# Sharing obscure favourites 2 (READ FIRST POST)



## Art Rock (Nov 28, 2009)

The second edition, as the first one was successful (link).

This idea is a spin-off from Tchaikov6' Hall of Fame thread. I'm looking for 5-10 TC members who are interested to broaden their horizon by listening to other people's choices for obscure favourites (and sending in one of their own).

It goes as follows if you want to be a part of this:

1) You select a piece of classical music you love and that you think many here may not know. It cannot be longer than 30 minutes*, and it cannot be an excerpt from a larger work (e.g. not a movement from a symphony). It has to be on YouTube or similar sites that do not require registration and/or subscription. Obviously it cannot have been part of the first edition of this.

2) You send me a message with your choice and the link. *Do not post your choice in the thread*.

3) I'll collect all submissions and decide when to finalize this phase (max 10 submissions).

4) I will post all submissions with the links.

5) Everyone gets two weeks to listen to the submitted works and post a few lines on each in this thread (including your own submissions) in any sequence you like. No essays required, but please include whether it was new to you and overall, did you like it or not (or indifferent) - things like that. Feel free to post them one by one rather than all in one post.

There's no voting, there's no winner. This is just about sharing.

If you did not send in one of the compositions for this thread, you are still more than welcome to post your opinions on the selected works. :tiphat:

_* for those who like longer pieces, one of the next editions will cater for that, with a lower number of participants._


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## Art Rock (Nov 28, 2009)

Already three submissions.


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## Art Rock (Nov 28, 2009)

We're at six nominations now. I can take four more.


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## Art Rock (Nov 28, 2009)

One last bump... otherwise we'll run with six (which is fine).

EDIT: make that 7.


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## Malx (Jun 18, 2017)

Sorry, I won't have the time to participate on this occasion, but I will watch from the sidelines.


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## Art Rock (Nov 28, 2009)

OK, let's run with 7.

These are the submitted works with links (alphabetical by submitter):

Allegro Con Brio: Leo Ornstein - Cello Sonata No. 2 (link)
Art Rock: Peteris Vasks - Cor Anglais Concerto (links per movement: 1 2 3 4)
Kjetil Heggelund: Aaron Jay Kernis - 100 Greatest Dance Hits (link)
MusicSybarite: Joseph Jongen - Concert à cinq, for flute, harp and string trio (links: 1 2 3)
Nereffid: Jean Mouton - Nesciens mater (link)
Strange Magic: Silvestre Revueltas - Cuauhnáhuac (link)
Tchaikov6: Witold Lutoslawski - Little Suite (link)

You have until 25 February to complete your listens and reactions - I'd advice to start early though.

Enjoy!


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## Bulldog (Nov 21, 2013)

*Leo Ornstein - Cello Sonata No. 2*

This is a dark and brooding one-movement sonata of tonal properties. It's enjoyable but I found that the musical ideas did not merit the 17 minute length. Also, if I'm in the mood for brooding music (and I love that feature), there are dozens of other works I'd rather engage with.

Rating: 2/5.


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## Art Rock (Nov 28, 2009)

*Joseph Jongen - Concert à cinq, for flute, harp and string trio
*
New to me? The composer no, the work yes. I first got to know Jongen by his _Symphonie Concertante_ for organ and orchestra, my second-favourite work for this combination after Saint-Saens 3. Over the years, I collected a dozen CD's of this rather unknown Belgian composer, but none have this chamber piece on it. So, with expectations set on 'high' I started to listen. Right from the somewhat nervous start, Jongen avoids the trap of making the combination of flute and harp sound too sweet. There's a tremendous sense of excitement in this movement. The second movement starts with the string trio taking control - a surprising and highly effective idea. The flute enters and creates a suitably pastoral feeling. The atmosphere is not that far from Debussy here. The final starts with the harp taking a more prominent role in a beautiful contrast with the preceding mood. A movement that is agitated and brilliant, and never outstays its welcome. Probably the best piece of chamber music prominently featuring the flute that I ever heard. I saw that I can get the corresponding CD on order from our library. It will be here in a week or so. For now, after one listen, I rate this piece as essential. I would not be surprised if after repeated listening it could even be hors concours. A great find, and many thanks for sharing this one!

Artrockometer: "Essential" - Reserved for works that absolutely must be in my CD collection should I have to start over.


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## Bulldog (Nov 21, 2013)

*Joseph Jongen - Concert à cinq, for flute, harp and string trio*

As with Art Rock, Jongen is not a new composer for me, but this work is brand new and highly enjoyable with its mix of drama and exquisite calming passages of the 1st movement, a lovely 2nd movement adagio, and a rather upbeat finale. The instrumental combinations are also appealing. A work like this has the potential to be too syrupy, but Jongen doesn't allow that to happen.

Rating: 4/5


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## Strange Magic (Sep 14, 2015)

*Witold Lutoslawski: Little Suite*

I liked this short 4-movement orchestral suite. It represents a trend in early- and mid-20th century music for brief, tonal, vaguely ''ethnic" pieces with episodes with strong dancelike elements, as in the 2nd and concluding movements. This piece shares characteristics with my selection, Revueltas' _Cuauhnáhuac_, in that there are hints of Villa-Lobos, Copland, other composers working during the period and composing similar materials. The piece is not intended to say vast and profound things but rather to please the ear--it pleased mine--and agreeably pass the time, in contrast to other musics being then written that conveyed musical ideas far more difficult to process.


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## Strange Magic (Sep 14, 2015)

*Jean Mouton: Nesciens Mater*

Lovely choral harmony singing, and just the right length. I am not a student of religiously-inspired vocal music, but am gaining some exposure to it. I will here plug the thread I began on Shape Note/Sacred Harp choral singing in the Non-Classical forum.


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## Allegro Con Brio (Jan 3, 2020)

*Ornstein- Cello Sonata No. 2*

I chose this piece for my submission because I found it a very lush, rich work that exploits both instruments to their entire coloristic possibilities. It is cast in a single-movement sonata form with the three sections clearly identifiable. I love the full-bodied, Rachmaninoff-esque melody that dominates the work; and Ornstein's luscious, exotic harmonization. There is chromaticism, but not enough to wear on my ears as is often the case with some similar late Romantic/early 20th century stuff. One thing I look for in duo sonatas is intricate interplay between the instruments, preferably playing equal roles in the development of the music. Here, I don't get the impression that the cello is designed to take center stage. There is a true dialogue going on here that aids in keeping my attention throughout the 17 minutes. There is also a brief piano "cadenza" near the end that is pretty effective in my mind. Overall, a lovely work that would make me want to explore more from the composer, but alas, this neo-Romantic piece was an outlier in his highly experimental modernist music, which is not my cup of tea. Fun fact about Ornstein- he lived to 109 years old, and was the oldest composer to publish a piece at 99, though he kept writing up to age 102.

