Darmstadt Institute New York exists to bring to the city new performances of all the old favorites from the original Darmstadt International Summer Course for New Music. The latter is still extent, in its 70th year—the local version is a relative grandchild, 59 years behind.
The Darmstadt course is better known, fairly or not, as the “Darmstadt School,” the style (and more importantly, ideology) of atonality of Stockhausen, Pierre Boulez, Luigi Nono, and Bruno Maderna. Darmstadt set itself up as the logical post-World War musical utopia. It used history, particularly romanticism, as a launch pad, and also as an oppositional pole by which to define itself. >>>
New York Classical Review