# 21st Century Listening Chain



## 20centrfuge

*21st Century Listening Chain*

The idea is simple:

One person adds a youtube link (or other link) to a short piece of music, or segment of a longer work. The next person must listen to (or already know) the first piece before adding their own link to a different piece of music. The following person must then listen to both previous works prior to adding their own new entry. And the process continues. With each person the chain of musical links grows.

*The wonderful thing about this process, is that all participants share the common experience of having listened to EVERY work on the thread. The idea is that this will lead to some in-depth discussion, a feeling of camaraderie amongst us new music enthusiasts, and it will expand our individual listening repertoire.*

This exercise is all about exploring and sharing. The spirit of the process is more important than the letter of the law. But in general, please follow these guidelines:

_1. To help participants not feel too overwhelmed, try to keep each entry to an average of about 15-20 minutes (or less). Longer works can be submitted, but keep in mind that longer works will tend to bog the thread down.
2. If you enter the exercise later on when the list is long, try to listen to what you can, but at least listen to the five works that precede your submission.
3. Space out your entries. Each person has different tastes and points of view, so it is more enjoyable if we get a lot of diverse entries.
4. Let's limit all entries to music of the 21st century.
5. Please tell us about the music we are going to listen to. Anything you know that might be interesting - composer background, composition techniques, program notes, etc._

Thanks everybody. I for one, am super excited about this process. I think it will be fun to explore the repertoire with all of you!


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## Portamento

1. *Haas:* in vain (2000 = close enough.)






In my opinion, the ultimate introduction to 21st-century classical. You can limit yourself to _just _15 minutes if need be.


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## 20centrfuge

I'm going to start things off with Part 1 (of 3) of *Let Me Tell You* by *Hans Abrahamsen *performed by Barbara Hannigan and the Bavarian Radio Symphony Orchestra, conducted by Andris Nelsons. Part 1 itself is three different sections:

So this work is based on a literary work of the same name by Paul Griffiths. The idea behind the work is that it includes only the words that Ophelia herself uses in the play Hamlet by Shakespeare. I haven't read the book, but the words, to me, communicate: honesty, self reliance, and a beautiful blend of philosophy and poetry about music, time, memory. I hope you like it!


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## 20centrfuge

Looks like my friend Portamento beat me! I'll have to back track and listen to it!


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## Portamento

20centrfuge said:


> Looks like my friend Portamento beat me!


Yup - I was definitely on the ball with this one.


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## Selby

EDIT: apparantly many of us were positng at the same time  I like the enthusiasm. I apologize for the out of order posting, I'm trying to edit it so it is more sensible.

1. Very coincidental that *Haas*' _in vain_ was the first selection, I was literally just listening to it in my car. I recommend you watch this 13 minute video from Simon Rattle about the piece, he is an enthusiastic champion of it: https://www.digitalconcerthall.com/en/interview/3849-2

2. *Hans Abrahamsen*'s _Let Me Tell You by_ - moving, chilling, engrossing; Barbara Hannigan gives me chills in the same two moments every time I listen to it.

I would like to nominate a piece that is being released in the US _this Friday_!

3. *Valgeir Sigurðsson*: _Ghosts_ (2013)
Crash Ensemble

from the program notes:
Icelandic composer/producer Valgeir Sigurðsson also offers two ways of looking at the ensemble. The title track, Ghosts, features a dark, moody texture that reflects Sigurðsson's interest in electroacoustic sounds. Past Tundra is such a marvel of steady, pulsing, but cleverly syncopated rhythm that it may be easy to miss the poignant harmonies that characterize most of the work until its buoyant finale.


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## 20centrfuge

Listening to Haas right now. Mind bendingly AWESOME!


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## Omicron9

20centrfuge, thank you for starting this thread; subscribed. Excellent entries/examples thus far; thanks for sharing these. New for me, and like them quite a lot. Added the Haas and Abrahamson to my amazon shopping cart.

My entry:

Ferneyhough String Quartet No. 6 / 2009 (Arditti):


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## mmsbls

I love both _In Vain_ and _Let Me Tell You_. Abrahamsen is a composer whose works I had heard several times without much success when seemingly, all of a sudden, I started liking just about everything I heard. I actually heard _Ghosts_ for the first time a few weeks ago and enjoyed it.

Ferneyhough's String Quartet No. 6, for me, is a tougher nut to crack. I listened to it a couple of months ago and again just today. I have had some recent success with Ferneyhough so maybe this work will "open up" for me as well.

Thomas Ades is one of my favorite contemporary composers. I love many of his works, but I will submit his violin concerto (Concentric Paths) for this thread.

Thomas Ades: Concentric Paths (Violin Concerto)


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## millionrainbows

The Haas is ok, but sounds too much like Ligeti, with sound as "clouds of stuff." I'm seeking more precision of pitch, with less "cloud like" character.

I got more out of the Abrahamsen work.

Right now, I can only admire Ferneyhough from afar. I can't commit to him yet. I admire his scores, though.


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## philoctetes

Hector Parra Chamber Symphony #3 Sirrt die Sekunde (2008)






I like the Ferneyhough.


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## 20centrfuge

I like the fact that the Ferneyhough was posted. It is an important component of the current musical tapestry.

Though it is a somewhat difficult listen, I still admire it. There is a fragility and frenetic energy to it that is unique. I was also surprised at 15:45 when the quartet is suddenly in unison (or darn close to it). A melody emerges in those few moments from the frenetic malaise that is quite refreshing.

Now I'm waiting for millionrainbows to add a piece!


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## Kjetil Heggelund

The Parra symphony I haven't heard, but I want to hear all of GF Haas first. The others are fairly known to me. I love "Let Me Tell You"  So here is what I believe will be a future classic for us guitarists...


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## Nereffid

Some day I intend to listen to _In Vain_ in one sitting... but I do really like it.
_Let Me Tell You_ felt like a classic the first time I heard it.
_Ghosts_ - yes, I too am looking forward to the new album.
Ferneyhough - nope, I've already spent too much time trying to care about this one, sorry.
_Concentric Paths_ - this is a good choice too. One of those works that I think of when people are bizarrely adamant that nobody writes concertos that can remotely compare with the repertoire from 60 or 70 years ago.
_Sirrt die Sekunde_ - doesn't do anything for me.
_Mano a Mano_ - guitar music isn't usually on my radar, but I like this. Other suggestions?

Inevitably, my choice is Julia Wolfe's _Steel Hammer_, written for the Bang On A Can All-Stars and Trio Medieval. It's a picking apart of the John Henry legend and the many slightly different versions of the song that exist.
From Wolfe's notes:
"Steel Hammer is inspired by my love for the legends and music of Appalachia. The text is culled from the over 200 versions of the John Henry ballad. The various versions, based on hearsay, recollection, and tall tales, explore the subject of human vs. machine in this quintessential American legend. Many of the facts are unclear - some say he's from West Virginia - some say he's from South Carolina - some say he's from New Jersey... But regardless of the details, John Henry, wielding a steel hammer, faces the onslaught of the industrial age as his super human strength is challenged in a contest to out dig an engine. I drew upon the extreme variations of the story, fragmenting and weaving the contradictory versions of the ballad that have circulated since the late 1800s in to a new whole - at times meditating on single words or phrases - in order to tell the story of the story - to embody the simultaneous diverse paths it traveled."

Not much is available on YT, but the movement "Characteristics" is as good an option as any:


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## Selby

*1. Haas: in vain (2000)
2. Abrahamsen: Let me tell you (2012-13)
3. Sigurðsson: Ghosts (2013)*

~

*4. Ferneyhough: String Quartet No. 6 (2010)*

This has always been a difficult piece for me. I have noticed that it also seems to be a symbol, at least around these parts, of everything that is 'wrong' or 'bad' about new classical music.

I took a few approaches this morning. I listened on YT while following the score. I listened to this Irvine Arditti interview about Brian Ferneyhough (



) and then I watched them play the piece live (



).

In the interview they call the sixth "A lyrical piece... 'I remember a conversation with him about how to play the music... and I find that it's very interesting to have a certain image of each composer and the way they want to hear it, hear their music... we play music with the composer as much as possible... to me it is very important to define the style... of how it's going to sound... he doesn't want us to exclude vibrato... he wanted a classical sound, that is how he wanted the music to be perceived... he is so interested in harmony... and micro pitches and inflections." He also talks a lot about his experience with new music and working with composers, the difficulties that can come with that, deadlines, time constrictions, meaningfulness, flexibility, etc.

