An increasing number of drawing-room revolutionaries have begun to discuss their strategies to overthrow that despot, the musical score. Rather than treat the notes on the page with slavish admiration, these musicians — Uri Caine’s gloriously rough-and-tumble treatment of Bach’s Goldberg Variation is but one example — use the musical canon not to fire off salutes to the past but launch their own shells to burst brightly across the skies of the Musical Republic for the fascination of those watching and listening down below.
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