Young Modernists Hoe Their Own Row [Copland & Sessions] 5/11/28

Modern music has availed itself of a “Salon des Independents.” An obscure theaterEdyth Totten’s in New York-is its site, “The Copland-Sessions Concerts of Contemporary Music,” its official title. It is fitting that these two energetic and gifted makers of new music should head such an enterprise. Holding apart from somewhat spectacular exhibitions of the League of Composers and similar organizations, yet complementing and enhancing these occasions, the Copland-Sessions concerts have been set afoot “in the interests of the younger generation of American composers.” But-the editorial note of the program cautiously warns-“Youth will be interpreted in the most elastic sense.” Likewise, one ought not be too particular about American exclusivity, for, as the same note avers, “an occasional European work of corresponding interest may be included.” Finally, dismissing the bothersome notions of “young” and “American,” the two authors of the series-both unmistakably young and American-declare that “the only criteria in the choice of material will be excellence of promise”—the most latitudinarian statement ever made in any chart of liberties.