# New Orchestral Music - Works of the 21st Century



## SanAntone

I started threads for *21st Century Chamber Music* (which includes solo works) and the *Contemporary String Quartet: works written since 1970*, and now my final thread covering new music will be for orchestral works.

For the purpose of this thread the term orchestral will include works written for an *ensemble with more than 15 musicians*.

The same guidelines apply:

*1) works must have been written from 2000-present
2) please post no more than two works per day
3) post YouTube clips - embedded videos preferred*

The purpose of this thread is to offer opportunities to hear new orchestral music. So, please listen to the contributions as much as you can, and comment if you feel the urge.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

My first contribution will be a work by G.F. Haas.






*Georg Friedrich Haas: dark dreams*, for orchestra (2013)


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## Prodromides

*Danzas Secretas para Arpa y Orquesta* (2007) by Luis de Pablo.
This 4-movement opus could be regarded as either a concerto or a symphony.

1st movement





2nd: 



 ; 3rd: 



 ; final:


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## Simon Moon

Love me some Magnus Lindberg!

Sculpture (2005)*






* the Concerto for Orchestra (2003) on the above CD is also very good.


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## Simon Moon

Andrew Norman - Switch (percussion concerto) from 2014/2015

Excellent piece.






A big plus, it is on a disc with 2 other great works of the 21st century: Augusta Read Thomas, "EROS: (Goddess of the Dawn)" from 2015, and Nico Muhly, "Control (Five Landscapes for Orchestra)" from 2015.

Another thing on the plus side, is it is on the Reference Recording label, so the sound quality is much better than the vast majority of classical recordings.

The RR label is known for overall recording quality, but they do huge soundstage, imaging, and hall ambience especially well. On this recording, I can 'see' all the way to the extreme back of the stage, and the right and left edges extend well beyond the outside edges of my speakers.


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## Jacck

Guillaume Connesson: Cosmic Trilogy


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## Alfacharger

The very Elfman-esque second movement of his Violin Concerto of 2017.






and.. the 1st movement of Elfman's Piano Quartet. 2018


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## Alfacharger

How about Jack Gallagher. Second Symphony "Ascendant".. Movement 2 "Playfully". 2013


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## SanAntone

Alfacharger said:


> The very Elfman-esque second movement of his Violin Concerto of 2017.
> 
> 
> 
> 
> 
> 
> and.. the 1st movement of Elfman's Piano Quartet. 2018


Thanks for the violin concerto, but the piano quartet is hardly an orchestral work.


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## Lisztian

Hadn't heard of this composer until this Grinblat upload a few days ago. Was impressed!


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## calvinpv

Enno Poppe: *Speicher* (2008-2013)

Probably my second favorite 21st century orchestral work, behind only Rihm's Jagden und Formen.

Score here.
Program note here (in German).

EDIT: Just found this program note in English. See here.


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## calvinpv




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## calvinpv

Georg Friedrich Haas: *limited approximations* for 6 microtonally tuned pianos & orchestras (2010)

Probably my favorite by Haas.


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## Jacck

Fazıl Say - Mesopotamia, Symphony No. 2





the beginning reminds me of Artemiev (the Stalker soundtrack)


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## Simon Moon

One of my favorite composers, Elliott Carter.

Three Illusions for Orchestra (2004).

He was 94 when he composed this.


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## Simon Moon

Erkki-Sven Tuur (Estonian, 1959)

Clarinet Concerto "Peregrinus ecstaticus"


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## calvinpv

John Luther Adams: *Become Ocean* for large orchestra (2013)


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## calvinpv

Mark Andre: *... auf ... III* for large orchestra & live electronics (2007)

I prefer the first recording a bit more, as you can more easily hear the electronic effects. Interestingly, they're both played by SWR Sinfonieorchester Baden-Baden und Freiburg / Sylvain Cambreling.


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## sonance

Thierry Pécou

- L'oiseau innumérable (for piano and orchestra; 2006; Alexandre Tharaud, piano; Ensemble orchestral de Paris/Andrea Quinn)
first movement:

















- Les Liasons magnétiques. Henri Dutilleux en mémoire (for six wind instruments, percussions and twelve strings; 2013; Ensemble Variances, Ensemble Resonanz, dir. Jonathan Stockhammer)
first part:


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## Torkelburger

I'll be the one to mention the Beat Furrer Piano Concerto this time  So great


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## Torkelburger

I like Salonen too


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## Torkelburger

Alfacharger said:


> The very Elfman-esque second movement of his Violin Concerto of 2017.
> 
> 
> 
> 
> 
> 
> and.. the 1st movement of Elfman's Piano Quartet. 2018


Are you sure about this? The Elfman violin concerto as one of the best compositions in the last 20 years? I've taken a second listening to this and alas, no, I have to disagree. I am not even sure it belongs in the same thread that mentions Haas, Lindberg, Carter, Furrer, and Salonen.

The orchestration is very generic, unoriginal, and cookie-cutter with many Hollywood cliched overwriting techniques. Such as the extreme overuse of the orchestral tutti, especially scoring tuttis the same exact way almost every time they appear-all instruments in their most sonorous registers, the same instruments having the melody every time, the same one's having the harmony every time, etc. etc. There is overuse of the same orchestral colors, unison and octave doublings, over and over again. There is overuse of orchestration via tutti choirs verses individual, solo instruments and almost no inventive use of grouping individual solo instruments together in various ways (of which there are almost countless combinations available). Overuse of bass octaves typical in Hollywood scoring and little inventiveness of bass instrument orchestration. Overuse of string and brass "padding" (chords as accompaniment) as used in Hollywood. And please stop with the Hollywood "swishing" suspended cymbal rolls!

Harmonically, there is the typical Hollywood overuse of triads, especially the Elfmanesque overuse of minor triads and overuse of root movement by thirds and seconds. This grows extremely tiresome over such a long period of time. The same chords with the same progressions, orchestrated the same way over and over. And the melody as an afterthought of "connect-the-dots" between triads grows tiresome and is unimaginative. Prokofiev could use triads in much better ways.

Melodically, there is not much inventiveness or development of ideas it seems. Being a film composer, he seems not to be able to break the habit of being able to carry an idea for very long without changing gears. The feeble attempts at counterpoint are extremely simple and non-expressive, modal, with little dissonance or direction.

Don't get me wrong, there are some good parts too and I do like some Elfman film scores, and you are welcome to enjoy whatever you like. Just my thoughts on why it might not be the best fit for the best music of the last 20 years, that's all. But it's just my opinion.


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## sonance

Unsuk Chin

- Rocaná (2008; Orchestre Symphonique de Montreal/Kent Nagano)





- Cello Concerto (2006, rev. 2013; Alban Gerhardt, cello; Seoul Philharmonic Orchestra/Myung-whun Chun)


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## Prodromides

Hugues Dufourt's 2010 _Voyage par-delà les fleuves et les monts_


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## SanAntone

*Benjamin Ellin : White Crucifixion* (2008)



> Inspired by the painting by Chagall, White Crucifixion is less a concerto than a monologue for viola - its ruminative and impassioned soliloquy undermined, contested but ultimately reinforced by an ensemble that provides an arresting take on the individual versus the collective archetype. (*Gramophone*)


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## sonance

Edith Canat de Chizy

- La Ligne d'ombre (2004; Orchestre de Besançon Montbéliard Franche-Comté/Peter Csaba)





- Omen (2006; Orchestre National de France/Alain Altinoglu)


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## sonance

José Manuel López López: Concerto for piano and orchestra (2005-11; Alberto Rosado, piano; Spanish Radio and Television Orchestra/Marc Soustrot)
[My CD is with Alberto Rosado, piano, and Deutsches Symphonie Orchester Berlin/Johannes Kalitzke, but was already recorded in 2009, so it's not the latest version.]





Tan Dun: Concerto for Orchestra (2012; Hongkong Philharmonic Orchestra/Tan Dun)


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## allaroundmusicenthusiast

2 concertos today:

This amazing piano concerto by Simon Steen Andersen





And Notes on Light, a cello concerto by the renowned Kaija Saariaho




Note, this is only the first movement, i think the best comes from the 2nd onwards


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## calvinpv

allaroundmusicenthusiast said:


> 2 concertos today:
> 
> This amazing piano concerto by Simon Steen Andersen
> 
> 
> 
> 
> 
> And Notes on Light, a cello concerto by the renowned Kaija Saariaho
> 
> 
> 
> 
> Note, this is only the first movement, i think the best comes from the 2nd onwards


I'm not sure if you know this already, but the Steen-Andersen piano concerto has an essential visual component to the work that the youtube video doesn't provide (actually, two visual elements, and you can see what they are in the thumbnail to that youtube video). To "see" the whole work, you'll have to get a hold of the 2014 Donaueschinger Musiktage Festival boxset.