[Does it expand the violin technique?] "I think it always has so in that way the sixth is nothing new... In such complicated music Brian still is plays for the specific instrument... although it is challenging and extremely difficult it is never impossible... [Does it relate to older classical music?] I don't really know because I don't really play that kind of music" (laughter in the background).

I do not feel closer to the piece; I respect it, I respect Ferneyhough, I _adore_ Sir Arditti, but, this it is still not grabbing me.

I find pleasure/interest in what happens around the 10 minute mark (from the live performance). The piece goes into this eerie stillness, it is oddly tender and terrifying simultaneously. It, actually, reminds me of the cover of the recorded album: 









~

*5. Adès: Violin Concerto, "Concentric Paths," Op. 24 (2005)*

I did not read anything about the piece prior to listening to it. I have heard it before, but it has been a few years, I would guess around 2013.

I. Rings: I was immediately engaged by the soloist. It felt very immediate and urgent.
II. Paths: It started to lose me. The urgency shifted into a melancholy and I caught my attention shifting.
III. Rounds: The winds open up the final movement, and, unlike the previous two, our soloist takes a breath prior to entering. When he does there is a bird like song answering the winds. The singing is lovely. Then, as it neared closure, I found my attention drifting again.

Overall, I found it to be a valuable piece, I specifically liked the writing for the soloist. It makes me want to search out more of Adès' solo and chamber works.

~

*6. Parra: Chamber Symphony No. 3, "Sirrt die Sekunde" (2008)*

My only familiarity with Parra prior to this was his opera, Hypermusic prologue, which I think highly of.

From the YT video: "Parra's chamber symphony No. 3 Sirrt die Sekunde is based on a poem by Paul Celan and presents the relationship between the immediacy of a resonant surface and an epiphany which breaks through that surface. The development of the piece is based on temporal differentiation not only of the individual voices but also of the instrumental timbres to which they are subject. Sound, understood as a complex category encompassing several parameters, is more than clothing for an abstract composition, it is in itself polymorphous and subject to fluctuation."

I found it engaging but forgettable.

~

*7. Lindberg: Mano a Mano for solo guitar (2004)*

What a delight! After listening to so much dense and complex, mostly orchestral, music - this was so refreshing. I loved it! The odd lighting in the video was a little tacky, but the performance was so thrilling!

~

*8. Wolfe: Steel Hammer (2009)*

I had to listen to it twice. Love the rhythm. Don't have much more to add.

~

*9. Rihm: String Quartet No. 12 (2000/01)*

Eeek. I want to get excited about this but it didn't work for me. I found myself more immersed in the Ferneyhough, maybe out of sheer desire, some kind of commitment, to understand it. Rihm usually falls flat for me. Although, it was entirely new to me, so thank you for that!


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## 20centrfuge

Thank you Selby, for keeping track!


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## Kjetil Heggelund

Hey! Steel Hammer is kind-of-prog  I used 2 hours to get through Haas and liked it. Haven't heard enough Ligeti to be reminded of him, but I have heard similar pieces by Haas himself. Glad people enjoyed some guitar music!


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## Phil loves classical

Rihm String Quartet No. 11 but can't find a video for it so #12 will do.






Still haven't quite warmed up to much of this century's music. Haas' In Vain does sound like Ligeti's Atmospheres to me also, with a bit of extra bits. Parra's symphony also sounds intriguing.


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## Trout

1. Haas's _in vain_ is very good, but perhaps a bit too long and slow to sustain my interest fully listening to it now. I prefer some of his more recent pieces which are conciser and develop better. However, the piece transfixed me the first time I heard it, being one of the first spectral pieces I encountered. Its emphasis on timbre using huge, breathtaking, microtonal "chords" still impresses me.

2. I find Abrahamsen's _Let Me Tell You_ especially moving. It's a bit more accessible than some of his other pieces, but it is not very different stylistically: delicate, wispy, and shimmering. One of my favorite compositions of the past several years.

3. I did not enjoy Sigurðsson's _Ghosts_ all that much, though I thought it had a couple interesting ideas. It was a bit too unfocused for me as I found some of the shifts in affect to be jarring and unwarranted, like at around 3:10 and 6:07.

4. Ferneyhough's music has always been fairly elusive for me, but I find that it makes a little more sense each time I listen to it. I am not sure if I will ever reach a point of full enjoyment, though for now I've made enough progress to make sense of some of his works. The _String Quartet No. 6_, to me, seems comprised of several mini-sections that each only lasts a handful of seconds. Some of them are thrilling and engrossing, but they are fleeting- gone just as soon as I register my enjoyment. Maybe this piece and his style are telling me not to become attached to the music and look back, but rather to process the sounds as they occur in the moment. Regardless, this is a piece and a composer that I will continue to return to periodically and see how my perceptions change.

5. I find Adès's _Violin Concerto_ to be a very good piece and better than I remember. Intense, lyrical, and passionate. I especially liked the first half of the second movement which is dramatic and engaging. I should try more of his music as I like his _Piano Quintet_ a lot too.

6. Parra's _Chamber Symphony No. 3_, the first piece of this composer I've listened to, is frenetic in a way that reminds me of Boulez, except perhaps a bit less coherent and controlled. It is quite interesting and I hope to hear more from this composer.

7. Lindberg's _Mano a Mano_ is nice. I liked the fluidity of the piece and the contrasting moments where everything settled even if just for an instant.

8. Julia Wolfe is one of my favorite contemporary composers. I was very fortunate to get the opportunity to attend a staged performance of _Steel Hammer_ by Bang on a Can All-Stars and SITI Company. I believe the performance tried to follow the life of folk hero John Henry as it was recorded through Appalachian legends. It was definitely a memorable evening, especially for the music which was a perfect marriage of Wolfe's style and the subject matter, incorporating many rural instruments and elements. Much of the music investigates the contradictions among various different tellings of the legend. If I remember correctly, _Characteristics_ was the section when John Henry and a group of other characters formed a circle and formed the beat by kicking the stage, patting their legs and clapping. It was very cool.

9. Rihm's _String Quartet No. 12_ is fine but not very memorable, in my opinion. I cannot deny that it seems well-crafted and energetic, I simply was not quite engaged on my first listen. Perhaps his 11th is better?


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## Trout

One piece that really amazed me the first time hearing it was *Julian Anderson's Book of Hours* composed in 2004. It's a piece for orchestra and live electronics in 2 parts. The inspiration for the piece, according the composer, is as follows (I've also linked to the artwork mentioned):



> This piece was inspired by two great works of late Medieval art: the 'Très Riches Heures du Duc de Berry' and the 'Tapisseries La Dame à Licorne' (The Lady and the Unicorn), currently held in the Musée du Moyen Age in Paris. The two parts of this work do not literally portray or depict either of the Medieval artefacts. Rather, the moods, harmonies, melodies and instrumental colours were prompted by them. Also the form of this piece unfolds like a Book of Hours - a sequence of events connected into a chronological thread, each sharply contrasted.


I find the music to be colorful and lively, incorporating the electronics in rather seamlessly and brilliantly. I love how it blends the old in with the new: using the first 4-notes of the major scale as the starting point toward exploring and questioning our perceptions of melodic intervals. And one of my favorite parts, in addition to most of the electronic portions, is the beginning of the second part in which it sounds like we are listening to an LP of the first part until those 4-notes snap us back to reality. The piece is just replete with really cool timbres and overall cleverness and I would suggest listening through some nice headphones or speakers to hear it all.

Here are some Youtube links that may or may not work depending on your location:
Part 1
Part 2

If you can't access those, the piece is also on Spotify.


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## Blancrocher

Portamento said:


> 1. *Haas:* in vain (2000 = close enough.)