*Rating: 4/5*

*Mouton- Nesciens Mater*
I had never heard of Mouton, but I quickly discovered that this was to my detriment. This is incredibly beautiful Renaissance music. Though I don't feel I have the skills to properly "analyze" pre-Baroque music, I can say that this 5-minute piece is luxuriously harmonized with a ravishing cantus firmus. At first, I thought that this was going to be more of a homophonic work with most of the voices providing accompaniment. But then, Mouton adds some lovely imitative counterpoint that adds to the music's poignancy. For those who say that Renaissance music all sounds alike, I was listening to some Allegri and Byrd before this, and it's crazy how different their styles are. It's like saying Bach and Vivaldi sound alike- same idiom, drastically different voice. I have a Mouton album on Spotify saved for tomorrow's listening, having had my palate whetted by this piece. This deserves to be posted in the "most beautiful thing ever written" thread.

*Rating: 5/5*

*Jongen- Concert à cinq, for flute, harp and string trio *

This was the first time I had heard anything from Jongen. I have a big soft spot for French composers (OK, technically Belgian but close enough!). I have an even bigger soft spot for woodwind chamber works. I also love the harp. French chamber works with woodwind and harp? Heaven on earth. This work? Downright lovely, but it didn't add anything much to what I was expecting. There's the typical "French" sound- lightly chromatic, richly-textured, the feeling that the composer isn't wasting any notes or ideas. I really liked how Jongen utilized this unusual chamber grouping. Instead of going the obvious route and having the flute take all the melodies with the strings providing accompaniment and the harp adding pretty ornamentation, the material is spread around evenly with a wide color palette. I especially liked the jovial finale. So, like most French chamber music I've heard, I count this as a winner. There's not much to make it stand out a terrible lot, but it's a work I'd gladly revisit anyday. I now have to hear his Sinfonia Concertante for organ and orchestra, which sounds like a work I'd love.

*Rating: 4/5*


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## Strange Magic (Sep 14, 2015)

*Joseph Jongen: Concert à cinq*

Off to good start--I really liked this very French Debussyan/Ravelian piece. The instrumentation is light and airy, yet rich when it needs to be. The first movement had a noticeable dancelike character, and shared with Debussy and Ravel's music the sense of recurring quiet ecstasy just below the surface. A quiet meditative middle movement, then more dancelike music suggestive of Debussy's _Images_ to finish up in the final movement. Shows how much fine sound one can extract from just five instruments. I'll listen to more such--the French are so good with the harp in such settings, as the Ravel _Introduction and Allegro_ indicates.


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## MusicSybarite (Aug 17, 2017)

*Aaron Jay Kernis - 100 Greatest Dance Hits*

The composer is not new to me, but the work is. It's scored for string quartet + guitar. It begins with the players pounding the instruments to get a rhytmical effect. There is also some pizzicati through this first section or movement. The 2nd movement is faster but also more expressive. Then it comes a slow section that gets more swinging later. In the last part there is a moment where the 1st violinist plays two woodblocks, the cellist plays the bongos and the violist plays the maracas.

I thought it was a very cool piece, incorporating several rhythmical elements and percussive ideas that gave the piece an authentic sound. I liked it, it's fun.

*Rating: 3.5/5*


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## MusicSybarite (Aug 17, 2017)

*Witold Lutoslawski - Little Suite*

Neither the composer nor the work are new to me, albeit I didn't remember the latter that much. It's a quite solid piece for orchestra in 4 short movements full of personality, wit and even rustic flavour. It sounds like one of his early works, with a few of dissonances here and there, so it should sound very approachable for anyone interested. Despite its short length, there are interesting ideas that make this piece a real treat, including a remarkable orchestration. Definitely I like this, an excellent work.

*Rating: 4/5*


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## Art Rock (Nov 28, 2009)

*Peteris Vasks - Cor Anglais Concerto 
*
This piece was my introduction to Vasks about 30 years ago, and it was love at first hearing. I'm interested to see how others respond to it. It will definitely not be for everyone: I suspect it may be too traditional for people who are more into contemporary music and too nontraditional for people who don't like 20th century works in general. But I love the sound of the cor anglais and I know no piece that makes it shine as well as this one.

Artrockometer: "Hors concours" - Reserved for less than 100 masterpieces.


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## Art Rock (Nov 28, 2009)

*Witold Lutoslawski - Little Suite
*
New? No, well, OK a bit. Although he's not a particularly favourite composer of mine, I was astonished to see that over the decades I had collected a dozen Lutoslawski CD's, mainly from the Naxos series (Wit). This includes the selected Little Suite of four short pieces, although I have no recollection whatsoever of the piece. It starts of rather jolly, with the piccolo taking a rather unusual lead. The orchestra takes over quickly in a style reminiscent of Stravinsky's Sacre. The piccolo returns, as if it is telling a tale (Prokofiev's Peter and the Wolf, anyone?), and before you know it we move to the very short second part, a rather savage dance. The slow cantabile third movement features the woodwind section prominently and gradually tension builds up and resolves. The somewhat longer finale is as energetic as you'd expect. All in all, a fun piece, maybe not representative as Lutoslawski as I remember him, but vivid and a bit ballet-like. It was good to hear this one again, even though in the end the rating falls on the high side of "good to have".

Artrockometer: "Good to have" - Reserved for works that would be OK to end up in my CD collection should I have to start over - but that I can accept if they're not.


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## Art Rock (Nov 28, 2009)

*Jean Mouton - Nesciens mater
*
New? Completely. Never heard of the composer or the work. Mind you, Renaissance is not one of my favourite periods. So... what do I think less than 7 minutes later? It does sound good, with the voices blending together well, even though I long for a bit more variation in speed and intensity. And it is the right length - 20 minutes of this would have been too much for me. So, a pleasant listen, but nothing I heard makes me want to check out this composer further.

Artrockometer: "Not required" - Reserved for works that I would prefer not to have in my CD collection should I have to start over.