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## allaroundmusicenthusiast

calvinpv said:


> I'm not sure if you know this already, but the Steen-Andersen piano concerto has an essential visual component to the work that the youtube video doesn't provide (actually, two visual elements, and you can see what they are in the thumbnail to that youtube video). To "see" the whole work, you'll have to get a hold of the 2014 Donaueschinger Musiktage Festival boxset.


calvinpv, yes, i did know that, sadly I live in a place where getting imported music is completely unaffordable. Alas, the musical component will have to do, luckily it's an amazing piece all on its own, i think. Have you seen the visuals for the concerto? Do they add anything of relevance?


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## calvinpv

allaroundmusicenthusiast said:


> calvinpv, yes, i did know that, sadly I live in a place where getting imported music is completely unaffordable. Alas, the musical component will have to do, luckily it's an amazing piece all on its own, i think. Have you seen the visuals for the concerto? Do they add anything of relevance?


Yes, I've seen it on that boxset recording, and yes, the visuals are pretty important. There are two visual components: 1. a several second video of a grand piano getting dropped several meters and crashing to the ground and 2. a video of pianist Nicolas Hodges playing on the now destroyed grand piano.

The second video is broken up into samples and played by a sampler during the concerto performance. The sampler part is often played in sync with the piano part (the piano part is played on a brand new, unbroken piano) so that the sounds of an intact and broken piano blend together (from the perspective of a listener in the audience, seeing Nicolas Hodges play live on the new piano together with a video of him playing on a broken one creates a visual illusion as well in the sense of not knowing from which piano the sounds are coming from).

The first video is manipulated throughout the work, by being slowed down, sped up, reversed, repeated, etc. -- I think Steen-Andersen himself manipulates the video on the sidelines. But what's most important about this video is that it gives meaning to many of the sounds in the work. During the pre-compositional phase, Steen-Andersen analyzed that video at different speeds and studied the sound spectra created from the piano hitting the floor. He then reconstructed the sounds in the piano and orchestra -- in other words, he imitated what he heard in the video. When you heard this piece, while you probably found the work exhilarating, you might have found it a bit random (you probably asked yourself "Why did I hear that sound as opposed to some other sound?"). Well, this piece is anything but random, all the sounds have meaning, but they only have meaning in relation to the video because they are imitating what is normally heard when a piano hits the ground.

Below is a slideshow presentation explaining the work. It's in German, but there are a couple of video clips that you can watch.

https://multimedia.swr.de/steen-andersen-piano-concerto#345


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## allaroundmusicenthusiast

calvinpv said:


> The first video is manipulated throughout the work, by being slowed down, sped up, reversed, repeated, etc. -- I think Steen-Andersen himself manipulates the video on the sidelines. But what's most important about this video is that it gives meaning to many of the sounds in the work. During the pre-compositional phase, Steen-Andersen analyzed that video at different speeds and studied the sound spectra created from the piano hitting the floor. He then reconstructed the sounds in the piano and orchestra -- in other words, he imitated what he heard in the video. When you heard this piece, while you probably found the work exhilarating, you might have found it a bit random (you probably asked yourself "Why did I hear that sound as opposed to some other sound?"). Well, this piece is anything but random, all the sounds have meaning, but they only have meaning in relation to the video because they are imitating what is normally heard when a piano hits the ground.
> 
> Below is a slideshow presentation explaining the work. It's in German, but there are a couple of video clips that you can watch.
> 
> https://multimedia.swr.de/steen-andersen-piano-concerto#345


Oh, that sounds amazing! Thank you very much for your explanation, i'll look at that slideshow and hope that my intermediate german is enough!


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## SanAntone

*Mark Camphouse : American Canvases n°1 'Nighthawks'* (2008)


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## SanAntone

*Therese Birkelund Ulvo*: _Woven Fingerprints_ (2015)
Concerto for two pianos and orchestra

Ellen Ugelvik, piano
Andreas Ulvo, piano
Bergen Philharmonic Orchestra
Edward Gardner, conductor

World Première, 05 March 2020, Borealis Festival '20






Starts off quietly and takes a while to evolve from isolated gestures in the pianos to the dialogue between the soloists and orchestra. Stick with it, I think it's worth it.


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## SanAntone

*Michel van der Aa* : _Up-Close_
for solo cello, string ensemble and film (2010)






*Sol Gabetta* - cello
*Amsterdam Sinfonietta *
Candida Thompson - artistic director
Vakil Eelman - actress
Michel van der Aa - composition, film & stage director

____________________________________________

Fascinating work, combining some very nice writing for strings and solo cello with film narrative.


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## Richannes Wrahms

Best work of Hosokawa I've listened so far is his 2017 one act opera based on the Noh play of the same title:


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## ArtMusic

_Siren Sounds Waltz_ (2019) composed by* Alma Deutscher* first performed at Carnegie Hall, 2019 (sell out concert).


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## Kjetil Heggelund

Symphony no. 10 by Peter Maxwell Davies from 2013. Was my favorite contemporary piece for a while. Haven't listened to it for some years. Sir Davies is forever among my very favorites! I might have to check out the suggestions here, but I'm terribly busy with Gubaidulina these days.


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## BrahmsWasAGreatMelodist

Nevermind .......


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## Simon Moon

Unsuk Chin - Violin Concerto (2001)


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## calvinpv

Michel van der Aa: *Here Trilogy* (2001-2003) (NOTE: this is the order you listen, not in chronological order):
*Here [enclosed]*, for chamber orchestra, soundtrack & visual installation (2003)
*Here [in circles]*, for soprano, ensemble & tape (2002)
*Here [to be found]*, for soprano, chamber orchestra & soundtrack (2001)

A fabulous work, probably the best by van der Aa I've heard other than _Up-close_, which SanAntone posted above. I'm tempted to say the _Here Trilogy_ is the _Erwartung_ of this century. Not in its wider musical significance, but in the extra-musical themes it convincingly explores: identity, memory, anxiety, alienation, loneliness, claustrophobia, and loss of contact with the world (read the program note below to see what I mean). These issues are explored in all subsequent works by van der Aa, including _Up-close_. But what makes _Here_ really stand out for me is that these issues don't just stem from the textual meaning of the libretto but are also built into the music itself. It's hard to explain, and it will probably take a couple listens to hear what the program note is saying. But I found this work to be pretty surreal, especially the first two movements.

Program note here:
https://www.vanderaa.net/heretrilogy

_Here [in circles]_ libretto:



> Eerie feeling of
> recurrence. Before my helpless
> sight, I find myself
> rushing out again. The door
> senses me, it hesitates
> Once more I founder in
> the cataract of details
> Choking
> Drowning. The trouble of a
> solution ringing violently
> in my ear. I call a name that the walls
> give back to me
> If I can fill the unforgiving
> minute with seconds
> worth of silence, find a frame
> that brings no second motion,
> I will harness myself
> in rigid cobwebs. A sleep
> that no pain shall wake. All that
> uncovers me,
> frozen
> in hazy summer woods


_Here [to be found]_ libretto:



> Motionless I find myself on the
> ground. Covered with questions. Stones
> invade stomachs. Windows stand starless
> still. With little or no light
> I clearly see all I can
> see. An order without lines, sparks or
> colour. The charts show no coherence.
> Now should I: Breathe the muddied night air,
> Tear the light curve off its asymptote,
> Cage my myriad mind instantly,
> Without faltering attempt
> the impossible and find
> my longitude? A wounded
> shooting star. Nothing catches
> fire and I am unaware.


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## Aries

2008: Alexey Rybnikov: Symphony No. 6:


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## Mandryka

Alvin Lucier,, especially his later music, is my sort of composer. I've been listening to this today, _Slices_ from the first decade of this century. Surprisingly eventful music, surprisingly fresh harmonically.






The Cd it comes from has another late orchestral piece called _Diamonds_ which is also fabulous I think. Both these pieces seem to owe a lot to Ligeti and Xenakis.


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## Mandryka

Jurg Frey at Donaueschinger (hard to believe but true!) I'm tempted to say he's sold out to his own ideals, and the curators of the Donaueschinger festival have sold out to theirs.


