Everyone will have read it by now of course, but while I was away the NYT’s ‘The Greatest Minimalist Albums: Ever!’ article caused a lot of comment. I haven’t got much to add to Kyle and Steve‘s remarks other than to say that the fact that the NYT even attempted such a survey puts most of the British press to shame.
But I did want to comment on Norman Lebrecht’s response at Slipped Disc. According the Fact-Checker Supreme himself:
The so-called East European Holy Mininmalism of Part and Gorecki was pretty much sui generis, rooted in counter-communist early Christian monodies, unaware of US trends.
Not entirely true. A quick check in my Warsaw Autumn 2004 book shows that although Reich (Clapping Music) wasn’t heard at Warsaw until 1977, one year after Górecki’s Third Symphony was completed, by this time Terry Riley’s music had been performed no fewer than four times: Keyboard Studies in 1968, In C in 1969, Dorian Reeds in 1973, and the Riley-John Cale collaboration Church of Anthrax in 1974. More revealing for a demonstration of Polish awareness of American minimal trends is the fact that the influential Polish chamber ensemble Warsztat Muzyczny (Music Workshop) were the performers of In C, and their leader, the composer and pianist Zygmunt Krauze, was also one of the performers of Keyboard Studies (along with John Tilbury and Gérard Fremy, neither strangers to the American scene). Krauze’s own music had, since the early 60s, been following a small-m minimal aesthetic, influenced by the Unistic paintings of Władysław Strzemiński.
Strzemiński, Unistic Composition no.11 (1930–32)
I don’t know precisely how aware Krauze was of American minimalism at the time of his Five Unistic Pieces (1963), say, but certainly by the end of the decade he appears to have been reasonably clued up and, as a friendly colleague of Górecki’s (Warsztat Muzyczny commissioned Muzyka 4 in 1970), may well have discussed it with him
I can’t speak for Pärt to the same extent, but I find it extremely hard to believe that works like Perpetuum mobile (1963) and Solfeggio (1964), both long pre-dating the ‘Holy Minimalist’ tag, were as sui generis as Lebrecht would like to believe. (Incidentally, Perpetuum mobile went down a storm at Warsaw Autumn in 1964 and was swiftly performed in several other Soviet bloc capitals.) In any case, the idea of minimalism arising miraculously from the ‘inspirational’ isolation of the Soviet bloc (a cliché that runs a little close to Dryden’s noble savage for my taste) is somewhat misleading.
There’s a second, more obvious, blooper in Lebrecht’s post – Michael Nyman didn’t, of course, write the score to The Pianist (that would be The Piano). The honour should have gone, instead, to Wojciech Kilar, another Pole whose music – ironically – has shown more than a passing influence from minimalism itself in the past.