Sharing links to live performances in case anyone is interested in seeing what the composer had in mind with regards to lighting:


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## Blancrocher

20centrfuge said:


> I'm going to start things off with Part 1 (of 3) of *Let Me Tell You* by *Hans Abrahamsen *performed by Barbara Hannigan and the Bavarian Radio Symphony Orchestra, conducted by Andris Nelsons. Part 1 itself is three different sections:


For convenience, here is the entire work in playlist format:

https://www.youtube.com/playlist?list=PLqTIQoT5z7j0XtMpY1B4NbDgcx_vMNkDs


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## Omicron9

Selby said:


> *1. Haas: in vain (2000)
> 2. Abrahamsen: Let me tell you (2012-13)
> 3. Sigurðsson: Ghosts (2013)*
> 
> ~
> 
> *4. Ferneyhough: String Quartet No. 6 (2010)*
> 
> This has always been a difficult piece for me. I have noticed that it also seems to be a symbol, at least around these parts, of everything that is 'wrong' or 'bad' about new classical music.
> 
> I took a few approaches this morning. I listened on YT while following the score. I listened to this Irvine Arditti interview about Brian Ferneyhough (
> 
> 
> 
> ) and then I watched them play the piece live (
> 
> 
> 
> ).
> 
> In the interview they call the sixth "A lyrical piece... 'I remember a conversation with him about how to play the music... and I find that it's very interesting to have a certain image of each composer and the way they want to hear it, hear their music... we play music with the composer as much as possible... to me it is very important to define the style... of how it's going to sound... he doesn't want us to exclude vibrato... he wanted a classical sound, that is how he wanted the music to be perceived... he is so interested in harmony... and micro pitches and inflections." He also talks a lot about his experience with new music and working with composers, the difficulties that can come with that, deadlines, time constrictions, meaningfulness, flexibility, etc.
> 
> [Does it expand the violin technique?] "I think it always has so in that way the sixth is nothing new... In such complicated music Brian still is plays for the specific instrument... although it is challenging and extremely difficult it is never impossible... [Does it relate to older classical music?] I don't really know because I don't really play that kind of music" (laughter in the background).
> 
> I do not feel closer to the piece; I respect it, I respect Ferneyhough, I _adore_ Sir Arditti, but, this it is still not grabbing me.
> 
> I find pleasure/interest in what happens around the 10 minute mark (from the live performance). The piece goes into this eerie stillness, it is oddly tender and terrifying simultaneously. It, actually, reminds me of the cover of the recorded album:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> ~
> 
> *5. Adès: Violin Concerto, "Concentric Paths," Op. 24 (2005)*
> 
> I did not read anything about the piece prior to listening to it. I have heard it before, but it has been a few years, I would guess around 2013.
> 
> I. Rings: I was immediately engaged by the soloist. It felt very immediate and urgent.
> II. Paths: It started to lose me. The urgency shifted into a melancholy and I caught my attention shifting.
> III. Rounds: The winds open up the final movement, and, unlike the previous two, our soloist takes a breath prior to entering. When he does there is a bird like song answering the winds. The singing is lovely. Then, as it neared closure, I found my attention drifting again.
> 
> Overall, I found it to be a valuable piece, I specifically liked the writing for the soloist. It makes me want to search out more of Adès' solo and chamber works.
> 
> ~
> 
> *6. Parra: Chamber Symphony No. 3, "Sirrt die Sekunde" (2008)*
> 
> My only familiarity with Parra prior to this was his opera, Hypermusic prologue, which I think highly of.
> 
> From the YT video: "Parra's chamber symphony No. 3 Sirrt die Sekunde is based on a poem by Paul Celan and presents the relationship between the immediacy of a resonant surface and an epiphany which breaks through that surface. The development of the piece is based on temporal differentiation not only of the individual voices but also of the instrumental timbres to which they are subject. Sound, understood as a complex category encompassing several parameters, is more than clothing for an abstract composition, it is in itself polymorphous and subject to fluctuation."
> 
> I found it engaging but forgettable.
> 
> ~
> 
> *7. Lindberg: Mano a Mano for solo guitar (2004)*
> 
> What a delight! After listening to so much dense and complex, mostly orchestral, music - this was so refreshing. I loved it! The odd lighting in the video was a little tacky, but the performance was so thrilling!
> 
> ~
> 
> *8. Wolfe: Steel Hammer (2009)*
> 
> I had to listen to it twice. Love the rhythm. Don't have much more to add.
> 
> ~
> 
> *9. Rihm: String Quartet No. 12 (2000/01)*
> 
> Eeek. I want to get excited about this but it didn't work for me. I found myself more immersed in the Ferneyhough, maybe out of sheer desire, some kind of commitment, to understand it. Rihm usually falls flat for me. Although, it was entirely new to me, so thank you for that!


I watched the Ferneyhough/Arditti video a few months ago and totally enjoyed it; then again, I like Ferneyhough.  And I have the full CD set shown in Selby's post.

One thing that is really and totally knocking me out about this thread is that people are willing to listen to new works. Even if they don't like it, or don't *yet* like it, they still give it an open-minded try. That is fantastic. No closed-minds or pre-judging without hearing. Excellent. And in doing so, you just might find something new that you like. I certainly have already in this thread.

So thanks everyone; it speaks well of this small group of folks.

-09


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## Blancrocher

Favorites above are the Adès and Anderson (the latter being new to me). My submission:






Gubaidulina, Triple Concerto (2016)



> When the title of a work of art reflects the work's essence, the title becomes a symbol, i.e., the distillation of the meanings contained in its depth. So while I was composing this work, the word Tripelkonzert ("triple concerto") became for me such a symbol, a symbol for the number three, of "three-ness." This is reflected not only in the number of performers-there are three soloists standing in front of the orchestra-but also in the tripartite structure of the form and in the use of simple triads in the texture of the piece.
> 
> However, most essential is the meaning of the three basic melodic-chordal structures, which are closely linked with the three most important qualities of the sound material: the force of intervallic attraction, the force of intervallic repulsion, and the force generating this contrast.
> 
> Thus the tree of the overtone series grows, as it were, out of the cluster sounding from the bayan, which represents the essence, the nature of sound. And in it we notice a gradual contraction of the intervals between the respective partials. The force of attraction of the neighboring partials increases as we gradually move from the first overtone to the following partials. This is the initium of the work, to which the remaining texture reacts. At the very end, a chord forms a response that consists of slowly enlarging intervals. In this way, the piece could be regarded as a revelation of three forces: the expansion of widening intervals, the contraction of narrowing intervals, and the reaction to this cosmological drama.


https://www.carnegiehall.org/ch/popups/programnotes.aspx?id=15032387803&pn=15032387802

*p.s.* Sorry, I notice this is a little over the time allotment at 26 minutes--use your discretion in listening!


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## 20centrfuge

Ades - I believe this piece will become part of the standard repertoire and I think a large part of its success is that it is melodious. My biggest criticism of the current musical scene is the undervaluing of melody. Frankly, that is the problem I have with the Parra piece.

Lindberg - expertly crafted but vaguely soul-less to me. I keep hoping Lindberg will give me something with some heart, but I just don't feel it.

Anderson - I like the piece quite a lot. I really like the integration of electronic music in this piece


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## Selby

*1. Haas:* _in vain_ (2000)
*2. Abrahamsen:* _Let me tell you_ (2012-13) for soprano and orchestra
*3. Sigurðsson:* _Ghosts_ (2013) for ensemble and electronics
*4. Ferneyhough:* _String Quartet No. 6 _(2010)
*5. Adès:* _Violin Concerto, "Concentric Paths," Op. 24_ (2005)
*6. Parra:* _Chamber Symphony No. 3, "Sirrt die Sekunde"_ (2008)
*7. Lindberg:* _ Mano a Mano_ (2004) for solo guitar
*8. Wolfe:* _Steel Hammer _(2009)
*9. Rihm:* _String Quartet No. 12_ (2000/01)
*10. Anderson:* _Book of Hours_ (2004) for orchestra and electronics

This is fantastic and why I am excited about this thread. A new name to me that has studied under and worked with many composers I respect (Murail, Grisey, Boulez). The sounds in the second have were fresh, exciting, new. I didn't want the piece to end.
`
~

*11. Gubaidulina:* _Triple Concerto_ (2016) for violin, cello, bayan & orchestra



Blancrocher said:


> When the title of a work of art reflects the work's essence, the title becomes a symbol, i.e., the distillation of the meanings contained in its depth. So while I was composing this work, the word Tripelkonzert ("triple concerto") became for me such a symbol, a symbol for the number three, of "three-ness." This is reflected not only in the number of performers-there are three soloists standing in front of the orchestra-but also in the tripartite structure of the form and in the use of simple triads in the texture of the piece.
> 
> However, most essential is the meaning of the three basic melodic-chordal structures, which are closely linked with the three most important qualities of the sound material: the force of intervallic attraction, the force of intervallic repulsion, and the force generating this contrast.
> 
> Thus the tree of the overtone series grows, as it were, out of the cluster sounding from the bayan, which represents the essence, the nature of sound. And in it we notice a gradual contraction of the intervals between the respective partials. The force of attraction of the neighboring partials increases as we gradually move from the first overtone to the following partials. This is the initium of the work, to which the remaining texture reacts. At the very end, a chord forms a response that consists of slowly enlarging intervals. In this way, the piece could be regarded as a revelation of three forces: the expansion of widening intervals, the contraction of narrowing intervals, and the reaction to this cosmological drama.


