Criticism
Almost from the outset, the phrase Darmstadt School was used as a belittling term by commentators like Dr. Kurt Honolka (a 1962 article is quoted in Boehmer 1987, 43) to describe any music written in an uncompromising style.
Composer Hans Werner Henze, whose music was regularly performed at Darmstadt in the 1950s, reacted against the Darmstadt School ideologies, particularly the way in which (according to him) young composers were forced to either write in total dodecaphony or be ridiculed or ignored. In his collected writings, Henze recalls student composers rewriting their works on the train to Darmstadt in order to comply with Boulez's expectations (Henze 1982, 155).
One of the leading figures of the Darmstadt School itself, Franco Evangelisti, was also outspoken in his criticism of the dogmatic "orthodoxy" of certain zealot disciples, labelling them the "Dodecaphonic police" (Fox 2006).
A self-declared member of the school, Konrad Boehmer (Boehmer 1987,), states:
There never was, or has been anything like a 'serial doctrine', an iron law to which all who seek to enter that small chosen band of conspirators must of necessity submit. Nor am I, for one, familiar with one Ferienwoche schedule, let alone concert programme, which features seriality as the dominant doctrine of the early fifties. Besides, one might ask, what species of seriality is supposed to have reached such pre-eminence? It did, after all, vary from composer to composer and anyone with ears to hear with should still be able to deduce this from the compositions of that era. (Boehmer 1987, 45)
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