ABSTRACT
Four pioneering, historically important contemporary music ensembles— the Verein fur musikalische Privatauffuhrungen, the Group for Contemporary Music, Ensemble L’Itineraire, and Bang on a Can—set the precedent for countless other performing and presenting organizations, many in existence today. A century after the founding of Schonberg’s society, issues of populism and elitism in music have become familiar complexities. The Verein offered a supportive environment intended to foster a sympathetic reception for the composer. Through the Herculean efforts of Schonberg and his colleagues, the Verein met its artistic goals and adhered to its rigid protocols. In 1962, the Group for Contemporary Music was founded in New York by a trio of composer-performers: the pianist Charles Wuorinen, the flutist Harvey Sollberger, and the cellist Joel Krosnick. The Group for Contemporary Music was designed to give composers more control over the performances of their own work.