Sofia Gubaidulina, 85, is probably our greatest living composer. I am pretty familiar with her oeuvre, but this piece was new to me. I really appreciated the write-up but was surprised how, when speaking of the three-ness, it did not reference The Holy Trinity. Gubaidulina is well known to be influenced by the mysticism of numerology and Christianity (Eastern Orthodoxy). I couldn't divorce myself from this while listening and then imagining which role each soloist takes - God, Son, Holy Ghost.

~

*12. Pampin:* _On Space_ (2000-2005) for 6 percussionists & surround electronic sounds

I am familiar with Les Percussions de Strasbourg for their recordings of Xenakis' percussive works, and, in your description, that is what this cycle immediatley reminded me of. Frankly, I was not expecting to care about it. I finished On Space and then I decided to listen to the entire cycle. Right now I'm into Skin Heads and I'm totally enraptured. Do you know if this has been recorded on CD?


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## Sina

Great idea! Great thread! Great posts!
I wanted my offered music to be a percussion piece (since I was quite sure that no one would do), and I had hard time choosing just one. But finally I chose Juan Pampin's _On Space_ (2000-05) for 6 percussionists and electronics, which is the last of his four-piece _Percussion Cycle_. The first three have been composed between 1996 and 1998 (and hope it's not cheating!): _Métal Hurlant_, _Toco Madera_, and _Skin Heads_. "Each piece relates to the base material of the instruments used and is the result of an exploration of the timbral qualities of the material elements responsible for the production of sound: metals, wood, and skins. The last piece deals with the spatial relationship between all the percussion instruments and their electronic counterparts. Performed live, the pieces are executed by the musicians and speakers for the the electronics surrounding the audience."
https://www.sargasso.com/?product=juan-pampin-percussion-cycle

_Les Percussions de Strasbourg_ and _Festival GRAME Musiques en Scène_ are joint commissioners, the former of which has recorded the cycle that was published last year.

1. Métal Hurlant (1996) for solo percussionist & electronics





2. Toco Madera (1997) for 2 percussionists & electronics








 (live performance)

3. Skin Heads (1998) for 3 percussionists & electronics





4. On Space (2000-2005) for 6 percussionists & surround electronic sounds








 (live performance)


----------



## Sina

Selby said:


> *12. Pampin:* _On Space_ (2000-2005) for 6 percussionists & surround electronic sounds
> 
> I am familiar with Les Percussions de Strasbourg for their recordings of Xenakis' percussive works, and, in your description, that is what this cycle immediatley reminded me of. Frankly, I was not expecting to care about it. I finished On Space and then I decided to listen to the entire cycle. Right now I'm into Skin Heads and I'm totally enraptured. Do you know if this has been recorded on CD?


Well I said that the ensemble has released the recording of the piece last year and I gave the link to the record label website:
https://www.sargasso.com/?product=juan-pampin-percussion-cycle

Yes the description makes Xenakis' _Pléïades_ come to mind, but the composers' approaches tend to differ, in my opinion, and the two decades separating the two cases makes it all reasonable. While Xenakis builds his explorations of timber on the basis of rhythmic structures, Pampin puts timber and sound on the forefront.


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## Portamento

I am a little backlogged in terms of listening to pieces on this thread, so that is why you do not really see me contributing to discussion. With what time I have, however, I'd like to share with you a glimpse of one 21st-century composer who never fails to disappoint me.

*13. Unsuk Chin:* Violin Concerto (2001)





"Myriad influences affect... [the South Korean composer Unsuk Chin's] pieces.... "Verboten" often becomes the first word to impress itself on the mind of the visitor to Germany, so numerous - and explicit - are the rules. It's also a word that Chin encountered early on when she moved to Hamburg in 1985 to take up studies with György Ligeti, the restlessly innovative Hungarian composer who was a dominating figure in 20th-century music.

"It was very difficult," she recalled during a recent interview at a coffee shop on the Upper West Side, which she gave in the precisely articulated German she has perfected in nearly three decades of living in the country. "He was in a phase of transition and wanted to try something new. He spent a lot of time ranting and denouncing things." Among them, the Western European avant-garde music Chin had studied in South Korea and was then trying so earnestly to imitate. To her, Ligeti made clear, that music was verboten.

Today, Chin is sought after by leading orchestras and soloists for her colorful, audacious, and often darkly humorous music."

The *Violin Concerto*, in my opinion one of the composer's best works, won her the Grawemeyer Award in 2004.


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## mmsbls

This is starting out to be a very nice thread. I think the rate of new works added is not too fast such that people can't keep up. It helps if one knows some of the works. I would suggest that people try to keep the rate manageable and not succumb to the temptation to add new works to quickly.

In general electronic works are not my favorite, but I had no trouble with Anderson's Book of Hours. I agree with Trout that he incorporates "the electronics in rather seamlessly and brilliantly." I especially liked the second part. Juan Pampin's Percussion cycle in general did not resonate with me, but the final work, _On Space_, grew on me as I listened.

I've started listening to Rihm relatively recently and do enjoy a number of his works. I listened to both String Quartet No. 11 and 12. No. 11 seemed more engaging.

Chin, like so many contemporary composers, was not immediately accessible for me, but now I enjoy many works especially her concertos (e.g. violin, piano, double).


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## 20centrfuge

I've been on a camping trip in the Tetons and have only had my iphone with me. So I've been trying to listen and keep up in the evenings. I have to say that this thread is one of the most exciting things in my life right now. I thank all of you for making this thread take flight.

I know the CHIN well and own the album but I haven't listened for a few years so I'm looking forward to that.

PAMPIN - on space. It is thoroughly exceeding my expectations and is one of my new favorites that I've gained from this thread, along with the Anderson.


Excellent comments from everyone!


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## SuperTonic

OK, I've binge listened to all of the works in this thread so far. I'm going to need to come back to some of them later obviously, but I can say that the Abrahamsen piece was a revelation. The CD is on the way and I will definitely be checking out more from him.
My contribution to the thread is Andrew Norman's Play. This is probably my favorite piece of the 21st century so far. The entire work is much longer than the duration specified by the OP, so I will post each movement as separate links and also a play list for the entire work. If you have time to listen to the whole thing please do. If not, I recommend Level 3. There's something special about the last few minutes of this work that I can't quite put my finger on to describe.

Here is a description of the work in the composers own words:



> Here is a program note that I wrote about Play for a recent performance that paired it with Tchaikovsky's 4th Symphony:
> 
> It is difficult for me to write about Play. Play is a cycle of pieces, a body of work that I have been writing and rewriting for almost five years. Play explores many different ideas-ideas about choice, chance, free will, and control, about how technology has rewired our brains and changed the ways we express ourselves, about the blurring boundaries of reality in the internet age, the murky grounds where video games and drone warfare meet, for instance, or where cyber-bullying and real world violence converge. Play touches on the corrupting influence of power and the collapse and rebirth of social systems, but it is also explores the physicality and joy of instrumental playing, as well as the many potential meanings of coordinated human activity-how the display of massed human synchronicity can represent both the communal best and coercive worst of our race. It is difficult for me to try to cogently offer all this up in a program note.
> 
> Nevertheless, in the spirit of Tchaikovsky, who wrote a highly specific narrative for his Fourth Symphony, I thought I'd give you one of the stories that coalesced as I wrote Play. It is by no means the only plotline that weaves through the work, but it might provide a useful guide into this dense and sprawling music:
> 
> We flip the switch on a crazy, topsy-turvy world where the percussionists discover that their instruments have all sorts of powers over the rest of the orchestra. They have the power to turn other players on and off, to make them play forwards or backwards, louder or softer, faster or slower, to trade them out one for another or make them rewind and retry ideas again and again until they are gotten right.
> 
> The percussionists spend much of Level I running around like kids in a candy shop, making and remaking the music around them with gleeful abandon. In Level 2, the pace slows and the mood darkens. The percussionists become more selective with their interventions, but also more manipulative, even sadistic in the increasingly unwieldy paces through which they put the rest of the band.
> 
> Level 2 ends with an epic battle between the percussionists, as they open and slam shut doors onto different worlds, frantically trying to find a way out of the musical labyrinth of their own creation, and in Level 2's final seconds they whack themselves into oblivion, leaving the orchestra suspended in a silent, frozen state. Level 3 begins in that frozen silence as the orchestral musicians, for the first time free of the percussionists and their oppressive systems of control, must decide for themselves if and when and what and why and how to play. The musicians come to life slowly, and gradually form the music, the first truly communal expression in the entire piece, that they had been trying to find all along.


