Describing John Adams

When I saw the cover of the Jan. 28 Calendar, I was aggravated. “Masterworks”? “Uncompromising”? “Classics”? These are words that apply to the music of people like Elliott Carter, who is mentioned in passing, but not to the music of John Adams. Tepid. Overblown. Evanescent. Those would be the three I’d use.

When I turned to Mark Swed’s article, more aggravation waited. “On Top, but Ever the Risk-Taker” is the headline. John Adams, the subheadline informs us, “composes accessible music that stretches the boundaries.” Piffle. Oxymoronic piffle at that.

Then I realized something. Swed’s article and all its appurtenances have the same qualities as Adams’ music (as I find it): hyperbolic and empty. I don’t doubt that many audiences find Adams’ music pleasant and unchallenging on first hearing. Does that make it worthy of congratulation and hyperbole? I don’t think so.

I hate to mention only one other composer, when there are dozens, hundreds, more pleasing than Adams, but I’m going to go now and clean my ears out with some Xenakis. Now there’s music that truly surprises and challenges.

MICHAEL KARMAN

Redlands

*

Adams’ soaring and thunderous masterpiece “Short Ride in a Fast Machine” stands as the greatest single piece of classical music written in the past 300 years.

Concert halls will be performing this tremendous composition for centuries.

JEFF SOFTLEY

West Hollywood