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## SanAntone

*Isabel Mundry*: _Endless Sediments_ (2018)






WDR Sinfonieorchester Köln
Michael Wendeberg (conductor)

World Premiere, 23 June 2018, WDR-Funkhaus Köln


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## SanAntone

*Unsuk Chin* - _Sheng Concerto "Šu" _(2009)






Composer: Unsuk Chin (진은숙 Chin Unsuk) (July 14, 1961 -)
Sheng: Wei Wu
Orchestra: Seoul Philharmonic Orchestra conducted by Myung-Whun Chung

Chin demonstrates her absolutely masterful control of timbre in this piece, particularly in the way instrumental colors blend in and out with each other. Take, for example, how the muted violins in artificial harmonics sneak out of the sound of the solo sheng at 1:05 , or how the clarinets come out of the sound of muted trombone and then move in and out of each others' sounds bringing out various shades of their tight quarter-tone harmony at 4:55 .

The piece begins small, with only the solo sheng in slow meditative rhythm. Over the course of the piece, the intensity of rhythm and orchestration gradually builds up. This culminates in a highly rhythmic climax section at 13:25 before returning to the calm of the introduction at 18:20 , now laid upon an incredibly eerie soundscape formed by percussion and strings.


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## fluteman

Christopher Theofanidis, Viola Concerto (2003) A Grammy winner this year.


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## SanAntone

Tõnu Kõrvits: To the Moonlight (2020)






Tõnu Kõrvits (*1969)
Kuuvalgusele / To the Moonlight, Three Blues for symphony orchestra (2020)

Estonian Festival Orchestra
Paavo Järvi, conductor

World Première, 19 July 2020, Pärnu Muusikafestival '20


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## ArtMusic

*John Talbot* (born 1971), _Alice's Adventure in Wonderland_ (2011). This is the greatest ballet written in over one hundred years.

Orchestral Prologue:


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## SanAntone

*Ondřej Adámek* (1979) - _Where are you?_ 
for mezzo-soprano and orchestra (2020)






I. Slotha - setting a trap for divine
II. Where are you?
III. Peter sent me back
IV. Sharp Point
V. Saeta
VI. Confession
VII. An Angel
VIII. Levitation
IX. You Are Not There!
X. Gentle whisper
XI. Everywhere

*Magdalena Kožená*, mezzo-soprano 
Symphonieorchester des Bayerischen Rundfunks, Sir *Simon Rattle*, conductor
Norbert Ommer, sound design

World Première, 06 March 2021, Philharmonie im Gasteig

Co-commissioned by Bavarian Radio's musica viva series and London Symphony Orchestra, supported by the Ernst von Siemens Music Foundation


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## SanAntone

*Devolution (2012) · Anthony Paul de Ritis* · 
Gil Rose · Boston Modern Orchestra Project · Paul D. Miller · DJ Spooky That Subliminal Kid


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## arpeggio

Great thread.

I am learning about some new music I am unfamiliar.

I saw a work of Mark Camphouse. Next time I run into Mark I will have to tell him about it.


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## SanAntone

Manfred Trojahn - Terzinen über Vergänglichkeit (2014)






A real throw-back to Richard Strauss.


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## Enthusiast

George Benjamin - not the most prolific of composers and mostly involved with opera.


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## starthrower

I'm listening to the Night Songs CD on the NMC label by Helen Grimes. 71 minutes of new music.


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## arpeggio

*John Mackey*

Mr. Mackey is one of the hot younger concert band composers (Born 1973).

He is a one of the few composers that makes his living from commissions:

https://www.windrep.org/John_Mackey

One of my favorite works is the symphony _Wine Dark Sea_:






Video of the European premier.

Info about the work:

https://www.windrep.org/Wine-Dark_Sea


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## Vasks

Hardly ever mentioned and yet quite a successful American composer. From 1987


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## Bluecrab

Vasks said:


> Hardly ever mentioned and yet quite a successful American composer. From 1987


Nice find. Yes, it's too bad that Harbison's music isn't better known. He has some fine works across many genres.


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## Vasks

Sorry about my previous posts as I thought this was about 1977-1999.

Moving on: From 2004, here's the first movement of Finnish composer Jouni Kaipainen's Symphony #3


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## SanAntone

Georg Friedrich Haas: Joshua Tree (2020)


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## SanAntone

*Carter Pann* - _The Extension of My Eye for Piano and Chamber Orchestra_ (2014)






Carter Pann, piano
River Oaks Chamber Orchestra 
Alastair Willis, conductor


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## SanAntone

*Christophe Bertrand*: _Mana_ (2004/05)






WDR Sinfonieorchester
Brad Lubman, conductor

German Première, 16 May 2019, Kölner Philharmonie


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## SanAntone

Franck Bedrossian - Itself I






Itself: II.






:tiphat: *calvinpv*


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## SanAntone

*Georg Heike *: _Angelus_ (2003)






Georg Heike (*1933) : Angelus (2003) - Fritz Kircher, violin - Ulrike Schmelzer, organ - Hungarian Philharmonics of Györ - Wolfgang Sauseng, conductor

Paul Klee (1879-1940) : Angelus Novus (1920) - Israel Museum, Jerusalem (Israel)


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## OMD




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## SanAntone

*Johannes Schöllhorn* : _Clouds and Sky_ (2010)








> Johannes Schöllhorn (*1962) : Clouds and Sky, konzerstück for piano and orchestra (2010) - Jan-Philip Schulze, piano - WDR Sinfonie-Orchester - Peter Rundel, conductor
> James Abbott McNeill Whistler (1834-1903) : Clouds and Sky Venice (1879)


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## Aries

Katsiaryna Shymanovic (b. 1981, Belarus) 
For Whom The Bell Tolls, adagio for clarinet and orchestra
Orchestra of Belteleradiocompany
Nikolai Makarevich (conductor) 
Yauhen Shymanovich (clarinet)


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## Kjetil Heggelund

Here's a piece I dig from 2004.


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## SanAntone

*Thomas Larcher*: _Symphony No. 2 "Kenotaph"_ (2015-2016)






_Die Nacht der Verlorenen_ (The Night of the Lost) for baritone and ensemble (2008)


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## composingmusic

calvinpv said:


> Enno Poppe: *Speicher* (2008-2013)
> 
> Probably my second favorite 21st century orchestral work, behind only Rihm's Jagden und Formen.
> 
> Score here.
> Program note here (in German).
> 
> EDIT: Just found this program note in English. See here.


I studied Jagden und Formen (the most recent revision) in my professor's lecture series! He runs a class at my uni where we talk about whatever music he wants to talk about, and it's always very interesting.


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## composingmusic

SanAntone said:


> *Ondřej Adámek* (1979) - _Where are you?_
> for mezzo-soprano and orchestra (2020)
> 
> 
> 
> 
> 
> 
> I. Slotha - setting a trap for divine
> II. Where are you?
> III. Peter sent me back
> IV. Sharp Point
> V. Saeta
> VI. Confession
> VII. An Angel
> VIII. Levitation
> IX. You Are Not There!
> X. Gentle whisper
> XI. Everywhere
> 
> *Magdalena Kožená*, mezzo-soprano
> Symphonieorchester des Bayerischen Rundfunks, Sir *Simon Rattle*, conductor
> Norbert Ommer, sound design
> 
> World Première, 06 March 2021, Philharmonie im Gasteig
> 
> Co-commissioned by Bavarian Radio's musica viva series and London Symphony Orchestra, supported by the Ernst von Siemens Music Foundation


You beat me to it! I saw the London premiere of this live - a spellbinding piece!


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## composingmusic

*Klaus Lang*: _ionisches Licht (2020)_


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## composingmusic

*Rebecca Saunders (*1967)*
_to an utterance, for piano and orchestra (2020)_

Nicolas Hodges, piano
Lucerne Festival Contemporary Orchestra
Enno Poppe, conductor

German Première, 09 September 2021, Musikfest Berlin '21


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## composingmusic

A couple more today!

*Elliott Carter (1908-2012)* _Horn Concerto (2006)_

Martin Owen, horn
BBC Symphony Orchestra
Oliver Knussen, conductor


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## composingmusic

*George Benjamin (*1960)* _Concerto for Orchestra (2021)_

Mahler Chamber Orchestra
George Benjamin, conductor

World Première, 30 August 2021, BBC Proms '21


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## SanAntone

*Carlo Forlivesi *(b.1971): _Mutter Morte_ (for symphonic orchestra, 1996) ( close enough  )






*Carlo Forlivesi* (born October 23, 1971) is an Italian composer, performer and researcher.