Source: http://andrewnormanmusic.com/archives/220

Level 1





Level 2





Level 3





And here is a link to the play list for the entire work.


----------



## Portamento

SuperTonic said:


> My contribution to the thread is Andrew Norman's Play. This is probably my favorite piece of the 21st century so far. The entire work is much longer than the duration specified by the OP, so I will post each movement as separate links and also a play list for the entire work. If you have time to listen to the whole thing please do. If not, I recommend Level 3. There's something special about the last few minutes of this work that I can't quite put my finger on to describe.


Thank you for this - I just learned about this young composer yesterday and was meaning to listen to _Play_, which won him this year's Pulitzer Prize. I suppose this forces my hand, but that's a good thing.

EDIT: Just listened to the whole work. _Magic_. I liked Level 1 the best - I think it showcased Norman's unique idiom the best, complete with all jazz influences. I was surprised that it was tonal for the most part, with just a few bits of serialism here and there. I really do think that avant-garde is dying, and that in 30 years all we will be hearing from classical music are neo-romantic works (if I am still alive then). Level 2 was very meandering, searching for something. I think that it dragged on for a bit too long, but it did its job: provide a break from the rambunctious first movement. Level 3 also started off a bit slow, but picked up (as you said) in the last few minutes - it _was_ magical. I am glad that Norman chooses this way to end his masterpiece, because it is what I am left to remember the piece for. It is also interesting that he stuck to the fast-slow-fast scheme. Anyways, enough of my rambling; I have ordered the CD and am curious as to what else this composer may write.


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## Phil loves classical

Anybody get the feeling that listening to 21st Century classical music feels like watching a movie mainly for the special effects? That is my overall impression. I love special effects, but sometimes looking for more.


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## Sina

Phil loves classical said:


> Anybody get the feeling that listening to 21st Century classical music feels like watching a movie mainly for the special effects? That is my overall impression. I love special effects, but sometimes looking for more.


When I look for more, I listen to 21st century classical music.


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## 20centrfuge

Phil loves classical said:


> Anybody get the feeling that listening to 21st Century classical music feels like watching a movie mainly for the special effects? That is my overall impression. I love special effects, but sometimes looking for more.


I do know what you are talking about. Sometimes 21st century music can seem to be more about tone color, fancy orchestration, rhythm, and ethereal harmonies than about true melodic development. It can result in feeling lost and unfulfilled. Whenever I'm feeling like you are feeling, I remind myself to keep an open mind and open ears and I also remember that the current musical tapestry is wide and diverse. If something doesn't float my boat, I just have to keep looking.


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## Sina

20centrfuge said:


> I do know what you are talking about. Sometimes 21st century music can seem to be more about tone color, fancy orchestration, rhythm, and ethereal harmonies than about true melodic development. It can result in feeling lost and unfulfilled. Whenever I'm feeling like you are feeling, I remind myself to keep an open mind and open ears and I also remember that the current musical tapestry is wide and diverse. If something doesn't float my boat, I just have to keep looking.


I can't understand why "melodic development" is the "truth" of music but tone color and other things are not! Guys, music has many many aspects some of which we might not be even aware of. Just because I'm used to one particular aspect doesn't make it the "truth" of music. Guys! Please!


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## Daniel Atkinson

20centrfuge said:


> I do know what you are talking about. Sometimes 21st century music can seem to be more about tone color, fancy orchestration, rhythm, and ethereal harmonies than about true melodic development. It can result in feeling lost and unfulfilled. Whenever I'm feeling like you are feeling, I remind myself to keep an open mind and open ears and I also remember that the current musical tapestry is wide and diverse. If something doesn't float my boat, I just have to keep looking.


It seems as though you are searching for this, which is odd I admit on a classical forum but perfectly fine to admit:






Daniel


----------



## Nereffid

Sina said:


> I can't understand why "melodic development" is the "truth" of music but tone color and other things are not! Guys, music has many many aspects some of which we might not be even aware of. Just because I'm used to one particular aspect doesn't make it the "truth" of music. Guys! Please!


Absolutely. My mantra is "today's composers just can't compete with Beethoven - and Beethoven just can't compete with today's composers".


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## 20centrfuge

I try to listen to each piece on its own terms. And I usually find beauty in what I hear. I also recognize that each piece has its own set of "truths." I was simply being honest when I say that sometimes I feel the need for melody. I don't think there is anything wrong with saying that.

Each of us comes from different backgrounds and different places in our exposure and understanding of the current musical scene. Let's be accepting of that. No need to resort to KatyPerry-isms!

Elitism is not good for classical music.


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## Phil loves classical

Here is an article on the limits of atonality and the idea that tonality is the "natural language of music". With plenty of references to science and philosophy (to sound more enticing).

https://www.commentarymagazine.com/articles/atonal-music-and-its-limits/

Maybe this belongs more in the theory section?


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## 20centrfuge

Good discussion but let's keep this thread to an exploration of 21st century music. Let's all agree to move this discussion to the other 21st Century thread. Ok?


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## Selby

Back to the music:

1. Haas: in vain (2000)
2. Abrahamsen: Let me tell you (2012-13) for soprano and orchestra
3. Sigurðsson: Ghosts (2013) for ensemble and electronics
4. Ferneyhough: String Quartet No. 6 (2010)
5. Adès: Violin Concerto, "Concentric Paths," Op. 24 (2005)
6. Parra: Chamber Symphony No. 3, "Sirrt die Sekunde" (2008)
7. Lindberg: Mano a Mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet No. 12 (2000/01)
10. Anderson: Book of Hours (2004) for orchestra and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, cello, bayan & orchestra
12. Pampin: On Space (2000-2005) for 6 percussionists & surround electronic sounds
~
13. Chin: Violin Concerto (2004)
Re-listening to the Chin I feel similarity positive about it. I had really high hopes for her career but she has fallen off of my radar a little. It seems that it's been a few years since a new recording has emerged. I would also add her etudes as some of the most important piano music composed in recent years.
~
14. Norman: Play (2013/16)
Listening now... Eeek. I listened to this in full when it appeared in the other thread, with much acclaim. This piece eludes me. I am not engaged by it. Maybe it will click after another year 
~
15. Reich: Double Sextet (2007)
16. Solonen: Dichotomie (2000) for solo piano


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## mmsbls

I listened to Play: Level 3 first. I found the middle very enjoyable maybe more than the beginning and end because they were a bit hard to hear. I went back and listened to the entire work. I enjoyed the frenetic beginning and end of Level 1. Level 2 has some truly beautiful parts. Overall I found Play quite engaging. I did go back and read the composer's description. I can't say I hear much of what he's saying about the music (e.g. "the murky grounds where video games and drone warfare meet"), but of course, that would be the case with any music (without words).

I'll add a selection from Reich - Double Sextet (2007). This work won the 2009 Pulitzer Prize. I like a lot of Reich's works. I think he uses wonderfully moving rhythms, and I love the timbre of xylophones, vibraphones, and marimbas.

A shorter 21st century work from Reich that I love is Dance Patterns.


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## Blancrocher

Enjoyed all the music posted so far. Especially like the Unsuk Chin concerto--wish they'd release a better recording of it.

