Introduction

Performance, Improvisation, and Multitemporality

Abstract

During the 1999–2000 and 2000–2001 concert seasons at Carnegie Hall, New York, Maurizio Pollini curated a series of concerts titled Perspectives: Maurizio Pollini. Franz Xaver Ohnesorg, Executive and Artistic Director, described the series as occurring «at the boundary between millennia, a border crossing between eras, where one is naturally tempted to look back at the territory left behind and to anticipate the unknown landscape ahead». The concerts featured music by Machaut and Messiaen, Ockeghem and Fernyhough, Monteverdi and Berio, Bach and Ligeti. [...]
In times like ours, accustomed to streaming platforms and playlists, it is certainly easier to create juxtapositions of music from different eras and genres, both within and outside Western art music. Young students are used to mixed listening habits, which should be celebrated as they reflect a breaking of barriers: at one moment they might be listening to Lady Gaga, and the next to Chopin. Yet mainstream concert programming — today as in 1999–2000 — remains rigidly organised by historical periods. At most, music from the twentieth and twenty-first centuries is programmed alongside Classical-Romantic repertoire. Pollini’s concert series had the vision to challenge that rigidity. (From the Introduction)

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