Forlivesi was born in Faenza, Emilia-Romagna. He studied at Bologna Conservatory, Milan Conservatory and the Accademia Nazionale di Santa Cecilia of Rome. He then joined IRCAM (Institute de Recherche et Coordination Acoustique/Musique) and subsequently DIEM (Danish Institute of Electroacoustic Music), Tokyo College of Music, and Northwestern University, with fellowships from the governments of Italy, Denmark, Japan, and the United States (Fulbright Commission).

His activity has mainly focused on new music in Europe, the United States, and Japan. Forlivesi has conducted extensive research in the field of traditional Japanese music and dance including the ethnic music of the Ainu. Beside contemporary music, he cultivates a particular interest in early music, which he studied and performed for several years.


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## Alfacharger

Jack Gallagher, Symphony 2, composed between 2010 and 2013.


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## christomacin

SanAntone said:


> *Carlo Forlivesi *(b.1971): _Mutter Morte_ (for symphonic orchestra, 1996) ( close enough  )
> 
> 
> 
> 
> 
> 
> *Carlo Forlivesi* (born October 23, 1971) is an Italian composer, performer and researcher.
> 
> Forlivesi was born in Faenza, Emilia-Romagna. He studied at Bologna Conservatory, Milan Conservatory and the Accademia Nazionale di Santa Cecilia of Rome. He then joined IRCAM (Institute de Recherche et Coordination Acoustique/Musique) and subsequently DIEM (Danish Institute of Electroacoustic Music), Tokyo College of Music, and Northwestern University, with fellowships from the governments of Italy, Denmark, Japan, and the United States (Fulbright Commission).
> 
> His activity has mainly focused on new music in Europe, the United States, and Japan. Forlivesi has conducted extensive research in the field of traditional Japanese music and dance including the ethnic music of the Ainu. Beside contemporary music, he cultivates a particular interest in early music, which he studied and performed for several years.


"If you knew Ainu, like I know Ainu..." sorry, I couldn't resist.


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## SanAntone

*Michel van der Aa *- _Up-close_






for solo cello, string ensemble and film (2010)

Sol Gabetta - cello
Amsterdam Sinfonietta


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## SanAntone

*Julian Anderson* (1967, British) | _The Discovery of Heaven_ 
Wigglesworth, London Phiharmonic Orchestra






Anderson was born in London. He studied at Westminster School, then with John Lambert at the Royal College of Music, with Alexander Goehr at Cambridge University, privately with Tristan Murail in Paris, and on courses given by Olivier Messiaen, Per Nørgård and György Ligeti.

Anderson's former publisher, Faber Music, describes his music as:



> ... characterised by a fresh use of melody, vivid contrasts of texture and lively rhythmic impetus. He has a continuing interest in the music of traditional cultures from outside the Western concert tradition. He has a special love for the folk music of Eastern Europe-especially of the Lithuanian, Polish and Romanian traditions-and has also been much influenced by the modality of Indian ragas.


Anderson has also used both live and pre-recorded electronics in his large-scale _Book of Hours_ for 20 players and electronics, composed for the Birmingham Contemporary Music Group, who gave the first performance in February 2005 with Oliver Knussen. His third and final full orchestral work composed for Birmingham forces, _Eden_, was first heard at the 2005 Cheltenham International Music Festival, played by the CBSO under Martyn Brabbins, and is an exploration of the non-tempered tuning of the harmonic series.

This preoccupation with fusing tempered modality and non-tempered resonance is continued in his largest work to date, _Heaven is Shy of Earth_, an oratorio for mezzo-soprano, chorus and orchestra lasting nearly 35 minutes, commissioned by the BBC for the 2006 Promenade Concerts, where it was premiered by singer Angelika Kirchschlager and the BBC Symphony Orchestra and Chorus conducted by Sir Andrew Davis. A new version of that work, expanded through the addition of a new (third) movement, 'Gloria (with Bird)', was premiered at the Barbican Centre on 26 November 2010 with Susan Bickley as the soloist.


----------



## composingmusic

*Tristan Murail:* _Gondwana (1908)_


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## SanAntone

*Kirsten Milenko*: _Traho_ (2021)


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## SanAntone

*Philippe Manoury*: _Zones de turbulences_ (2013)






for two pianos and orchestra (2013)

00:00 I.
03:12 II.
03:36 III.
06:16 IV.
07:57 V.

GrauSchumacher Piano Duo
Deutsches Symphonie-Orchester Berlin
Franck Ollu


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## SanAntone

*De l'éther à la Terre.*
Ensemble intercontemporain 
Matthias Pintscher, direction






0:00 Générique de début 
0:32 Chaya Czernowin "On the Face of the Deep", pour grand ensemble
11:40 Nina Šenk : "T.E.R.R.A II", pour ensemble
26:00 Lucas Fagin : "Goodbye Planet Earth", pour vingt-cinq musiciens
41:14 Générique de fin


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## tortkis

Robert Carl: What's Underfoot (2016) - Boston Modern Orchestra Project, Gil Rose





"The works on this program all deal with space. It can be concrete/geographical. [...] But they also deal with a more metaphorical space, that in which the sounds resonate. For the past two decades I've been exploring a personalized harmony in all my pieces, one that is modeled on the harmonic series. By creating vertical "ladders" of the twelve chromatic pitches-voiced similarly to the series, and based on different fundamentals-I've been able to create a "resonant space" in the music. In it, sounds have room to breathe, and even dense and complex textures do not feel cloudy and self-cancelling. Instead, they vibrate. While all the works on this program follow this principle, What's Underfoot is the most direct and radical. In it the underlying overtone series is gradually revealed, moving from the highest register to the lowest." - Robert Carl


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## SanAntone

tortkis said:


> Robert Carl: What's Underfoot (2016) - Boston Modern Orchestra Project, Gil Rose


That Gil Rose series is excellent. The work you posted is fascinating.


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## SanAntone

*Wynton Marsalis* | _Blues Symphony_
Philadelphia Orchestra | Cristian Mācelaru


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## FrankinUsa

Loving all the music presented here. Hugely informative. THANK YOU to all


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## SanAntone

*Missy Mazzoli*: _Dark with Excessive Bright_: Concerto for Contrabass and String Orchestra (2018)






Composer note

While composing Dark with Excessive Bright for contrabass soloist Maxime Bibeau and the Australian Chamber Orchestra, I continuously listened to music from the Baroque and Renaissance eras. I was inspired in no small part by Maxime's double bass, a massive instrument built in 1580 that was stored in an Italian monastery for hundreds of years and even patched with pages from the Good Friday liturgy. I imagined this instrument as a historian, an object that collected the music of the passing centuries in the twists of its neck and the fibers of its wood, finally emerging into the light at age 400 and singing it all into the world. While loosely based in Baroque idioms, this piece slips between string techniques from several centuries, all while twisting a pattern of repeated chords beyond recognition. "Dark with excessive bright," a phrase from Milton's Paradise Lost, is a surreal and evocative description of God, written by a blind man. I love the impossibility of this phrase, and felt it was a strangely accurate way to describe the dark but heartrending sound of the double bass itself. Dark with Excessive Bright was commissioned by the Australian Chamber Orchestra and the Aurora Orchestra in London. In 2019 I arranged the work for solo violin and string orchestra.

- Missy Mazzoli


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## justekaia

This is Huang Ruo's (born 1976) orchestral version of A Dust in Time, which also has a beautiful version for string quartet.


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## SanAntone

justekaia said:


>


Nice piece *by Huang Ruo*


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## justekaia

The Lithuanian Zibuokle Martinaityte (1973) is a female composer based in NY who enthralls us with her soundworld, which is full of emotion and depth. She is part of the impressive contingent of excellent Baltic composers.The title of the work is Saudade and is part of a superlative CD.


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## SanAntone

justekaia said:


>


Please, when you post a work it is appreciated to include the *composer's name*, the *title* of the work, *date of composition*, and possibly some contextual information about it.

Thanks.