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## MusicSybarite (Aug 17, 2017)

*Jean Mouton - Nesciens mater*

Both the composer and the work are new to me. A short soul-soothing work for chorus a cappella I found very worth listening, of intense spirituality. I had thought that Mouton was a living composer, but he wasn't. He lived in the 15th and 16th centuries. A heavenly piece, I liked it very much.

*Rating: 3.5/5*


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## MusicSybarite (Aug 17, 2017)

*Leo Ornstein - Cello Sonata No. 2*

I had already heard this piece before. I've also heard other works by this composer and I've been positively impressed. Ornstein seems to incorporate several styles or influences such as Impressionism, a bit of exoticism and slight modernism. In one movement, this piece conveys a feeling of melancholy, like longing something. I enjoy the expressiveness that both instruments are able to achieve, above all the cello. The exotic element is something that catches my attention whatever the piece, and in this case I find that feature alluring. Very good work, right up my alley.

*Rating: 4/5*


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## MusicSybarite (Aug 17, 2017)

*Silvestre Revueltas - Cuauhnáhuac*

The work is new to me. Revueltas was an interesting composer, portraying the folklore and stories of his native Mexico through both modern and folk music. From the very beginning, one's attention is caught by those ominous passages. The work has a rather autochthonous feel to it mixed with some fiery outbursts. No doubts Revueltas was an accomplished orchestrator, mostly when percussion is regarded. Stravinsky appears like an influence. I liked it but I don't consider it one of his best pieces.

*Rating: 3.5/5*


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## Allegro Con Brio (Jan 3, 2020)

*Vasks- Cor Anglais Concerto*

The only complete work I had heard by Vasks was his ravishing short choral piece _Pater Noster_. This work sounds like a fantastic idea. I love the dark, rich colors that the cor anglais is capable of producing, and few other instruments are so attractive for a concerto IMO. Therefore, it was with excitement that I dove in. I really like the way it starts...reminiscent of a winter wind whipping across a valley. Once the cor anglais entered, however, disappointment set in. Throughout the entire concerto, there is a strong influence of the English pastoralism of Vaughan Williams. This is a style that is not up my alley. But I stuck with it to see if things improved. The music does pick up a bit in the second movement, which has some nice folksy dance rhythms, a more involved solo part, and a nice cadenza towards the end. The rest of the work just did not stand out to me at all, especially the finale which I thought did a very inadequate job at wrapping it up. I did not detect many hints of a unique compositional voice here- it was neither too traditional nor too contemporary for my tastes, just mundane and pastiche-y. I also thought the expanded percussion section was unnecessary for such a small-scale work. I _really_ wanted to like this, but in the end, I had the same impression that I did before hearing it- it sure is a fantastic idea.

_Rating: 2/5_

*Lutosławski- Little Suite*

This was my first exposure to Lutosławski, but this, I'm guessing, is definitely not exemplary of his style. Nonetheless, I really enjoyed this tiny collection of orchestral character pieces. One thing you can't say about it is that the title is inappropriate! The composing is remarkably compact and effective considering none of the four pieces exceeds 4 minutes. The first movement reminds me strongly of Shostakovich, alternating a sardonic piccolo theme with a persistent stomping rhythm. The second movement "polka" is a spirited dance, the third is a sparse lament, and the fourth features a lovely lyrical melody. Ultimately, this can be a seen as miniature suite of trifles. But they really _are_ very well-written and enjoyable! For what it is, it does the job nicely.

_Rating: 4/5_


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## MusicSybarite (Aug 17, 2017)

*Peteris Vasks - English Horn Concerto*

The work is new to me. Vasks is one of my favorite living composers. His music speaks straight my soul. Nostalgic, soulful, pensive, are adjectives that come to my mind upon listening to this work, and overall, when I listen to most of his other works. There are some few agitated moments, but the nature of the piece is eminently serene. However, the 2nd movement _Folk Music_ (as its title suggests) contains the most joyful music, giving a convenient contrast to the whole piece. An intense passage is heard in _Elegy II_, perhaps the most dramatic moment in the work. _Postlude_ possesses interesting effects from the percussion, brass and woodwinds. A sublime movement. All in all, this is a magical score. Vasks hardly ever disappoints me, and this concerto wasn't an exception.

*Rating: 4.5/5*


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## calvinpv (Apr 20, 2015)

*Lutoslawski - Little Suite*

The first movement had some moments that sounded like the stomping chords at the beginning of the Stravinsky's _Rite_. There is also a brief flute solo that reminds me of a flute or clarinet solo (I can't remember the instrument) a little bit later in the _Rite_. The second movement sounded like the perfect backdrop to some old Western movie, where the robbers held up a train, looted it, and are now running from the law. The third movement ... uh, yeah. I know it exists. That's about all. In the fourth movement, the first theme sounds like Copeland, the way it was presented sounds like Szymanowski, and that second theme sounds like some Scandinavian or Russian composer that I can't quite put my finger on. All in all, this isn't my type of music; I need my music to have a bit more substance. And even if I did enjoy this stuff, I thought the melodies and rhythms in the present work were lackluster and banal. Thank god Lutoslawksi changed his style soon after composing _Little Suite_.

3/10


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## MusicSybarite (Aug 17, 2017)

It's really curious how impressions change with each of us. This phrase is definitely true: someone's treasure is another's crap. :lol:


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## Tchaikov6 (Mar 30, 2016)

*Lutoslawski - Little Suite*

Cute li'l piece, huh? 

I absolutely love it, it's one of my favorite Lutoslawski pieces. Concise, good melodies, easy to listen to. Is it the "popcorn fodder" "Strauss Waltz" of Lutoslawski's music? Yes. It's accessible, sometimes trite, but all around an absolutely joy that I'm glad I discovered through my orchestra. I think it's remarkable what Lutoslawski does with a melody however, the piccolo motif in movement one is just one example of everything he can do with one measure or two. 
A gleaming gem, never would want to be without this piece.

8/10


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## Strange Magic (Sep 14, 2015)

*Aaron Jay Kernis: 100 Greatest Dance Hits*

All I can say about this piece is that it is lighthearted fun. A hodge-podge of episodes utilizing all of the instrument at times as percussion, and the guitar sounding--as guitars do in these settings--vaguely Spanish up until the last movement. The ensemble clearly enjoyed themselves performing it.


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## Bulldog (Nov 21, 2013)

*Aaron Jay Kernis: 100 Greatest Dance Hits*

I have heard of Kernis but never knowingly heard a note of his music. This is a cool piece with plenty of variety for its 15 minute length - latino rhythms, minimalism in the 4th movement, slow and pensive conversations, and even a little vocalism toward the end of the work. However, it's not the type of music that draws me in, so I doubt I'll be seeking it out in the future.

