Virgil Thompson, who always had a reputation for being outspoken. The issue, among many, was the direction that Contemporary Music was taking, as much seemed to indicate a crossroads of sorts, between the neo-classical (of which Thompson and Harris were deeply associated with) and the newer, more dissonant music of the 12-tone school, whom none of the group represented.
One of the interesting points Virgil Thompson brings up is how much the University system is tied up with a composer’s work and reputation. Looking at biographies of many American composers during this period, most were tenured professors of composition at Universities throughout the country. It was practically a given that most who pursued a serious career in Classical Music would be associated with the University system at some point and most would stay there.
An unintentional side-note to this discussion was the reality that the then-current Red Scare was having even in the Arts community. For even though it’s a few years off from this panel discussion, Norman Cazden, who ironically is the moderator of this panel, suffered the worst of the group from the political climate of the time. A student of Walter Piston and Aron Copland, Cazden was accused in 1953 of having Communist Sympathies and was denied tenure at Illinois State University (the one he was speaking on behalf of) due to an FBI investigation of his alleged ties. When he refused to answer, the University fired him and essentially black-listed Cazden from affiliation with any University after that. He eventually got a position at the University of Maine, but not until 1969.
But the political aspects of Contemporary Music weren’t discussed during this panel. Rather, the prevailing trends in the more conservative aspects of 20th century music – the more adventuresome and potentially radical movements were were taking place in Europe. That was an issue to be faced later.
But in 1951 it was Contemporary Music as viewed from the world of Academia, and Virgil Thompson was its most vocal supporter.
Here is that discussion as it happened in 1951 and broadcast over WILL-FM (Illinois State University’s radio station).
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