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## SanAntone

*Thomas Wally*: _Utopia I_: Seltsame Schleifen (2021)






Selina Ott, trumpet
ORF Radio-Symphonieorchester Wien
Marin Alsop, conductor



> Description
> "When I received the order for a concert for trumpet and orchestra from Wien Modern and the RSO at the beginning of 2021, the thought of a composed utopia popped up in my head. In a telephone conversation with Bernhard Günther, the thought that the festival would of course also reflect what traces the pandemic would leave behind on the composers in autumn 2021. It seemed obvious to me, also due to the fact that my life was fortunately largely spared by the pandemic, to want to write a kind of counter-draft at a time that for many dystopian Had trains. An idea that can be found again and again when looking at my work: Music as a meaningful, thoroughly positive alternative to a reality that can also be downright bitter.
> 
> However, I am aware of the problems associated with the term utopia. For whom is a utopia a utopia? Rare for all people. The uneasiness of the term utopia is also practically continued in the second half of the title. Loosely inspired by the concept of the "strange loop" (Hofstadter), so-called strange loops can be found again and again in this work. Strange loops in the form of self-referentiality, but also in the sense of musical loops, which the listener can find again and again, quite surprisingly, similar to MC Escher at the just abandoned starting point. This can happened in different ways: In spiral-like constructions, which are inspired by the so-called Shepard's Tone, in various historical cycles (e.g. fifth case sequence) or in larger formal loops. The role of the trumpet is not just that of a leading solo part; the question of the balance between solo and orchestra is not just a purely aural one, but also a question of meaning. Who do the impulses come from? Who dominates the action? Is the solo instrument a primus (a prima) inter pares? Does the solo instrument fit into the overall system? Does it refuse to participate? When this solo instrument is interpreted by a female soloist who is the first woman in the 70-year history of the ARD competition to win first prize in the trumpet category, the choice becomes even more explosive.


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## KevinJS

Booking my seat. I probably won't be able to contribute, but I'll be interested to see what others are posting.


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## justekaia

congrats for selecting this underrated composer(Klaus Lang)who excels in orchestral music; ionisches Licht is tremendous and i highly recommend siebzehn Stufen, the thin Tree, schwarzes Licht, tönendes Licht which are all of approximately the same quality


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## Chilham

.............................


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## SanAntone

*Unsuk Chin*: _Violin Concerto No. 2_ "Scherben der Stille" (2021)






Leonidas Kavakos, violin
London Symphony Orchestra
Simon Rattle, conductor

World Première, 06 January 2022, Barbican Centre

Co-commissioned by the London Symphony Orchestra, Boston Symphony Orchestra and Leipzig Gewandhaus Orchestra, with the support of the Ernst von Siemens Music Foundation


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## justekaia

The Serbian composer Milica Djordjevic (born 1984) is slowly making her mark and delights us with her orchestral piece Quicksilver (2016).
Orchestra:Frankfurt Radio SO Conductor: Slobodeniouk


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## justekaia

Israeli composer Yair Klartag (born in 1985 ) with his fascinating piece for string orchestra from 2013, called Con Forza di Gravita

Orchestra: Radio SO Berlin Conductor: Enno Poppe
.


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## SanAntone

SanAntone said:


> I started threads for *21st Century Chamber Music* (which includes solo works) and the *Contemporary String Quartet: works written since 1970*, and now my final thread covering new music will be for orchestral works.
> 
> For the purpose of this thread the term orchestral will include works written for an *ensemble with more than 15 musicians*.
> 
> The same guidelines apply:
> 
> *1) works must have been written from 2000-present
> 2) please post no more than two works per day
> 3) post YouTube clips - embedded videos preferred*
> 
> The purpose of this thread is to offer opportunities to hear new orchestral music. So, please listen to the contributions as much as you can, and comment if you feel the urge.


I am re-posting the OP just as a reminder of the guidelines for this thread. Please note #2.

And I'll add one more:

4) Please list *composer* / *title of the work* / *date of composition* / *performers* / optionally any *contextual note*.

Thanks.


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## justekaia

The Air Suspended (2019) is a piano concerto by the American composer Christopher Cerrone (born 1985). It is carried by the virtuoso soloist who dominates the piece with his energetic play and elicits responses from the large ensemble.
Soloist: Shai Wosner
Ensemble: Ecco


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## justekaia

The Spaniard Francisco Coll (born 1985) surprises us with this violin concerto (2019) which is a bit of a cross between post-romantic and dramatic contrasts which are splendidly interpreted by the soloist.
Soloist: Kopatchinskaja
Orchestra: Orchestre Philharmonique du Luxembourg Conductor: Gustavo Gimeno


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## SanAntone

*Arvo Pärt*: _Swansong_, for orchestra (2013)






Arvo Pärt (1935): Swansong (2013) For orchestra (2.3.3.2 - 4.2.3.0 - timp, 2 perc, hp - strings) 
Estonian National Symphony Orchestra, Kristjan Järvi 
2 December

From the *Arvo Pärt Centre*:

Composed in 2013, _Swansong_ was inspired by the commission of the Mozartwoche Festival in Salzburg, where Arvo Pärt was the festival composer in 2014. It is an orchestral version of Littlemore Tractus, initially written for choir and organ in celebration of the 200th anniversary of cardinal John Henry Newman (1801-1890). Cardinal Newman was a very important person in 19th century England - a minister, theologian, poet and thinker who wished to bring Catholic liturgical traditions to the Anglican Church. In 1845, he converted to Catholicism, causing serious polemic in church circles. In 2010, Newman was declared 'Blessed' by Pope Benedict XVI.

The work is based on the final lines of one of Newman's most famous sermons, Wisdom and Innocence, held on 19 February 1843 in Littlemore. Over time, this short poetic text has become an independent prayer, used also in Anglican funeral liturgy. The prayer for "a safe lodging, and a holy rest, and peace at the last" has found a hymn-like expression in Pärt's music.

_Swansong_ was premiered in January 2014, with Mark Minkowski conducting the Vienna Philharmonic. The Estonian premiere took place in summer 2015 at the Pärnu Music Festival, performed by the festival orchestra conducted by Paavo Järvi.


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## arpeggio

^^^^
Wow :tiphat: Put on my wish list.

I hear a little Hovhanness. That is good for my ears.


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## Torkelburger

Composer: Zhou Long
Title: The Rhyme of Taigu
Date of Composition: 2015
Performer: Singapore Symphony Orchestra--Lan Shui, conductor


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## justekaia

L'Isola Della Citta (2015) is one of the major works by the Danish composer Bent Sorensen (born 1958). Plse notice there are two videos with different parts of this work on YT.Trio con Brio is accompanied by the Danish National SO.


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## justekaia

The Colour of Water (2017) is a wonderful, evocative and mysterious work that draws us into the depth of the oceans. This piece develops comfortably in monochrome sounds which slowly take different nuances like the colour of water.The Lithuanian composer, Juste Janulyte (1982) is one of the heirs of her glorious elders Gubaidulina and Saariaho. The German WDR SO does a great job.


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## justekaia

Le sette Chiese (2002) is one of the French composer Bruno Mantovani's (1974) best pieces. It is performed by the prestigious Ensemble Intercontemporain led by one of today's star conductors Susanna Mälkki.


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## SanAntone

*Augusta Read Thomas*: _Hemke Concerto_ "Prisms of Light" (2014)






Taimur Sullivan, saxophone
Northwestern University Symphony Orchestra 
Victor Yampolsky, director


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## justekaia

One of our musical treasures, the Israeli Chaya Czernowin (1957) takes the elasticity of time as her subject matter in this new type of cello concerto, called Guardian (2017). The soloist is Séverine Ballon , the orchestra SWR SO is conducted by Pablo Rus Broseta. At times the concerto features the classical dialogue between cello and orchestra, but is contrasted by moments when the woodwinds morph into cello type sounds. It is a perfect example of the composer's creative ways of reinventing old forms.


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## justekaia

The English composer John Pickard (1963) treats us to a very dark, expressive and well-orchestrated piece called Tenebrae (2008). 
The Norköping SO is led by Brabbins. The Latin word "Tenebrae"refers to darkness and the underworld and to remain in the right mood the composer starts by borrowing an excerpt of Gesualdo's music.


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## justekaia

Estonian composer Helena Tulve (1972) has built up an impressive catalog of works. Anastatica (2011) is a short, expressive piece conducted by Olari Elts who leads the Estonian National SO. Anastatica is a desert plant which allows a shaman to predict the weather according to its appearance.The piece reflects the composer interest for natural phenomena.


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## justekaia

Prince of Clouds (2012) is a haunting concerto for 2 violins and strings by the English composer Anna Clyne (1980).I have chosen the version with Natalie Lin and Giancarlo Latto on violins accompanied by the Kinetic Ensemble. It is a perfect example of music that is very accessible and very moving. Plse also check the splendid cello concerto called Dance by the same composer.


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## SanAntone

*Matthias Pintscher*: _bereshit_, for large ensemble (2011-'12)






Ensemble InterContemporain


----------



## Torkelburger

Title: Symphony No. 3
Composer: Stephen Hartke
Year of Composition: 2011
Performers: New York Philharmonic, Lorin Maazel cond.