Rating: 3/5


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## Art Rock (Nov 28, 2009)

I've received a belated entry - is everybody OK with adding one more piece this round?


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## Nereffid (Feb 6, 2013)

Art Rock said:


> I've received a belated entry - is everybody OK with adding one more piece this round?


Bring 'em on! (says the person who hasn't posted a single comment yet... :lol


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## Art Rock (Nov 28, 2009)

*Leo Ornstein - Cello Sonata No. 2*

New? Completely, I had heard of the composer, but never got to listen to any of his works. Here we go. A late romantic piece from the 1920s, early in Ornstein's career. I'm a sucker for beautiful cello sounds, and there's plenty to enjoy here in that respect. I'm less convinced about the piano part though, at times (certainly the first minutes) it feels like the two performers are just doing their own thing, rather than really playing together to create something special. There's some variation in tempo and mood throughout the work, but not enough to keep my attention focused for 15 minutes - especially since some of the variations result in less interesting lines (thinking in particular about the part around 10 minutes). It was interesting to hear this piece, but it did not make me want to hear it again, or explore this composer further.

Artrockometer: "Not required" - Reserved for works that I would prefer not to have in my CD collection should I have to start over.


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## Art Rock (Nov 28, 2009)

Art Rock said:


> I've received a belated entry - is everybody OK with adding one more piece this round?


Actually, let's keep it simple. I'll add it, and anyone who disagrees is not obliged to listen. 

These are the submitted works with links (alphabetical by submitter):

Allegro Con Brio: Leo Ornstein - Cello Sonata No. 2 (link)
Art Rock: Peteris Vasks - Cor Anglais Concerto (links per movement: 1 2 3 4)
Kjetil Heggelund: Aaron Jay Kernis - 100 Greatest Dance Hits (link)
MusicSybarite: Joseph Jongen - Concert à cinq, for flute, harp and string trio (links: 1 2 3)
Nereffid: Jean Mouton - Nesciens mater (link)
Simon Moon: Narong Prangcharoen - Illuminations (link)
Strange Magic: Silvestre Revueltas - Cuauhnáhuac (link)
Tchaikov6: Witold Lutoslawski - Little Suite (link)

You have until 25 February to complete your listens and reactions - I'd advice to start early though.

Enjoy!


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## Art Rock (Nov 28, 2009)

Even with the addition of Simon Moon's piece (which brings the required number of listens/posts from 49 to 64), we're at 33% completion after two days. Nice work!


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## Nereffid (Feb 6, 2013)

Starting with the pieces I already know:

*Peteris Vasks - Cor Anglais Concerto*
Vasks doesn't quite rank as a _favourite_ composer, but I really like some of his works (the String quartet no.4 stands out), and enjoy his style generally. With the Cor anglais concerto, the obvious comparison for me, at least to begin with, is Sibelius's _Swan of Tuonela_. And while there were other bits that reminded me of Vaughan Williams-ish pastoralism, and a climax in the third movement not unlike something out of Shostakovich, these are all positives in my book. (If I'm enjoying something, then playing "spot the bit that reminds me of someone else's bit" is a fun bonus!). I agree with Art Rock's suggestion that this concerto may be too modern for some, and too old-fashioned for others, but for me Vasks gets the balance just right.

*Aaron Jay Kernis - 100 Greatest Dance Hits*
I've heard somewhat less of Kernis's music, and he's not as high on my personal list as Vasks, but again I get along well with his style. This is a fun, light piece which presumably on at least one occasion in its life has been programmed with Boccherini's _Fandango_ quintet and not suffered by comparison. The recording I listened to was by David Tanenbaum and the Kashii String Quartet, on an album on Black Box; the next track on the album is his 1981 violin/piano work _Meditation (in memoriam for John Lennon)_, which is a gorgeous minimalist exploration of _Imagine_.

*Jean Mouton - Nesciens mater*
My own selection is (unless I've egregiously forgotten something) my favourite piece of Renaissance music. There's something about the layering of the lines that is _just right_. But I will say that it's Gardiner and the Monteverdi Choir's performance that sells it for me. The delicacy of the voices compared with other performances, and the stretching out (the recording is 3 minutes longer than another I have!) - it's like travelling beneath an endless vista of cumulus clouds in a deep blue sky...


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## Kjetil Heggelund (Jan 4, 2016)

*Silvestre Revueltas - Cuauhnáhuac *

I might not have heard Revueltas before, but always knew his name. I guessed he was Mexican, but had to google...I really like this, but right now I'm a bit tired and not really in the mood. I had to check out if he wrote something for guitar and have probably done so before. Answer is no, unfortunately. I'll save some money. It is kind of ritualistic in a way that appeals to the metal-head in me  Ah, wikipedia has a nice article on the piece!


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## Kjetil Heggelund (Jan 4, 2016)

*Jean Mouton - Nesciens mater*

Ah! Angel song! I have periods that I only listen to renaissance vocal music. Haven't heard Mouton before. I'm not so good at telling the difference between the styles of the renaissance, they all sound good in my ears. Very contemplative and relaxing. I guess it's a psalm and I like psalms! I also guess that it's written 1520...ok it's a motet (of course) and he died 1522.


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## Kjetil Heggelund (Jan 4, 2016)

*Joseph Jongen - Concert à cinq*

This sounds French! Haven't heard of the composer before. A little googling...I'm glad he lived when he did and composed in a pretty modern fashion for his time. There are many recordings on spotify. I'm listening to Ensemble Apræ and unfortunately think they sound a bit muddy and not fantastically intonated...Even though I never heard it before, I think they play too fast in the 2nd mvt. Haha. Sorry! I like the piece  It's written in 1923, if you wondered.


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## Allegro Con Brio (Jan 3, 2020)

*Revueltas- Cuauhnáhuac *

Now we come to a composer I have never heard of. Generally, I like Spanish classical music quite a bit, and this is a very Spanish-sounding piece! It's actually the first thing I've ever heard from a Mexican composer. It starts out with a quick build-up to a belligerent climax, which serves as a great introductory hook. Revueltas then goes on to essentially create a collage of different musical moods within the Spanish idiom, from folk dances to lyrical reverie and everything in between. I detect some influences of other Spanish composers (Falla, Rodrigo, etc.) but there are also some Stravinsky and Ravel-esque passages that betray inspiration from the global music scene. The orchestration is very complex and colorful, convincingly portraying an impressionistic atmosphere. Overall I enjoyed listening to it, but don't think it's necessarily put together very well- it sounded like a series of disjointed episodes rather than an integrated symphonic poem (which is what I expected it to be). Nonetheless it was a lot of fun to hear. I was unaware until after hearing it that there is a  good Wikipedia article  about it. I believe the performance linked is the shorter, 11-minute version rather than the original 15-minute one.

