Dear Mr. Kohl,
I was in touch with James Boros at the time of the "Complexity Forum", and he communicated his dissatisfaction with the results in no uncertain terms.  Richard Barrett in a published interview alluded to this affair, believing the rejection of his article was owing to bias.  What is more, practically no major younger figures of the New Complexity were included among the published articles, whereas, for instance, Erik Ulman, who is a very fine composer but not a New Complexity composer, was included. Whatever the reasons for the choice of articles, the failure to include major younger figures associated with the New Complexity seriously skewed this entire "Forum."

Secondly, I would beg you to not play childish games by removing composers I have posted. You have done fine work on Stockhausen, but you are by no means an expert on the subject of New Complexity. I have not seen a single article of yours focusing on this subject. I have never seen you at any of the festivals in which numerous works of younger composers associated with the New Complexity were performed, such as the bludenzer tage of the 1990's of the Züricher Tage of the early 1990's.  Why would you dare to remove Wolfram Schurig, co-editor of the primary book series focused on the New Complexity, leader of the bludenzer tage in its most daring period, and composer commissioned by leading ensembles throughout Europe?  If you don't know anything about him, this reflects badly on your claim to be an expert in this field.  Why would you remove Klaus K. Hübler, whose influence on New Complexity composers is clearly stated in multiple articles in the New Music and Aesthetics in the 21st Century series. Marc André has received numerous prestigious awards and commissions, and his work has also been closely associated with New Complexity; one need only read his articles appearing in the New Music and Aesthetics series to find support for this assertion.

I would strongly suggest that you do your homework in this field before you go about arbitrarily altering the contributions of others.  You could begin by going through the first six volumes of the New Music and Aesthetics series, then read numerous articles in Musik & Âsthetik (several references that appeared earlier in this entry have been removed) and works by Claus-Steffen Mahnkopf and others.  Then visit several dozen festival in Europe over an extended period. Then do some score study, perhaps beginning with the composers whose names you have removed.