by Nicholas Stevens
The history of any art form consists of generalizations, some useful, others reductive, many both. Take classical music: hastily scribbled timelines have too often redrawn the vast panorama of postwar composition into a knot of abstract forms. Advocates of contemporary composition and performance have often pushed back on this stereotype with words, but in a recent concert, Cleveland’s Ars Futura ensemble emphasized the range of its repertoire also in deed. [Read more…]