_Rating: 4/5_

*Kernis- 100 Greatest Dance Hits *

Well, this was interesting! I was very intrigued by the title, which made it sound like he was going to try and summarize the 100 most popular dance songs of the century into one work. Well, that definitely wasn't the case. In fact, I don't understand the logic behind the title. Instead, this comes off as a perfect crossover between classical and popular music, effortlessly shifting between different styles of popular dance music like salsa, flamenco, disco, and others. Strange to say, but the concept reminds me of the second movement of Mahler 9 in that it's a very overhauled compilation of dances. The use of a "guitar quintet" (string quartet + guitar) is very interesting and quite effective. That being said, there are several extended techniques (such as tapping the instruments to create beats), and towards the end the performers use other percussion instruments. The dominance and use of rhythm throughout is indeed very creative. I suppose it's an event like _Black Angels_ that is meant to be experienced live as the performers are asked to do all sorts of crazy things. The ending is absolutely hilarious (I won't spoil it for those who haven't heard it). Would I listen to it again? Meh. This seems like the kind of thing written solely to show off an entertaining idea and to try and make classical music accessible to the masses. It is not the kind of "serious" music that appeals to me.

_Rating: 2/5_


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## MusicSybarite (Aug 17, 2017)

*Joseph Jongen - Concert à cinq, for flute, harp and string trio*

My chosen work. I fell in love with it instantly when I heard it a few years ago. It's unquestionably LOVELY!! The melodies, the perfect blend amongst the five instruments, the delicacy conveyed, even the exotic suggestions that appear in some passages, all is gorgeous for me. I'm a sucker for this specific combination of instruments. I call it 'the French Quintet' par excellence, like a counterpart to the German template (piano + string quartet). The performance I posted is quite frankly the one that does do justice to the piece. All in all, sheer magic, one of my favorite chamber works ever.

*Rating: 5/5*


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## Bulldog (Nov 21, 2013)

*Revueltas- Cuauhnáhuac *

There are quite a few bellicose passages that I found very unappealing. However, the more serene music is enjoyable and reminds me of Copland's Appalachian Spring. On balance, I doubt I will returning to this work unless it's included in a game that I or Art Rock might run.

Rating: 2/5


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## Tchaikov6 (Mar 30, 2016)

*Aaron Jay Kernis: 100 Greatest Dance Hits*

Was looking forward to this one but ended up kind of being disappointed. The percussive elements were interested but got me bored quickly. While there was plenty of variety in the sixteen minutes that also somehow ended up both dragging and rushing at the same time. A fine piece, however, and I can understand the love.

5/10


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## Strange Magic (Sep 14, 2015)

*Peteris Vasks: Concerto for Cor Anglais*

I found this piece to be a mixed bag. The opening Elegy was an effective use of the cor anglais and recalled something of _The Swan of Tuonela_ perhaps on an English lake rather than the darker waters of Finland. The second movement, Folk Music, also English-sounding, was less successful as a setting for the instrument, as its character there was a bit too subdued to reinforce the dancelike quality of the orchestration and rhythm, and the cadenza had little to connect or relate it to the preceding passages. The third movement, Elegy II, began quietly but became a bit more dramatic in nature. However I again began to wonder if another instrument with a more dominant voice would have been a better choice. The last movement, Postlude, was where the cor anglais came into its own, fitting in well with the quasi-oriental nature of the music, finishing with mysterious, ophidian murmurings of the cor anglais against a spare and equally murmuring background. My greatest enjoyment of the cor anglais has always been where it is used to suggest an element of a mysterious orientalism, or otherness, real or contrived; anyone who has heard a _been_, the classic Indian "snake charmer" instrument, or the Scottish pipes, will be aware of the potential power of the cor anglais, given the proper vehicle within which to sound.


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## Art Rock (Nov 28, 2009)

*Aaron Jay Kernis - 100 Greatest Dance Hits
*
New? Not the composer (I have a few CD's), but the piece, yes. I listened while watching the players, and after it was finished, I listened again without watching. The title is intriguing, but eventually a misnomer. What we have here is a postmodern guitar quintet unlike any other I've heard. There are avant-garde parts (in particular the first movement where the instruments are mainly used as percussion), but also nostalgic melodic passages (I quite liked the third movement), and an energetic finale, with a final two minutes that put a smile on my face. It's obvious that the players enjoyed themselves, that's why I replayed it with sound only to judge how it works without visuals. It turned out to work the same for me. The Kronos Quartet CD's of the eighties and nineties were my gateway to contemporary chamber music as the time, and I think this piece would have fit in perfectly with their repertoire. I loved listening to it, and I will undoubtedly come back to it occasionally.

Artrockometer: "Important" - Reserved for works that I would really like to have in my CD collection should I have to start over.


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## Art Rock (Nov 28, 2009)

*Silvestre Revueltas - Cuauhnáhuac
*
New? Not the composer (I have a few CD's), but the piece, yes. It is a colourful piece as I would expect from this Mexican composer, and an intriguing mix of more rhythmic and more melodic passages. A bit like a tone poem but without specific program (other than that it is named after a Mexican city with a long history). Even though it lasts only 10 minutes with a rather sudden end, I come away with a sense of over-fragmentation of the ideas, although that might well be what the composer was going for. In the end, an interesting curiosity that I did not mind hearing, but not a work I have any desire to go back to.

Artrockometer: "Not required" - Reserved for works that I would prefer not to have in my CD collection should I have to start over.


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## Art Rock (Nov 28, 2009)

That brings us at 53% completion including the Simon Moon submission (69% without it). Three of us have completed all 7 originally submitted works.

I will wait for Simon Moon to show up in the thread before I listen to his work.


