Gabriel Prokofiev, London-dwelling garage and classical composer, DJ, record producer, grandson of Sergei, slight Nigel Kennedy accent, has a good basic programme on BBC Radio 4 for a few more days about what happened to classical music in the twentieth century and why it became difficult and alienated people.
Johnson is good on Darmstadt orthodoxy and total serialism, on the audience as the class enemy, on serialism as a reaction to fascism, and on the USSR, where composers may, paradoxically, have had more freedom and at least retained their publics.
Hewett and Prokofiev make a connection between Paganini and Hendrix.
Goehr says that Darmstadt was particularly misguided in rejecting Dallapiccola and Britten. Why is Goehr not better known by now and not a grand old man? Is it his music?
Prokofiev’s conclusion: we now have so many possibilities, since we are free from the socio-political hangups of the post-1945 generation, that we can all look forward to a bright future. Or are too many possibilities the problem?
Henze would have said: stop worrying. This prolific composer who, nevertheless, could not think of writing a violin concerto without thinking about the entire tradition of violin concerti, every violin concerto ever written, and what it meant to be a German writing one now, told young composers to shake all that off and, still loving and studying the past, go ahead.
He trusted the globalised world to forge its own disciplines.