Submission: Esa-Pekka Salonen, Dichotomie










Program:



> Dichotomie was originally intended to become a short encore-type of piece. I wanted to write a surprise new work for Gloria Cheng for a concert dedicated to my music in Los Angeles in January 2000. I soon realized, that the material I had invented had a tendency to grow into two very different kinds of music. It became obvious that this was going to be a longer piece in two movements as the material seemed to have that sort of genetic code. I missed my deadline for the January concert, and kept working during the early months of the year 2000. I put the piece aside for the summer, and finally completed it in October of the same year.
> The first movement, Mécanisme, is indeed like a machine, but not a perfect one: more like one of the Tinguely sculptures (or mobiles, they really defy all attempts to categorize them), which are very active, extroverted and expressive, but produce nothing concrete. I imagined a machine that could feel some sort of joie de vivre, and in that process, i.e. becoming human, would loose its cold precision.
> 
> Organisme, the second movement, behaves very differently. Again, the music is busy on the surface, but breathes a lot slower and deeper. The music is completely continuous; all different sections grow into each other organically. A metaphor I had in mind was indeed a tree, not a huge one, more like a slender willow that moves gracefully in the wind but returns always to its original shape and position.


p.s. Looking forward to reading those Reich pieces as well--posted at the same time.


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## 20centrfuge

A list of who has submitted music so far:

1. Haas: in vain (2000) ---- <Portamento>
2. Abrahamsen: Let me tell you (2012-13) for soprano and orchestra ---- <20centrfuge>	
3. Sigurðsson: Ghosts (2013) for ensemble and electronics ---- <Selby> 
4. Ferneyhough: String Quartet No. 6 (2010) ---- <Omicron9>
5. Adès: Violin Concerto, "Concentric Paths," Op. 24 (2005) ---- <mmsbls>
6. Parra: Chamber Symphony No. 3, "Sirrt die Sekunde" (2008) ---- <philoctetes>
7. Lindberg: Mano a Mano (2004) for solo guitar ---- <Kjetil Heggelund>
8. Wolfe: Steel Hammer (2009) ---- <Nerrefid>
9. Rihm: String Quartet No. 12 (2000/01) ---- <Phil loves classical>
10. Anderson: Book of Hours (2004) for orchestra and electronics ---- <Trout>
11. Gubaidulina: Triple Concerto (2016) ---- <Blancrocher
12. Pampin: On Space (2000-2005) ---- <Sina>
13. Chin: Violin Concerto (2004) ---- <Portamento>
14. Norman: Play (2013/16) ---- <SuperTonic>
15. Reich: Double Sextet (2007) ---- <mmsbls>
16. Solonen: Dichotomie (2000) for solo piano ---- <Blancrocher>


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## 20centrfuge

The Salonen 1st movement sounds like it could have been named "toccata" (touched) - the lightness of the music and very pianistic continuum of rolling notes is very enjoyable to listen to. I think Salonen continues to be a better and better composer all the time. Some of his early stuff was, for me, so very difficult to listen to. It was like all intellect and no heart. This music on the other hand feels like a nice balance between the two. Looking forward to the second movement.


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## Phil loves classical

20centrfuge said:


> A list of who has submitted music so far:
> 
> 1. Haas: in vain (2000) ---- <Portamento>
> 2. Abrahamsen: Let me tell you (2012-13) for soprano and orchestra ---- <20centrfuge>
> 3. Sigurðsson: Ghosts (2013) for ensemble and electronics ---- <Selby>
> 4. Ferneyhough: String Quartet No. 6 (2010) ---- <Omicron9>
> 5. Adès: Violin Concerto, "Concentric Paths," Op. 24 (2005) ---- <mmsbls>
> 6. Parra: Chamber Symphony No. 3, "Sirrt die Sekunde" (2008) ---- <philoctetes>
> 7. Lindberg: Mano a Mano (2004) for solo guitar ---- <Kjetil Heggelund>
> 8. Wolfe: Steel Hammer (2009) ---- <Nerrefid>
> 9. Rihm: String Quartet No. 12 (2000/01) ---- <Phil loves classical>
> 10. Anderson: Book of Hours (2004) for orchestra and electronics ---- <Trout>
> 11. Gubaidulina: Triple Concerto (2016) ---- <Blancrocher
> 12. Pampin: On Space (2000-2005) ---- <Sina>
> 13. Chin: Violin Concerto (2004) ---- <Portamento>
> 14. Norman: Play (2013/16) ---- <SuperTonic>
> 15. Reich: Double Sextet (2007) ---- <mmsbls>
> 16. Solonen: Dichotomie (2000) for solo piano ---- <Blancrocher>


Just a note, Ferneyhough was a member of the New Complexity, while Abrahamsen and Rihm were members of the New Simplicity, which sought to bring Classical music back to more traditional techniques. Both movements have been at it for decades now.


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## Sina

Phil loves classical said:


> Just a note, Ferneyhough was a member of the New Complexity, while Abrahamsen and Rihm were members of the New Simplicity, which sought to bring Classical music back to more traditional techniques. Both movements have been at it for decades now.


And the beauty of contemporary music is its wide diversity and even contradictions.


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## 20centrfuge

I've been exploring a piece of music by the Dutch composer Michel Van der Aa. I am thoroughly addicted to it! It is called Hysteresis (2013) and is written for clarinet, digital sounds, and ensemble. It is a sort of clarinet concerto. The work has a skittish, stuttering type of structural rhythm that I find really cool. The musical line and harmony also have just the right amount of dissonance and funkiness for my taste. Couple all that with some great digital effects and, for me, you have essentially the ideal 21st Century piece of music.

Hysteresis, Part 1 (11:45)

Hysteresis, Part 2 (5:42)

Program Notes by : Tim Rutherford-Johnson

Hysteresis refers to the way in which a system depends both on its current environment, and its past. That is, the idea that non-living things can have a sort of 'memory' of previous states, which they carry into their present. It was originally used in material science - *to describe, for example, how certain metals become magnetized when brought into contact with a magnetic field, and stay magnetized after that field has been removed.*

In his clarinet concerto - his first major work for the instrument - Michel van der Aa extends this idea into more speculative realms: can musical material (note sequences, rhythms, chords) retain some 'memory' of itself even after it has been worked with? Is it identifiably the same stuff, does it behave similarly, even when the magnet has been taken away? Of course, questions like these have been an underlying consideration for composers for centuries, but in his clarinet concerto Van der Aa brings them to the fore.

*He combines acoustic instruments with recorded and digitally processed mirrors of themselves. His works are full of the sounds and procedures of music editing and sound design; loops and layers, clicks and cuts. Music may only be intangible soundwaves or digital bits, but software and compositional technique mean it can be virtually stretched, cut, squashed and transformed just as much as a piece of clay.*

Hysteresis introduces the idea of musical memory from its very first sound - the nostalgia-inducing pop and crackle of static from a record player (played via electronic soundtrack). At the same time the percussionist rubs sandpaper in circles over a table surface, imitating the noise and movement of the spinning record. In spite of its digital sheen, Van der Aa's music stays in touch with the analogue and the physical roots of music making.


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## Portamento

20centrfuge said:


> I've been exploring a piece of music by the Dutch composer Michel Van der Aa. I am thoroughly addicted to it! It is called Hysteresis (2013) and is written for clarinet, digital sounds, and ensemble. It is a sort of clarinet concerto. The work has a skittish, stuttering type of structural rhythm that I find really cool. The musical line and harmony also have just the right amount of dissonance and funkiness for my taste. Couple all that with some great digital effects and, for me, you have essentially *the ideal 21st Century piece of music.*


"The ideal 21st-century piece of music" is surely a topic susceptible to much debate; while probably not as musically diverse as the preceding 100 years, the times we are living in are not unfamiliar with _diversity_ (and it's only been 17 years). So, in honor of a consistently fine composer, we have:

18. *Nikolai Kapustin:* Concerto II for Cello and Orchestra, op. 103 (2002)






"Kapustin's music combines the style and rhythmic vitality of jazz with classical forms - something that seems to strike a real chord with audiences and musicians who are interested in experiencing new sounds beyond the classical repertoire."

In my opinion, the 2nd Cello Concerto is Kapustin's best 21st-century work, closely rivaling the piano concertos and right behind his preludes. The addition of the cello brings an astringent emotionality to Kapustin's blend of jazz and classical, and it works remarkably well throughout.

(Quick plug for the young cellist Christine Rauh's impressive CD.)


