Trio for Strings: Difference between revisions

The composition has been described as an "origin point for [[minimal music|minimalism]]."<ref name="nyt glacial"/><ref>{{cite web |last1=Nechvatal |first1=Joseph |title=Biography: Flawed Composition |url=https://brooklynrail.org/2012/03/books/flawed-composition |website=[[Brooklyn Rail]] |accessdate=7 October 2020}}</ref> ''[[The New Yorker]]'' called it "a sensuous and transcendent work" and "for many, the seminal work of musical minimalism."<ref>{{cite webmagazine |title=La Monte Young's "Trio for Strings" |url=https://www.newyorker.com/goings-on-about-town/classical-music/la-monte-youngs-trio-for-strings |websitemagazine=The New Yorker}}</ref> Author Edward Strickland called it "the first work in full-blown musical minimalism" following Young's transitional pieces ''for Brass'' (1957) and ''for Guitar'' (1958).<ref>{{cite book |last1=Strickland |first1=Eric |title=Minimalism:Origins |date=1993 |publisher=Indiana University Press}}</ref> David Paul of ''[[Seconds (magazine)|Seconds]]'' stated that the piece, "with its silences and long tones, paved the way for music based on [[tonality]], [[drone (music)|drone]] and infinite time spans, brushing aside elaborate formal development in favor of the contemplation of pure sound."<ref>{{cite journal |last1=Paul |first1=David |website=[[Seconds (magazine)|Seconds]] |date=1999}}</ref> The composition precipitated Young's 1960s improvising ensemble the [[Theatre of Eternal Music]] and his development of ''[[Dream House (installation)|Dream House]]'' environments with [[Marian Zazeela]].<ref name="nyt glacial"/>