This dissertation considers the life and music of Richard Danielpour (b. 1956) and how they intersect with the issues of commercialism, accessibility, popularity, and originality in twentieth- and twenty-first century American art music. It also explores Danielpour’s motivations for composing and the position of his music in American culture within the context of the changes that have occurred–particularly in the last twenty to thirty years–in the criteria for assessing musical value and meaning in American high art.
Much of the music being written and performed well into the third quarter of the twentieth century was completely unintelligible to a majority of concert goers, and a huge gap had developed between classical composers and their public. Richard Danielpour is one of many composers in the late twentieth- and early twenty-first centuries who have sought to bridge that gap, in part by aligning themselves with the tradition of writing music that is emotionally evocative and musically valid. Danielpour’s concern for reaching his audience underscores his sincere desire to be appreciated artistically and understood intellectually.
Danielpour writes in an accessible, neo-romantic style that embraces tonality despite frequent dissonances. Some critics suggest that he borrows too much from others, but his music possesses many distinctive qualities. In addition, Danielpour’s detailed programs help listeners relate to music that they might not otherwise understand.
Of the ten recordings of his music, the Pittsburgh Symphony’s CD of his Concerto for Orchestra was nominated for a Grammy in the category of “classical contemporary composition.” Yo-Yo Ma’s recording that included Danielpour’s first cello concerto won three Grammies. Frequent commissions from major orchestras and well-known soloists indicate the degree of popularity that Danielpour has achieved in the classical musical world. Although this may not equal the commercial success of pop composers, Danielpour can still be considered financially successful: in an age when many contemporary composers struggle to be heard at all, Danielpour’s compositions receive multiple performances here and abroad.