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## justekaia

Victor Ibarra (1978),born in Mexico had excellent training at home, in France and in Switzerland with Michael Jarrell for example.
Micro-tonality, harmonic structure and rhythmic energy are essential components of his music.
In Memoriam (2016) features the Basel SO conducted by Francesc Prat.It is a personal homage to the great Spanish artist Antoni Tapies and also to the composer's mother.In Memoriam is a personal reflection about the dichotomies of life: the beginning and the end, desolation and joy, completeness and vacuum.
According to the composer it is specifically inspired by one of Tapies'works and he tried to establish a dialog between a musical object and its environment by placing it in different points of an imaginary stage in order to study its qualities and imagining that it has different dimensional planes in an attempt to overcome the one-dimensional quality of sound.
Ibarra has initially been influenced by Spectral Music but has found his own musical language a few years ago.


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## SanAntone

*Elena Firsova*: _Night in Appen_, op. 186 (2020)






Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor

World Première, 28 November 2021, Berliner Philharmonie

Photo by Rundfunk-Sinfonieorchester Berlin

Composer Information


----------



## justekaia

Air on Air (2018) is a brilliant concertante piece for bass clarinet by the Italian composer Ivan Fedele (1953). The soloist is Michele Marelli and the SWR SO is conducted by Pascal Rophé.
Marelli and Fedele have conducted painstaking research during a year to develop extended techniques for the instrument.
The fluid, light and volatile composition is focused on the concept of air in which the sounds fly in the form of breath and wind that generates music by stimulating the resonator tube.Air is an invisible force that raises music to the metaphysical level of the spiritual world.One is in awe of the great soloist who takes on the whole orchestra with his instrument and maintains the dialog until the end.


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## justekaia

Giorno velato presso il lago nero (Veiled by the black Lake) from 2012 is a remarkable violin concerto by one of the outstanding Italian contemporary composers, Salvatore Sciarrino (1947). The ever reliable Carolin Widmann is the soloist while Jonathan Nott leads the Bavarian Radio SO.


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## arpeggio

justekaia said:


> Air on Air (2018) is a brilliant concertante piece for bass clarinet by the Italian composer Ivan Fedele (1953). The soloist is Michele Marelli and the SWR SO is conducted by Pascal Rophé.
> Marelli and Fedele have conducted painstaking research during a year to develop extended techniques for the instrument.
> The fluid, light and volatile composition is focused on the concept of air in which the sounds fly in the form of breath and wind that generates music by stimulating the resonator tube.Air is an invisible force that raises music to the metaphysical level of the spiritual world.One is in awe of the great soloist who takes on the whole orchestra with his instrument and maintains the dialog until the end.


This is not a bass clarinet. It is a basset horn. The basset horn is between a clarinet and a bass clarinet, and it is in F.

Although the work appears to be for a basset horn, the soloist appears to be using an Eb alto clarinet. Normally the basset horn has a wooden neck while the alto clarinet has a metal neck. (Note: I play the alto clarinet in one of the groups I perform with)


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## justekaia

arpeggio said:


> This is not a bass clarinet. It is a basset horn. The basset horn is between a clarinet and a bass clarinet, and it is in F.
> 
> Although the work appears to be for a basset horn, the soloist appears to be using an Eb alto clarinet. Normally the basset horn has a wooden neck while the alto clarinet has a metal neck. (Note: I play the alto clarinet in one of the groups I perform with)


Very good observation Arpeggio.The instrument is a reinforced basset horn. Marelli is one of the greatest specialists of this instrument. Glad you liked the piece.


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## SanAntone

*Chaya Czernowin*: _Atara_ (2020/21)






Sofia Jernberg, soprano
Holger Falk, baritone
ORF Radio-Symphonieorchester Wien
Christian Karlsen, conductor

World Première, 09 November 2021, Wien Modern '21

Composer's note:


> At the beginning of 2020, right before Covid hit, I had a clear concept for the orchestra piece, as follows: Crude: large blocks of orchestral mass, drifting into and apart from each other moved by momentous forceful, and unpredictable energies. This piece was to be a lament to the hubris of humans thinking that we can control the forces around us and a reminder of these unknown forces which move us and our environment. Little did I know that in March 2020 our world will stop and indeed our loss of control vis a vis nature would be so staggering.
> 
> During the 2020 Covid-19 crisis, I came upon a poem written by Zohar Eitan. The poem was new and was written during the lockdown. It describes the atmosphere and feelings of the lockdown and death. Zohar is an Israeli poet/musicologist/composer, a long-term friend with whom I collaborated extensively. I read the text and instantly knew: it belongs in this piece. In Atara, the orchestra moves slowly and forcefully in huge independent blocks. As opposed to this the singers and their chamber instrumental formation are fragile, lost in the huge sudden spaces opened by the orchestra.


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## arpeggio

I attended a concert of the Marine Chamber Orchestra yesterday and they performed two works by living composers.

Roberto Sierra’s A Joyous Overture

World premiere of the Concerto for Clarinet written by American composer Jacob Bancks specifically for the Marine Band’s guest soloist and principal clarinetist of the Philadelphia Orchestra, Ricardo Morales.


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## SanAntone

*Tõnu Kõrvits* - _Vaiksed laulud / Silent Songs for bass clarinet and orchestra _(2015)






Premier at Estonian Music Days Festival 2015 at Estonia Concert Hall
Performed by Estonian National Symphony Orchestra 
Conductor - Taavi Kull
Soloist - Meelis Vind, bass clarinet


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## arpeggio

^^^^^^^^^^
Along with the bassoon I play the bass clarinet.


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## SanAntone

*James Dillon:* _The Gates _(2016)






for string quartet and orchestra (2016)

Arditti Quartet
ORF Radio-Symphonieorchester Wien
Christian Karlsen, conductor

Austrian Première, 09 November 2021, Wien Modern '21


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## SanAntone

*Julia Adolphe* | _Unearth, Release_ - I. Captive Voices






New York Philharmonic · Jaap van Zweden

Soloists of the New York Philharmonic

℗ A Decca Gold Release; ℗ 2019 New York Philharmonic, under exclusive license to UMG Recordings, Inc.

Julia Adolphe (born May 16, 1988 in New York City) is an American composer of contemporary classical music. Her works include choral, orchestral, operatic, chamber and art song pieces.

Her initial mainstream recognition was in November 2016 at the New York premiere of her viola concerto _Unearth, Release_, which was co-commissioned by the New York Philharmonic and the League of American Orchestras. Adolphe has a Bachelor of Arts from Cornell University and a Master of Music degree in music composition from USC and is pursuing her doctoral degree from the USC Thornton School of Music.


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## arpeggio

*Thomas Larcher*

A composer I discovered on the Naxos Music Library is Thomas Larcher.

Link to the first movement of his _Second Symphony_.


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## SanAntone

*Rebecca Saunders* - _Void_ (2013-14)






for two percussionists and chamber orchestra.

Performed by percussionists Christian Dierstein and Dirk Rothbrust with the WDR Symphony Orchestra, conducted by Peter Rundel.

2015.05 World Première


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## SanAntone

*Lisa Streich*: _Jubelhemd_ (2021)






Jubelhemd, Concerto Grosso for quartet and orchestra (2021)

Crista Kende Bergendahl, viola
Delphine Constantin Reznik, harp
Martin Orraryd, percussion/drum kit
Elias Svanberg, trumpet
Norrköpings Symfoniorkester
Fredrik Burstedt, conductor

World Première, 07 October 2021, De Geerhallen


----------



## SanAntone

Maximilian Marcoll: NUT | LAC (2021)






NUT | LAC, for large orchestra (2021)

hr-Sinfonieorchester
Baldur Brönnimann, conductor

World Première, 30 October 2021, Festival NOW! '21

Official Composer Website: https://www.marcoll.de/


----------



## new but obsessed

I'm currently listening to Philip Glass' Symphony No. 11 (I believe from 2018, recorded by Davies & Bruckner Orchester Linz).

Sounds a lot less antsy and NYC 70s urban than his earlier stuff through Glassworks that I'm most familiar with. It's still recognizably Glass. And full and lush and quite moving, I think. Though I've always found his stuff quite wonderful.

I'm listening to Movement II as I type this and parts of it do feel like something you'd hear in a dark "evil" scene in a teen fantasy film (like a Harry Potter or something; quite evocative).

And now Movement III begins with a percussion section that feels part jazz, part American drumline. Interesting stuff. Ultimately not as interesting as the first two movements, I think.