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## Sina

Finally I got the time to listen (and review, for those I knew before) all the submitted pieces (the first 16 actually). I came up with an idea of running some polls (yeah polls everywhere!), and I made the first edition. For every 10 works submitted and listened by us, a poll will be made, and we're gonna rate every piece on a scale of 1 to 4. If all connection between the piece and my mind failed (some use words like "dislike" or "hate" in these cases, but I don't) I give 1 point. If I thought the piece was probably good but I wouldn't listen to it again, I give 2 points. If I found the piece quite interesting and would give more listens, I give 3 points. And finally if a pretty complete connection between the piece and my mind had been made, 4 points for it. But I think we're gonna make the best of these polls if we listen to and rate all the pieces.

Can't wait to hear your thoughts and suggestions, and, here we go.


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## Kjetil Heggelund

I just realized I haven't heard the last 2 pieces. I'm the kind of guy that gives either 3 or 4 points.


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## Sina

I hope I'm not intensifying the listening and we're keeping track. The piece I'm posting now is by an Iranian composer who studied with Beat Furrer in Graz before returning to Tehran pursuing his teaching and composing career. The word _Kava_ is found only once in Vendidad, Avesta, and means _magic_. Scored for the Iranian instrument _Setar_, and ensemble, the magic of this piece for me is just beyond a mere fusion of different musical (and extra-musical) cultures and I never cared for the program notes describing how the soloist sweeps between Iranian traditional modes and stuff. I don't hear these. I just love it and don't know why.

*19. Kiawasch Saheb-Nassagh - Kava (2007) for setar & ensemble:*


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## StDior

I listened to all the recommended pieces and filled out the poll form. I have heard most of the nominations first time but usually need 5-7 times before I am sure in liking. So maybe I have made some mistakes with the early assessment. 
I wanted to nominate something from Helmut Lachenmann. I like surprises and virtuosity, and Lachenmann's music is full of them. After some lookaround among his 21st century output, I chose the 3rd string quartet "Grido". Only in the best sound quality recommended, so I suggest to listen to it on Spotify:


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## 20centrfuge

Welcome aboard, StDior! I'm looking forward to hearing the Lachenmann!

You make a good point about the number of listens. I feel like I need a few more listens with several of the previous works before I can feel like I've really come to terms with what they are saying. For me the first listen is about surveying the piece and getting a feel for if there is something that calls to me. If there is, then the 2-3 listens let me really decide if it "speaks to me." The 5-8 listens are potentially the most enjoyable. 

In spite of it all, the first listen does give you a first impression. There is so much music out there to experience that I feel like a piece has to connect with me in some way (thinking of your poll, Sina!) to merit the extra time and effort.


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## Sina

Welcome StDior, and thanks for participating in the poll. And with your great contribution now the second poll is ready and waiting for us 

About _Grido_, it's notable to mention that along with the great _JACK Qurtet_ recording which you linked, there are two other recordings available on CD deserving a listen: first with Arditti Quartet on Kairos, and second with stadler quartett on Neos.
Lachenmann also wrote Double (Grido II) in 2004, which is an arrangement of the quartet for string orchestra, again on Kairos label.


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## Phil loves classical

For some easier on the ears 21st Century music, I really like Pavlova Symphony No. 3. She was heavily influenced by Tchaikovsky and it shows:






here for the whole symphony:


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## millionrainbows

I have no idea who this composer is, but I found it, and some related stuff on Youtube.

I think the future of music is going to be in using new tunings. This has to be accomplished electronically to be accurate. These are really new sounds, and, as I like, this deals with the "real stuff" of musical materials, the most basic of which is pitch. Melodies and chords can still be made, so there's something for every taste...Wendy Carlos has invented some new tunings as well, and I look forward to hearing her new compositions, if any are out there...


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## Lenny

millionrainbows said:


> I have no idea who this composer is, but I found it, and some related stuff on Youtube.
> 
> I think the future of music is going to be in using new tunings. This has to be accomplished electronically to be accurate. These are really new sounds, and, as I like, this deals with the "real stuff" of musical materials, the most basic of which is pitch. Melodies and chords can still be made, so there's something for every taste...Wendy Carlos has invented some new tunings as well, and I look forward to hearing her new compositions, if any are out there...


Thanks for bringing this to our attention!

I find this extremely stimulating. The music is very beatiful. I don't much about the algorithms the composer is describing but what I gathered from the description is very interesting.

I was just listening to a lecture by philosopher Zizek, and there was an interesting point about technology. I've a tendency to be very pessimistic about technology, so that will take a way our humanity etc. etc. but in the lecture there was a fresh attitude. Maybe we will eventually create new form of life and learn from it. Basically, that's what we do in the science nowaday - we do science a lot by computation that is only possible with modern computers. That's certainly something we can do also in music.

So this piece of "algorithmic composition" (now I have to stress it: this is more my fantasy, I don't know the exact details of this composititon) in a way gives us a glimpse of what true computer assisted music could sound. It doesn't sound necessarily cold, machinery, robotic. It can sound warm, beatiful, but utterly strange and alien. Something to explore and learn from.


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## mmsbls

Phil loves classical said:


> For some easier on the ears 21st Century music, I really like Pavlova Symphony No. 3.


I like Pavlova quit a bit, I have her 1st, 3rd, and 5th symphonies. The 5th is my favorite of these 3. I also have a short orchestral work called Elegy.


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## 20centrfuge

21C Listening Chain Participation

1. Portamento
2. 20centrfuge
3. Selby
4. Omicron9
5. mmsbls
6. philoctetes
7. Kjetil Heggelund
8. Nerrefid
9. Phil loves classical
10. Trout
11. Blancrocher
12. Sina
13. Portamento (2)
14. SuperTonic
15. mmsbls (2)
16. Blancrocher (2)
17. 20centrfuge (2)
18. Portamento (3)
19. Sina (2)
20. StDior 
21. Phil loves classical (2)
22. millionrainbows 


Selby, Omicron9, Philoctetes, Kjetil Heggelund, and Nerrefid have had the longest interval without posting. I encourage you to post so we can keep this chain going. :trp:

-----------

On a separate note, I have been revisiting Norman's Play as well as the Rihm SQ. One of the themes in the Rihm becomes key to a larger project of his, the Verwandlung series.


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## Nereffid

20centrfuge said:


> Selby, Omicron9, Philoctetes, Kjetil Heggelund, and Nerrefid have had the longest interval without posting. I encourage you to post so we can keep this chain going. :trp:


I've fallen behind on listening, simply because I got a bunch of new albums recently.

So here's something from one of them! Canadian composer/flutist Derek Charke performs his own _WARNING! Gustnadoes Ahead_.






From the liner notes by Mark Hopkins:
Derek and I were invited to lead an arts retreat for select high school arts students. We challenged the students to create a new work of their own using some elements of the environment around them. Derek used this piece to show how he accessed environmental sound ideas, processed them, and used them in a piece of music. The work was actually commissioned by the National Flute Association for the 2008 High-School Soloist Competition, and it received its official premiere later that summer. But, we had the true premiere that day in the dining hall of Liscombe Lodge on the Eastern shore of Nova Scotia. The accompanying soundtrack has a wicked groove, generated by electronically manipulated flute sounds. The solo flute uses multiphonics, aeolian tones, timbre-trills, harmonics, harsh chuffing and popping sounds to great effect. I will never forget the gobsmacked looks on the students' faces as he played-they had never heard the flute sound like that before.


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## JAS

Phil loves classical said:


> For some easier on the ears 21st Century music, I really like Pavlova Symphony No. 3. She was heavily influenced by Tchaikovsky and it shows . . .


I have been following this thread, but intentionally not expecting to post in it, but I do feel compelled to note that this is a composer of whom I have never heard, and who might be someone whose music I should seek out. (I see that there are several CDs.) I thank you for this suggestion.


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## Portamento

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble 
4. Ferneyhough: String Quartet #6 (2010) 
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005) 
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01) 
10. Anderson: Book of Hours (2004) for ensemble and electronics 
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001) 
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000) 
17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002) 
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD

*24. LERDAHL: String Quartet #3* (2008/10)






"Fred Lerdahl, composer and theorist, has written three string quartets a cycle that are important to the literature for this medium in the 21st century. There is a pedagogic nature to the writing, as the pieces teach you what they are about as they go along, and they are written in spiral form, whereby each successive phrase, and quartet, is an elaboration or development on the previous.

