Frankly, my dear, it's too pretty -- and while Stravinsky's Les Noces is many things, it's not pretty. It's belligerently uncompromising in its abrasive choral writing, it's aggressively brilliant in its glittering score for four pianos and percussion, and it's powerfully propulsive in its driving polyrhythms. But it's not pretty -- and this ...
It's not surprising that when Frank Martin, one of the twentieth century's most devout composers, began a work based on the legend of Tristan and Iseult, he turned not to Thomas Malory's Le morte d'Arthur or to Wagner's source, Gottfried von Strassburg's Tristan, both of which depict the lovers as totally abandoned to their passion, but to Joseph ...
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