It's amazing how active and productive he and John Williams continue to be in their advanced years!


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## neoshredder

I made a playlist of new Concertos. https://open.spotify.com/playlist/6K88Tx6EtvtXFwWlbpMs2D?si=sPVNK2CHT1Ktp9C3zip9CA


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## justekaia

neoshredder said:


> I made a playlist of new Concertos. https://open.spotify.com/playlist/6K88Tx6EtvtXFwWlbpMs2D?si=sPVNK2CHT1Ktp9C3zip9CA


great stuff: congrats


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## tortkis

SanAntone said:


> *Tõnu Kõrvits* - _Vaiksed laulud / Silent Songs for bass clarinet and orchestra _(2015)
> 
> 
> 
> 
> 
> 
> Premier at Estonian Music Days Festival 2015 at Estonia Concert Hall
> Performed by Estonian National Symphony Orchestra
> Conductor - Taavi Kull
> Soloist - Meelis Vind, bass clarinet


This is a beautiful piece. The atmosphere is exquisite and a bit bluesy.


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## tortkis

Vykintas Baltakas: Sandwriting II (2019) for orchestra
https://nobusinessrecords-cc.bandcamp.com/track/sandwriting-ii-for-orchestra

Vykintas Baltakas (b 1972) is a Lithuanian composer. His interest is music that do not follow linear narrative. Some decisions about the direction of this work are based on a sequence of a filmed plant leaf movement. The flow of music sounds smooth and consistent to me. This is an attractive piece with colorful sounds and captivating rhythm.


----------



## SanAntone

*Cassandra Miller*: _Duet for cello and orchestra_ (2015)


----------



## hammeredklavier

Richter: Opus 2020


----------



## GMB

Bump to update the thread- a fascinating chance to listen to 21st Century music-thanks to everyone who has contributed- it disappeared too soon!


----------



## SanAntone

*Jesús Rueda* - _Symphony No.5 "Shipwrecks"_ (2019)
Spanish National Orchestra conducted by David Afkham






Rueda's Fifth Symphony began its life as a short piece commissioned by the Spanish National Orchestra. Titled "Shipwrecks", it was written in the summer of 2018, planned to be performed in 2019. Unfortunatelly, the piece was left out after the orchestra's schedule had to be redone. The composer, who already thought on the piece as a symphony, proposed the director Afkham to transform the piece into his fifth symphony. Afkham agreed and "Shipwrecks" became the first movement, writting the three rest in the summer of 2019. The symphony was finally premiered in January 17 of 2020 with great success.

The piece is divided in four movements, the last three being performed continuously. It is not programmatic, but multiple extramusical references can be extracted from the title of each movement. The own composer said about the name he gave: "I have titled it Shipwrecks, as a summary of what is happening to us. And to capture some anger. Yes, rage, anger, why not?" (Sergio Cánovas)


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## mikeh375

SanAntone said:


> *Jesús Rueda* - _Symphony No.5 "Shipwrecks"_ (2019)
> Spanish National Orchestra conducted by David Afkham
> 
> 
> 
> 
> 
> 
> Rueda's Fifth Symphony began its life as a short piece commissioned by the Spanish National Orchestra. Titled "Shipwrecks", it was written in the summer of 2018, planned to be performed in 2019. Unfortunatelly, the piece was left out after the orchestra's schedule had to be redone. The composer, who already thought on the piece as a symphony, proposed the director Afkham to transform the piece into his fifth symphony. Afkham agreed and "Shipwrecks" became the first movement, writting the three rest in the summer of 2019. The symphony was finally premiered in January 17 of 2020 with great success.
> 
> The piece is divided in four movements, the last three being performed continuously. It is not programmatic, but multiple extramusical references can be extracted from the title of each movement. The own composer said about the name he gave: "I have titled it Shipwrecks, as a summary of what is happening to us. And to capture some anger. Yes, rage, anger, why not?" (Sergio Cánovas)


Enjoying this as I type. I particularly like the tonal qualities in his harmony.


----------



## SanAntone

*JEFFREY RYAN : The Linearity of Light* (2003)






*Programme Notes*:
_Though as an orchestral work, The Linearity of Light exists in the world of sound, it finds its inspiration in the visual world -in the qualities, characteristics and properties of light. When we talk about music (and sound in general), we often use words borrowed from the visual sense. We refer to the “colour” of an instrument’s tone, or we describe a chord as “dark” or “bright”. Light, like sound, is intangible, and yet it is all around us, and can have a profound effect on our mental and emotional states.

I began by creating a list of many words and ideas associated with light, as I sat with my notebook and watched the sunlight dance on the waters of English Bay. The piece begins with an evocation of this shimmering and sparkling light, which gradually becomes transformed into a blinding beacon, in the form of a fortissimo unison, which reflects off imaginary mirrors in space and whose intensity leaves fading afterimages on the “retina” of the ear. Soon after, a short, soft dense chord from the full orchestra acts as a prism to the sound, breaking it up into a spectrum of pitches which first accompanies an extended English horn solo. This prism/spectrum idea becomes a recurring motif in the work, with various “colour filters” applied to the sound, allowing different combinations of pitches and instruments to pass through, creating first a warm, saturating kind of light, later a series of delicately shaded colours, and then (in the middle of the piece) a cold, pale light that accompanies a ghostly trumpet solo. A roar from the tam tams leads into the final section of the piece, suggestive of a blazing and penetrating light. In the closing gesture, the sound almost focuses again into a single beam, but at the last moment, the rays scatter off in all directions._


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## SanAntone

*Valgeir Sigurðsson | Dissonance* (2017)
Reykjavík Sinfonia, Liam Byrne






The expansive title track makes a direct reference to Mozart’s String Quartet No. 19, commonly called the “Dissonance” quartet (thanks to the overlapping, chromatic lines that are present during its opening). Valgeir’s intention was to stretch Mozart’s initial gambit into a much longer piece: “I took the bars and stretched the 40 seconds out to 23 minutes. The movement is the same as Mozart envisioned, only much slower.” As an experiment, this seems promising, but this particular adaptation robs Mozart’s progression of too much drama.

In the String Quartet No. 19, part of the wonderment is caused by the fact that the initial music is packed with so many clashing elements. Even as the music swoons slowly, this density quickly outstrips your ability to keep track of the overall direction, which gives the writing a dizzying power. During Valgeir’s “Dissonance,” which was multi-tracked in the studio and later modified digitally, a listener can become too well accustomed to each portion of the music, and the crucial sense of surprise is gone. (Pitchfork)


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## SanAntone

*PÉCOU | Les Liaisons magnétiques* (2014)
Ensemble Variances · Ensemble Resonanz · Jonathan Stockhammer






Pécou: Les liaisons magnétiques
℗ aeon / 2014 PRODUCTION NDR, Licenced by Studio Hamburg
Released on: 2016-03-18


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## SanAntone

*Helmut Lachenmann : Concertini *(2005)
2(2pic,2bfl).4ob.2cl(2bcl)/2hn(2C-tpt).2C-tpt(2Eb-Btpt).tbn(C-tpt).tba/2perc/hp.gtr/pf/2vn.2va.2vc.db






Stuttgart-born Lachenmann creates situations of « ‘liberated perception’...a transformation of that with which we are familiar ». His composition for ensemble, Concertini, calls for four groups of four instrumentalists arrayed around the conductor; a string group in front; and a tuba player in back. (source)


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## SanAntone

*Valerie Coleman* : _Umoja, Anthem of Unity for Orchestra _(2021)
Minnesota Orchestra:






Valerie Coleman’s Umoja, which exists in several versions for vocal and instrumental ensembles, is a stirring anthem that draws its title from the Swahili word for “unity.” The composer states: “Now more than ever, Umoja has to ring as a strong and beautiful anthem for the world we live in today.”


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## SanAntone

*John Adams - City Noir* (2009)
John Adams conducting the LSO in 2010






John Adams composed this piece for Gustavo Dudamel and the Los Angeles Philharmonic as a joint commission with the London and Toronto Symphony Orchestras. Here the composer is conducting the first performance outside the USA with the LSO at the Barbican in March 2010.


