(You can help too.)
Rzewski is a composer who never "crossed over" into using computer notation software. He never embraces fads or writes in a formulaic way, and, as far as I can tell, he never stops writing deeply expressive music. He's a fantastic pianist with a wonderfully sensitive touch, and his view of the place of the 20th century in the grand scheme of all things musical is illuminating. The passage below comes from an interview he did with Daniel Varela in 2003 for the online music magazine Perfect Sound Forever.
. . . I believe very strongly that live music, as opposed to recorded music, will continue to survive and recorded music will collapse. I think perhaps the 20th century will be regarded by future generations like the "recording century," which leads to confusion between a work of art and its industrial reproduction. In a way similar to the notion of the ancient Egyptians about life after death (a very strange idea), in the 20th Century there was the strange idea that it was possible to freeze the music into a piece of plastic which you could then buy it in a store. I think that we have had some kind of return to a more traditional view, namely that music is something that one does, not something that comes to you. It's some form of activity so I think that we'll find new forms of folk music, something that appears spontaneously.You can visit the Rzewski IMSLP page (still in progress and growing every day) to have a look at PDFs of his music. You can also watch and listen to him play some of his piano music here, listen here, and visit his page in the Werner Icking Music Archive to hear more performances and see more scores.
One of the things that I'm personally interested in is writing- writing as opposed to recording, a form of projecting ideas potentially far into the future which is something that recordings cannot do. It's been said that recordings are forever and do not change, but maybe in the future, we will discover new means of recording. Today, we have CD ROMs and things like that but it seems that even they are very primitive means. They're primitive if we compare them to a simple page of music. One of the interesting things about writing is that it's possible to define structure very, very precisely and at the same time, by doing it in a such way, it is still capable of a multiplicity of interpretations all of which can be equally interesting. This is the reason to see Beethoven as a master. Beethoven could be interpreted in different many ways and we know that future generations will discuss how to play the "Hammerklavier" sonata.
Here's a piece for four violists to play while reciting Shakespeare called Fortune (the versatile violists are Leanne King, Dominic De Stefano, Michael Davis, and Sara Rogers). Here's the score.