Absolutely correct, Ian, in your fundamental point, which is why, in my
original post, the word "accident" was bracketed. I do deny the mechanisms
of Reich's historical embedding in the least. I sought only to sketch a few
possible modalities of what "historical engagement" has meant.
At the same time, I am less sanguine about your conclusion, that "therefore
a historical framework that legitimized his discovery as one of artistic
merit had been established."
Not so many years after his initial tape works, Reich premiered Four Organs,
under the direction of Michael Tilson Thomas, in the context of a decidedly
non-avant-garde milieu, with results that nearly provoked a riot - see his
own, and MTT's accounts of this.
Again, I think, we see different modes of historical legitimation in
operation. Yes?
Thanks for your articulate response - I hope the list continues the
discussion in this manner.