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## Kjetil Heggelund (Jan 4, 2016)

*Leo Ornstein - Cello Sonata No. 2*

Yes, I like this! Dark and mysterious  Suddenly I came to think that it reminds me of Rachmaninov. I love cello music! I found his wikipedia article and was a bit surprised to read that he was an "experimental composer". To me it sounds late romantic or expressionist. Nice to hear it


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## Kjetil Heggelund (Jan 4, 2016)

*Witold Lutoslawski - Little Suite*

So I listened to this with my window open and there is a chainsaw duet at my neighbors...I have heard my cd's of Lutoslawski many times and like the later style maybe a bit better. I have also practiced some folksong arrangements on my guitar that he originally wrote for piano where the style is a bit like Bartok. Since this is for orchestra it sounds very different from the short pieces I know, but maybe they aren't since this is a whole orchestra. I've noticed a great variety in other composers in different sounding works from the same time in orchestral, instrumental and vocal music. (Is that understandable?) Anyway it reminded me that I never finished my work on "Melodie ludowe" from 1945, and played them live. AH! Just read that the folksongs I'm talking about were the first in a series of folkloristic pieces that culminated with Concerto for Orchestra in 1954. YeY for Lutoslawski <3


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## Tchaikov6 (Mar 30, 2016)

*Peteris Vasks: Concerto for Cor Anglais*

I didn't like the Elegies, but I liked the second and fourth movements. The Elegies felt draggy and pointless, but I liked the color of the cor anglais used with Folk Music and Postlude. I have heard literally zero Vasks compositions, so I'm glad this was picked regardless! A decent nomination, simply won't be a favorite.

4.5/10


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## Strange Magic (Sep 14, 2015)

*Leo Ornstein: Cello Sonata No. 2*

This piece was tailor-made to please me. What we have for much of the sonata is a flowing continuous rhapsodic utterance by the cello against a piano arpeggio background that serves as essentially a drone. The cello's message is 20th century "ethnic", colored by a tincture of Orientalism reminiscent of, say, Bloch's Schelomo. Every now and then the piano abandons its arpeggio drone role and breaks into its own exotic quasi-Orientalism redolent of Hovhaness, De Falla, Khachaturian, and even Rachmaninoff, all favorite composers of mine. I have a weakness for such music, and Ornstein's Sonata pushed many of my buttons.


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## Strange Magic (Sep 14, 2015)

*Narong Prangcharoen: Illuminations*

I took the title literally and heard/saw this piece as film music, illuminating various scenes--usually figures making their way through a dramatic landscape in half-light. Several times, though, we experience battles, combat: vast armies clashing, or fleets of warships. In this sense, it mirrors Thea Musgraves' _Turbulent Landscapes_ of the previous thread. The music was crisp, sometimes mysterious, dramatic as required.

As is my custom, I refrain from reading anyone's notes prior to listening to any particular piece.


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## SuperTonic (Jun 3, 2010)

*Ornstein - Cello Sonata No. 2*

Ornstein is not a new composer for me, I've heard his Piano Quintet, which I like, and several solo piano pieces, which didn't leave much of an impression. This was my first time hearing this work however. I've always thought of Ornstein as an unabashed modernist, so I was surprised at the romantic and rhapsodic nature of this work. But I could still hear his unique voice through the lush harmonies. I really loved how it ended on a slightly dissonant chord in the piano. I enjoyed it. I really need to explore this composer further.


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## SuperTonic (Jun 3, 2010)

*Prangcharoen - Illuminations*

This is an entirely new work and composer for me. In fact, I honestly can't say I've ever heard any music from a Thai composer before. I would have LOVED this when 30 or so years ago when I was getting into classical music. This is the kind of in your face, extremely dissonant music with lots of percussion that I was obsessed with back then. My tastes have changed quite a bit since then, but I do still get a thrill from hearing this kind of music. I kept wishing that there was a better recording available, but I know with repertoire like this you have to take what you can get. Thank you Simon Moon for introducing me to this composer. I will be checking out more of his music in the future.


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## Kjetil Heggelund (Jan 4, 2016)

*Peteris Vasks - Cor Anglais Concerto*

It's pretty. I sometimes like pretty, other times not. I don't remember which piece by Vasks made me buy a cd, but I think it must have been a bit more modern sounding. He has also written an exciting piece for classical guitar. I had to listen to it in-between movements of the concerto. The guitar piece gives me a more modern feel, but it's written in 1990, a year after the cor anglais concerto. There is that thing again, pieces that are written close in time, but sounding so different. I definitely like the guitar piece better. There is a darker and more somber feeling to the sonata of loneliness. The concerto is more uplifting, even with the elegies. Maybe too tonal? It occurred to me just now, that I put on contemporary music when I want some challenge and surprising adventure. 
...so here is written my wandering thoughts while making sense to my first reaction...


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## Nereffid (Feb 6, 2013)

*Witold Lutoslawski - Little Suite*

I've heard quite a bit of Lutoslawski but never these pieces, or some of his other earlier works from before he developed his own particular style. This is likeable stuff, somewhere in between Kodály's _Háry János_ and Prokofiev's somewhat spikier suites. A nice addition to the repertoire of "music that sits in the back of my mind as something fun to listen to every now and then".

*Silvestre Revueltas - Cuauhnáhuac*
I really only know Revuelatas from another short orchestral piece, _Sensemaya_. There's a bit more going on here, and on first listen I wasn't quite sure if it all hung together. The useful Wikipedia article tells me "the overriding aesthetic is one of continual change", which is fair enough. The article also quotes Revueltas's "tongue-in-cheek" comment that "This is a music without tourism", but I'm inclined to say that tourism is exactly what the piece is, it's like an open-top bus ride through an unfamiliar culture with no commentary - a constant succession of fascinating sounds. It's an entertaining ride but not especially memorable.


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## Strange Magic (Sep 14, 2015)

*Silvestre Revueltas: Cuauhnáhuac*

From Wikipedia:

"España. Emmanuel Chabrier: España; Silvestre Revueltas: Cuauhnáhuac, Sensemayá; Mosolov; Iron Foundry. Philharmonic Symphony Orchestra of London, Argeo Quadri, cond. Westminster Laboratory Series. LP recording, 1 sound disc: analog, 33⅓ rpm, monaural; 12 in. Westminster W-LAB 7004. [USA]: Westminster, 1950s."

One of my earliest LPs, and useful for testing one's HiFi rig at the time--the Westminster Laboratory series for classical works, and the Audio Fidelity disks for flamenco, plaza de toros, German oom-pah band music, and other non-classical sonic wonders.

This was where I first heard Revueltas, along with the Chabrier and Mosolov--quite the recording with which to annoy the neighbors and amaze one's friends.

