Adjusting our perceptions of Musical Innovation
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Composers who Cultivate(d) their own Musical Identity post 1910
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This isn't just about Rachmaninoff but about post 1910 Classical Music as a whole.
But I did want to single out Rachmaninoff as a prime example of the problem I want to get at.
I hear so many people saying Rach was a man born after his time, that his Music follows tradition, that it was nothing new. Critics of the time were especially ridiculous and claimed he would be forgotten.
Now when I was first getting into his music...sure I heard that his language was Tonal, Melodic, used Harmony that was largely ground already covered.
But is that really the measure of ORIGINALITY in music?
Upon exploring his Music more you discover how truly unique and inimitable his writing really is - you don't need to invent a new language to be original, to have personality, and to forge your own important place in Music History.
It is this very mindset that played a role in the public mistrust of NEW Classical Music.
Brahms was seen as a carbon copy of Beethoven by his detractors in his time....How ridiculous was that? Their music shares superficial similarities, somewhat, but upon exploring any great music in depth we discover the originality.
It is this superficial view of originality and innovation in Music that has ruined the potential of many composers post 1910.
Composers for the most part thought that in order to be respected, taken seriously, and performed...they must innovate by EXTENDING musical language itself. Sure it created many new brilliant works of art - but this attitude created a dead end for many people.
We don't have to extend musical language to be original, all we must do is forge a Personality and use existing language in new ways. We don't need to reinvent the wheel - we simply need to use the existing wheel we have to explore new ground.

Think of how moronic the world of literature would be if it began criticizing books for not constantly inventing new words, reinventing language....how stupid!