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## SanAntone

*PETER MAXWELL DAVIES | The Fall of the Leafe *(2004)
BBC Philharmonic conducted by HK Gruber






*Programme note*
_This work, for strings only, was written in July and August of 2004. It is based on a virginal piece from the Fitzwilliam collection, copied in the early years of the seventeenth century. ‘The Fall of the Leafe’ is a short, expressive work by Martin Peerson – characterised by a descriptive descending scale. Out of the thematic material of the Peerson I have fashioned, by permutation and a magic square filter, a theme of my own which appears at the outset, Peerson’s common time being replaced by a gently lilting 6/8, which nevertheless retains something of the original’s “falling” character. A slightly faster varied repeat, with my melody in the violins, has a version of the first part of the Peerson set against it, in the ‘cellos, divided into four._
_
After a short “accelerando” transition, a quick section is the first of two development sections, on both the Peerson and my material. A “retard” leads into a statement of the second part of the Peerson, in first and second violins, each divided into three. The violas, ‘cellos and basses continue the discourse of original, net material. A second, quick development follows, for violas, ‘cellos and basses only (shades of Brandenburg 6!) leading to a final section, with the last part of the Peerson in violins 1, and a new counterpoint in violins 2. All the leaves fall completely in the final bars of vigorous tremolo through all the strings. In Orkney, where I live, there are almost no trees, and autumn is something I imagine, or can sometimes enjoy bits of, on visits south.
_
_The work has a further resonance – it was written very shortly before my seventieth birthday. It is dedicated to the Skye composer and painter Marc Yeats._

—Peter Maxwell Davies


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## justekaia

Jörg Widmann is not only a German virtuoso clarinettist, he is also a major composer and conductor. This piece called Armonica (2007) is fabulous to enjoy live with the thrilling episodes of the glass harmonica which remind us that composers like Widmann have been inspired by Mozart (who loved glass harmonica), Beethoven, Schumann or Schubert. The WDR SO is led by the composer.


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## Chat Noir

Simon Moon said:


> Love me some Magnus Lindberg!
> 
> Sculpture (2005)*
> 
> 
> 
> 
> 
> 
> * the Concerto for Orchestra (2003) on the above CD is also very good.


Did you read the six brief comments under the video on YouTube?


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## SanAntone

*Helmut Lachenmann | My Melodies*
Music for 8 Horns and Orchestra (2016-2018)






World premiere: Munich, Herkulessaal der Residenz, June 7, 2018. 

Program Note
_I always have to do what I cannot do. And the story with the eight horns is simple: During the rehearsals of my opera “Das Mädchen mit den Schwefelhölzern” (The Little Match Girl), which also includes eight horns, a partial rehearsal was held with the horn players only. And that sounded so beautiful __– more beautiful than the whole opera. I then thought: This is a new device! There are no soloists in the classical sense, where each one plays a virtuoso figure or the like. 

These eight – they are one instrument. It's not about new sounds, it's about new listening. But in order to set the antennas to this energy of listening, I had to suspend the view on the melody first. That was a reason to avoid the ‘melodious’ or at least to keep it totally in check. Now everyone is waiting for a melody and, of course, I am going to disappoint them all.

My Melodies are exactly not ‘my melodies’ – they don’t exist – but Frank Sinatra sends his regards: They convey ‘my way’ of melodies in the creative handling of the sounding means._

(Helmut Lachenmann, 2018)


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## SanAntone

*Dieter Ammann: Core - Turn - Boost, Triptychon*
for orchestra (2002, 2010, 2000-'01)


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## SanAntone

*Three works from the Philharmonia's 2019/20 Composers' Academy; three sophisticated, imaginative, evocative works each conjuring a different mood*

Composers Hollie Harding, Joel Järventausta and Jocelyn Campbell, took part in the Philharmonia Orchestra’s 2019/20 Composers’ Academy and the 2019/20 Royal Philharmonic Society Composers programme. On this disc from NMC Recordings, Patrick Bailey conducts the Philharmonia Orchestra in Hollie Harding's What was scattered, Joel Järventausta's Pilgrim and Jocelyn Campbell's CLUBLAND: X-TREME EUPHORIA. (https://www.planethugill.com/2022/10/composers-academy-new-works-from-hollie.html)

*Hollie Harding*'s _What was scattered_





*Joel Järventausta*'s _Pilgrim_





*Jocelyn Campbell*'s _CLUBLAND: X-TREME EUPHORIA_


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## Highwayman

*Raphaël Cendo | Corps *
for piano and ensemble (2015)






World premiere: Strasbourg, Musica Festival, September 24, 2015.

Piano: Wilhem Latchoumia
Conductor: Jean-Philippe Wurtz
Ensemble Linea


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## SanAntone

*Donaueschinger Musiktage: Abschlusskonzert mit dem SWR Symphonieorchester*

Music starts at 16'40"






Programm:
*Lula Romero*: _Parallax für Orchester_ (UA)
*Malika Kishino*: _Wolkenatlas für großes Orchester in drei Gruppen_ (UA)
*Arnulf Herrmann*: _Ein Kinderlied (Dämonen) für Orchester_ (UA)
*Peter Ruzicka*: _Eingedunkelt für Violine, Kammerchor und Orchester_ (UA)

Mitwirkende:
*Carolin Widmann*, Violine
SWR Vokalensemble
SWR Symphonieorchester
Dirigent: *Bas Wiegers*


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## tortkis

SanAntone said:


> *Three works from the Philharmonia's 2019/20 Composers' Academy; three sophisticated, imaginative, evocative works each conjuring a different mood*
> 
> Composers Hollie Harding, Joel Järventausta and Jocelyn Campbell, took part in the Philharmonia Orchestra’s 2019/20 Composers’ Academy and the 2019/20 Royal Philharmonic Society Composers programme. On this disc from NMC Recordings, Patrick Bailey conducts the Philharmonia Orchestra in Hollie Harding's What was scattered, Joel Järventausta's Pilgrim and Jocelyn Campbell's CLUBLAND: X-TREME EUPHORIA. (https://www.planethugill.com/2022/10/composers-academy-new-works-from-hollie.html)


These are beautiful pieces with melancholic moods. I particularly liked Harding and have been listening to it on repeat.


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## SanAntone

*Bent Sørensen: Second Symphony, for orchestra* (2019)






The farewell of the enigmatically titled _Second Symphony_ (2016-19) is more poignantly personal: Sørensen’s mother died during its composition and he quotes from his fourth string quartet _Schreie und Melancholie_ and a medieval psalm in its final, fourth movement. Combining stillness, melodic tenderness and bright, flaring passion, the work’s material is generated in the first movement alongside its opening ‘scream’, which echoes suggestively throughout. (classical music, bbc)


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## SanAntone

*Julia Wolfe* : _Fountain of Youth_
Detroit Symphony Orchestra / Dalia Stasevska, conductor


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## SanAntone

*Lakota Music Project Finds Beauty in Blending Musical Traditions*
SOFÍA ROCHA

Released October 28, 2022 on innova Recordings, _Lakota Music Project_ works to bridge cultural and racial divides through collaboration. The live album is a continuation of the South Dakota Symphony Orchestra’s long-standing program of the same name, in which the symphony performs with, commissions, and features members of American Indian tribes of South Dakota and the surrounding areas. Musically, this collaboration has been quite successful, with the compositions on the album clearly blending multiple traditions in meaningful and exciting ways.

Brent Michael Davids‘_ Black Hills Olowan _begins mysteriously: short, fragmented gestures are thrown across the orchestra in rapid succession and create a strong sense of movement, which contrasts with longer, more drawn out and subdued lyrical lines in the strings.


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## SanAntone

*Galya Bisengalieva ~ Hold Your Breath: The Ice Dive *(One Little Independent)
As leader of the London Contemporary Orchestra, Galya Bisengalieva has played on numerous soundtracks already, but _Hold Your Breath: The Ice Dive_ is her first as composer. We have been fans since her second EP arrived back in June 2019, but this album – a score to a Netflix documentary – really caught our imagination. Galya focuses on a single character, the ice diver Johanna Nordblad, and uses drone and field recordings to capture her world. It’s so effective, you don’t need to see the images to understand what is happening. We expect many more scores to follow. *(Jeremy Bye)





*


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## SanAntone

*Sasha Scott – Nerve*






Though short, the piece is impressive both for how it projects a coherent internal logic and in the way Scott teases the prospect of enormous pent-up power lurking beneath the surface. That sense of power is magnified due to the way it’s kept largely at bay; indeed, not only does Nerve begin with no hint of that, but even what is happening – a faint drone with light piano noodling, coloured by wavering little string notes – all seems to be taking place in the distance, making its intricacy feel all the more intriguing. The first signs of energy appear via a low string gesture, though they, and everyone else who joins in, start to sag. More energy gets thrown into the mix and everything begins to roil and move, and despite the fact that Scott keeps all this activity quite vague, its weight feels almost intimidating. (5:4)


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