Cuauhnáhuac is a roughly mid-century example, along with music of Villa-Lobos, De Falla, Copland, Respighi, Bloch, Khachaturian et al, to continue and expand upon the "ethnic" exoticism pioneered by Glinka and then expanded by the Five and their successors, perhaps as a direct alternative to other musics being put forward at the time. It appears from these Art Rock series that the trend remains alive and well.

I take the piece to be an Aztec(?) narrative, perhaps one that triggered Neil Young's fantasy view of Aztec Mexico in _Cortez the Killer_.. We begin with about 5 minutes of highly energetic, episodic, and loudspeaker-testing "action" music very suggestive of Copland, then we switch to several minutes of lush strings singing of the pastoral indigenous people and countryside. The piece ends with Revueltas' own Mexican version of Stravinsky's _Petrouchka_ fairground music, perhaps depicting then-contemporary Mexico. I always like this piece, and the YouTube is well-recorded.


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## Tchaikov6 (Mar 30, 2016)

*Silvestre Revueltas - Cuauhnáhuac*

This is no Sensemaya, but it's a good piece and I think I can consider Revueltas a pretty great composer by this listening. I just like the modern, exotic colors he always brings to the table, it's fiery and magnificent. I like that he doesn't keep the piece too long, I could see this becoming an hour long tone poem in the hands of Strauss... actually that's a pretty bizarre comparison, Strauss and Revueltas are nothing alike.

6.5/10


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## Art Rock (Nov 28, 2009)

Still to be done (if my spreadsheet is correct):

Allegro con Brio: 0 or 1 (Prangcharoen)
Art Rock: 0 or 1 (Prangcharoen)
Kjetil Heggelund: 1 (Kernis) or 2 (+Prangcharoen)
MusicSybarite: 0 or 1 (Prangcharoen)
Nereffid: 2 (Jongen, Ornstein) or 3 (+Prangcharoen)
Strange Magic: 1 (Jongen)
Tchaikov6: 2 (Jongen, Mouton)
Simon Moon: all 8


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## Strange Magic (Sep 14, 2015)

Art Rock said:


> Still to be done (if my spreadsheet is correct):
> 
> Allegro con Brio: 0 or 1 (Prangcharoen)
> Art Rock: 0 or 1 (Prangcharoen)
> ...


I finished all my homework! See Post #13.:angel:


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## Art Rock (Nov 28, 2009)

Well, I did say "if my spreadsheet is correct" .. 

Good job!


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## Nereffid (Feb 6, 2013)

*Leo Ornstein - Cello Sonata No. 2*

I've heard some of Ornstein's chamber music - the Pacifica Quartet's recording of the piano quintet and 2nd string quartet composed less than a decade after this sonata - which like a lot of late Romantic chamber music I found enjoyable but isn't a high listening priority for me. This cello sonata is a nicely rhapsodic work, more immediately ingratiating than the other pieces. It's really lovely in places, and I especially like the Jewish tinges to it. I'm filing Ornstein under "need to hear more his music to decide what I think about him".


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## Nereffid (Feb 6, 2013)

*Joseph Jongen - Concert à cinq, for flute, harp and string trio*

One thing this project is revealing to me is that, although I have fairly wide-ranging interests in music, my enthusiasm for some sections of the repertoire has come at the expense of leaving others unfairly under-nourished. I really should listen to more chamber music in general, and early 20th-century chamber music in particular. Jongen's unfamiliar to me, apart from a few piano pieces I remember liking when I heard them about 10 years ago. This is a very effective combination of instruments, especially in the outer movements. I'll certainly be coming back to this again, and listening to more Jongen too.

*In summary:*
1st tier: Mouton, Vasks
2nd tier: Jongen, Lutoslawski
3rd tier: Ornstein, Revueltas, Kernis


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## Strange Magic (Sep 14, 2015)

Again, I get the opportunity to ride Nereffid's coattails and issue my somewhat different rankings: 

No 1st tier
2nd tier: Revueltas, Ornstein, Jongen
3rd tier: Mouton, Vasks, Lutoslawski, Prangcharoen, Kernis, 
No 4th tier:


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## Allegro Con Brio (Jan 3, 2020)

I rank them more traditionally:

1. Mouton
2. Jongen
3. Ornstein
4. Revueltas
5. Lutoslawski
6. Vasks
7. Kernis

Honestly, I didn't full-out dislike any work in this one. I liked at least some aspect of each one, and all but two received 4/5 ratings from me- much different than the previous round. I've done deeper exploration into Mouton and Jongen since, and they are quickly becoming favorites. Wonderful stuff! Even though only one work was not from the 20th century, there was a good variety in genres (chamber, choral, concerto, orchestral) with each being very unique. Nothing like expanding one's horizons while discovering gems of all sorts!


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## MusicSybarite (Aug 17, 2017)

1. Jongen. It's here not necessarily because it was my choice (it would be a bit selfish from me if it were the real reason), but for real taste. If anyone else had recommended this, I would have loved it, even more because I would have heard it with fresher ears.

2. Vasks. I love the nostalgic feel of this music. It couldn't be a masterpiece, but it certainly moves me, and that's quite fine for me. I also love the other concertos and symphonies (mostly) by this composer.

3. Ornstein and Lutoslawski. Both pieces are so different each other. The former is meditative and the latter spicier. Very entertaining pieces by their own rights.

5. Revueltas. It's an interesting piece because of the use of the orchestra. I feel Revueltas was a remarkable orchestrator and I felt that feature very well represented here.

6. Mouton. I have to admit that this piece was too short to give it a higher score. For what it is, I found it heavenly, a most pleasing listen.

7. Kernis. It is on the bottom because of the modernity of the piece, but it's not a bad one at all. It's fun but not with much substance overall or profoundity, but I did like it.


Or like this:

1st tier: Jongen and Vasks
2nd tier: Ornstein and Lutoslawski
3rd tier: Revueltas, Mouton and Kernis


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## Art Rock (Nov 28, 2009)

Simon Moon is around on the site, but has not replied to my email and has not shown up here.

I think by now it's safe to assume that he won't make an appearance. Let's wrap this one up and start episode 3 in a few days.


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## Art Rock (Nov 28, 2009)

I think we're missing (but I did have an error in my spreadsheet before):
Tchaikov6: Jongen, Mouton
Kjetil Heggelund: Kernis (own submission)

The next one will be for compositions between 30 and 80 minutes, probably a once-off, for maximum 6 participants. I'll start the thread once the remaining posts are done. After that I hope there's enough interest for a fourth one, back to the current format.


