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Distinguished SOTW Member/Sax Historian
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IIRC, Eduard (Edvard?) Moritz was pretty much ignored even in his day. He was a German in New York at a time (late 30s) when native talent in the Copland idiom kind of had a lock on the concert halls. If you worked outside that bag, you had a hard time catching on.

Writing for saxophone probably didn't help - but the Sonata is a very good work. I've always enjoyed it, but obscurity conveys a certain fascination to me, whereas most listeners take it as history's judgment.

About fighting words in the program? I agree they have no place in illuminating music, but there is an urge these days to reach for intellectual or even social relevance.
 
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