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## Tchaikov6 (Mar 30, 2016)

Art Rock said:


> I think we're missing (but I did have an error in my spreadsheet before):
> Tchaikov6: Jongen, Mouton
> Kjetil Heggelund: Kernis (own submission)
> 
> The next one will be for compositions between 30 and 80 minutes, probably a once-off, for maximum 6 participants. I'll start the thread once the remaining posts are done. After that I hope there's enough interest for a fourth one, back to the current format.


Was the deadline changed to earlier or did everyone just finish early?


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## Art Rock (Nov 28, 2009)

Tchaikov6 said:


> Was the deadline changed to earlier or did everyone just finish early?


The latter. 

Don't worry, you still have until coming Tuesday.


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## Tchaikov6 (Mar 30, 2016)

*Joseph Jongen - Concert à cinq, for flute, harp and string trio*

I liked it to some extent. I'm not a huge fan of the flute as a solo instrument, and it played such a prominent role here that it became a bit of a pain by the end. But other than the flute, I also really don't love the harp, so the instrumentation really wore on me. However, the actual musical content was quite nice and I will be checking out other works by this composer!

5.5/10


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## Open Book (Aug 14, 2018)

Art Rock said:


> The next one will be for compositions between 30 and 80 minutes, probably a once-off, for maximum 6 participants. I'll start the thread once the remaining posts are done. After that I hope there's enough interest for a fourth one, back to the current format.


Will you please post here to announce when you have started the next one? It's more trouble to watch for a future thread than to check an existing thread. I don't want to miss anything.


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## Kjetil Heggelund (Jan 4, 2016)

*Aaron Jay Kernis - 100 Greatest Dance Hits*

I chose this one to promote music with classical guitar (again). My teacher at SFCM, David Tanenbaum, has said it's his favorite piece for the instrumentation. He also said that it's fun to play for the whole ensemble. I think it's cool and fun, with a fantastic ending. Maybe an American version of polystylism here. The live version was found on the composers homepage, so that's a sort of guarantee that it's properly played. I have the score, but have a hard time finding an ensemble willing to play it. I picture a rock venue and the whole ensemble amplified and wild cheering during the performance! Should be a hit


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## Art Rock (Nov 28, 2009)

Open Book said:


> Will you please post here to announce when you have started the next one? It's more trouble to watch for a future thread than to check an existing thread. I don't want to miss anything.


Will do. After Tchaikov6 posts his final contribution (still within the time limit) or once the deadline has passed (Tuesday).


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## Tchaikov6 (Mar 30, 2016)

*Mouton*

I have genuine respect for this type of music, and it was under ten minutes which was cool. So this turned out to be a positive experience, one of my favorites from the era as it is short and concise, but it's something that kinda fades away after fifteen minutes. I do think I want to return to it, though, and maybe even check out the full recording!

6/10

Sorry for the wait guys, although I technically was in the time limit; you all are just lightning quick.


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## Art Rock (Nov 28, 2009)

Well done, perfectly within the time limit.

Sign-up for round 3 (XL version, 30-80 minutes) has started (link). If there is sufficient interest from those who have stated not to like 30+ minutes per work, I can start round 4 for the shorter works in parallel. Post here please if you would like that.


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## SuperTonic (Jun 3, 2010)

*Jean Mouton - Nesciens mater*

This composer and pieces are both completely new to me, though I am very familiar with the style. I love Renaissance polyphony, but my exposure to the style hasn't been enough yet to allow me to distinguish stylistic differences between the composers of that era. So I really enjoyed hearing the piece, but it didn't really stand out to me vs any of the other composers/pieces I know from this era. Nevertheless, it is great to add another new name to my list of explorations. Hopefully someday I'll get to where I can discuss the specifics of a work with others who love this music.

*Witold Lutoslawski - Little Suite*
Lutosloawski is one of my favorite composers, but I was not familiar with this piece before I saw it here. After hearing it, it strikes me as a very early work, from before the composer had established his own voice; maybe even a piece he wrote as a student. Parts of it sound derivative of other composers. I didn't hate it, but its probably not something I will ever return to.

*Aaron Jay Kernis - 100 Greatest Dance Hits*
I was familiar with this composer, but not this piece. I seem to recall hearing something from him before which I didn't care for, but I can't remember what it was. I'll admit, that along with the name of the piece predisposed me to thinking I would not like this. However, I found myself actually enjoying most of it. It's a fun piece, that shouldn't be taken too seriously. I could see this piece potentially becoming a guilty pleasure type work for me. However, he lost me at the very end. I thought the "beatboxing" at the end was kind of dumb, and I wished he'd just left that out. However it appears I may have been too hasty in writing off this composer in the past. I'll have to remedy that situation.

*Silvestre Revueltas - Cuauhnáhuac*
I'm familiar with a couple of other pieces by Revueltas, his Sensemaya, which is a favorite of mine, and the La Noche de las Mayas, which I also like. But this piece was new to me. It's very much in the same vein as the other works I was already familiar with though. Very much in the neo-primitive style that was popular in the early part of the 20th century, with heavy influences from Mexican culture. I'll be seeking this work out to add to my collection.

*Joseph Jongen - Concert à cinq, for flute, harp and string trio*
I've heard of this composer before, but not this work. I've always associated him with organ music, so it was interesting to hear a chamber work that didn't feature that instrument. However, I don't really feel like this work left much of an impression on me. It was pleasant enough; there wasn't really anything I disliked about it. It just didn't strike me as very memorable. I was hoping to find a score for it on IMSLP, but they don't have it unfortunately. I've found with pieces like this following a score helps me focus and get into the music quicker. I do plan on listening to this again in the future. I feel like this is something that might grow on me with repeated hearings.


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## SuperTonic (Jun 3, 2010)

I'm interested in submitting a shorter work for round 4 if we can start in within the next week or two. I'm going to be traveling in late March and will need to complete my participation before then. Otherwise I'll have to wait until a later round assuming there is one.


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## Art Rock (Nov 28, 2009)

SuperTonic said:


> I'm interested in submitting a shorter work for round 4 if we can start in within the next week or two. I'm going to be traveling in late March and will need to complete my participation before then. Otherwise I'll have to wait until a later round assuming there is one.


If there are more people expressing their interest in a shorter one in parallel, I'll run one soon. Otherwise, there will be one after the XL third. As long as there is interest, I intend to continue this for quite a while.


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