"The third quartet starts with a rush of materials, almost as if it is in mid-phrase, which of course it almost is, as it is a final variation in this ever-expanding spiral of variations. But a twenty plus minute length can't be composed simply of one phrase and thus it is indeed formed of materials of widely differing emotive content, from angry bursts to internal gibberishings. It even has the first truly extended section of any of the three quartets, a perpetuo moto of sextuplets, that astonishingly provides the first stable and extended section of the entire cycle, even though it is a whirlwind of notes. It is immensely welcomed, if perhaps a little too late in its arrival. It is proceeded by expressionistic counterpoint, quick alternations of the highest and lowest registers, angular stabs from one instrument that seek to destroy the texture of the others, at which it succeeds. The atmosphere is dark and macabre. The piece finishes with a reversal of the opening chords of the first quartet (1978), a bit of very tidy housekeeping that certainly works to close off the cycle."

Poor Lerdahl has been a finalist for the Pulitzer Prize three separate times - even Shapey wasn't this unlucky! What's more is that all the works for which he was a finalist for were written in the 21st century. So, please, other than this string quartet, listen to _Time after Time_ (2000) and _Arches _(2010).

...we _need_ to start a petition to help Lerdahl win!


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## Kjetil Heggelund

I've been busy scrubbing my terrace and didn't listen to much music for some days. I'll try to catch up on some of these pieces and would like to promote Gabriela Lena Frank (1972) with this piece from 2016. "Walkabout: Concerto for Orchestra" I wanted to link her piece called "Inca Dances" for guitar and string quartet but didn't find any.
http://site-323590.bcvp0rtal.com/detail/videos/new-on-dso-replay/video/5330133056001/gabriela-lena-frank-walkabout:-concerto-for-orchestra?autoStart=true


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## Selby

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
_I'm very familiar with Reich's oeuvre. I enjoyed the piece, but that is typical of my experience of him. I will say, I don't find it particularly innovative. This isn't unique to my experience with Sir Reich, however. Many 20th Century composers that are still working, I find, have settled into their voices and their newer works feel kind of 'same-o.'_

16. Salonen: Dichotomie (2000)
_I'm always intrigued by new piano music, one of my genres of choice. I did not immediately connect to this but will likely return to it. I wish more composers were still working in the medium._

17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
_This was fantastic and engaging! Thank you so much for selecting it! I am likely going to purchase this album. Big thumbs up and why I am excited about this thread._

18. Kapustin: Cello Concerto #2, op. 103 (2002)
_So beautiful. I'm familiar with his piano music and was totally charmed by this piece. I love how his funky/jazzy/swingyness translates to the orchestra, still without losing that Russian accent. Great piece._

19. Sahebnassagh: Kava (2007) for setar and ensemble
_Fantastic. Can you provide any links about the composer? Simply 'googling' the name was ineffective for me._

20. Lachenmann: String Quartet #3 "Grido" (2001)
_Lachenmann's string quartets, to me, are similar to my experiences with Ferneyhough. I try. I have committed a lot of time and effort. They just do not win me over. I do, however, adore the JACK quartet. I sent them an email recently trying to sweet talk them into recording GF Haas' complete SQ cycle. I think they would be perfect. Their Xenakis recordings are spiritual experiences._

21. Pavlova: Symphony #3 (2000)
_No complaints about the piece but it did not rivet me. Often compared to Alan Hovhaness, a favorite of mine, I've always expected to connect to Pavlova more than I do. I'll keep returning the works, though._

22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
_The spirit of Stockhausen is haunting Youtube. He is the ghost in the machine. _

23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
_I enjoyed this. It very much reminded me of Kaija Saariaho. That is a compliment._

24. LERDAHL: String Quartet #3 (2008/10)
_Totally new to me. Upon first listen I agree that this cycle seems important to the SQ literature. I'll return and listen to the other pieces._

25. Lena Frank: Walkabout: Concerto for Orchestra (2016)
_I'll admit that I've been binge listening to catch up... So, that this with a grain of salt, but, I simply didn't connect to this._

Thanks for all the new music everyone!!

What are people thinking about making second recommendations? Does it feel appropriate at this point or should I wait a little longer?

thanks


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## Portamento

Selby said:


> What are people thinking about making second recommendations? Does it feel appropriate at this point or should I wait a little longer?


I've made 4, so you are not crossing _any _line whatsoever with a second recommendation.


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## 20centrfuge

Selby said:


> 17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
> _This was fantastic and engaging! Thank you so much for selecting it! I am likely going to purchase this album. Big thumbs up and why I am excited about this thread._


I am soo glad you liked it! I've been really thrilled with it and I am looking forward to exploring this composer. He wrote a piece called "up-close" that is a movie and interactive performance experience. Check it out on youtube if you are inclined. It is really cool.



> 20. Lachenmann: String Quartet #3 "Grido" (2001)
> Lachenmann's string quartets, to me, are similar to my experiences with Ferneyhough. I try. I have committed a lot of time and effort. They just do not win me over. I do, however, adore the JACK quartet. I sent them an email recently trying to sweet talk them into recording GF Haas' complete SQ cycle. I think they would be perfect. Their Xenakis recordings are spiritual experiences.


Thank you for your recommendation of the Xenakis SQ's. I have never heard them.



> 22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
> The spirit of Stockhausen is haunting Youtube. He is the ghost in the machine.


Funny post!

----------------

Anyhoo, I think you are good to submit a work any time. We have had about 15 people submit works, but only about 10-12 regulars, so I think if everyone posts a work at least every 15 or so, it will keep things moving.


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## Selby

Thanks for the encouragement!

26. Tabakova: Frozen River Flows (2005) for violin, accordian & double bass

YT: 



Performers: Roman Mints, Raimondas Sviackevičius, Donatas Bagurskas

Dobrinka Tabakova, born 1980, Plovdiv, Bulgaria, is a young composer that I have been championing for a long time here on TC. There were limited choices available on YT, but, all of the pieces on her EMC release String Paths are worth while. I selected this piece because it is short, a good introduction to Tabakova's voice, and because it came directly from her recorded album. Caution, the video is not appropriately titled - 'String Paths' is the name of the album but not an actual piece on it, the piece is Frozen River Flows (2005); it is a short, tender, meditative, almost elegiac work. If you enjoy it, I highly recommend seeking out some of her larger compositions, like the Concerto for Cello and Strings.


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## 20centrfuge

*20. Lachenmann: String Quartet #3 "Grido" (2001)*
I like it and feel it deserves to be listened to a few more times before I can really come to terms with it.

*21. Pavlova: Symphony #3 (2000)*
Enjoyable but not really my cup of tea.

*22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]*
I like hearing just intonation. I think we would hear more of it in the acoustic world, but it is just too hard to pull off (just ask John Adams after he tried with the Darma at Big Sur). I agree that electronics are the way towards just intonation or other pitch systems.

*23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD*
Fun!

*24. LERDAHL: String Quartet #3 (2008/10)*
Superbly crafted music, the first time I listened I found it difficult, but I am literally typing while listening a second time and am enjoying it much more.

*25. Lena Frank: Walkabout: Concerto for Orchestra (2016)*
I enjoyed this. Very accessible music.

*26. Tabakova: Frozen River Flows*
It is VERY coincidental that you posted this piece. I had never heard of this composer until yesterday, but I read an article that mentioned her and I was checking her music out on youtube and heard this exact piece literally about 30 minutes before you posted it! I think the thing that I find most refreshing about her is that she seems to compose with her heart and for the sake of beauty without worrying about the academic establishment.

I also listened to her cello concerto and enjoyed it. I will check out more of her music.

I especially like this version that has the accordion (I heard another one as well) . That instrument sure is getting some attention by recent composers (Ruders, Grisey).


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## tortkis

I have been greatly enjoying this thread. I liked most of the pieces (already heard some of them). The ones I listened to for the first time and particularly liked are Sigurðsso (I liked the subtle lyricism. Purchased the album Ghost), Salonen (very nice postminimal piece), Gubaidulina (accordion adds interesting texture), and Charke (amazing). I used to like Kapustin and then got tired of his piano playing (it started sounding a bit too intense and inflexible), but I found the cello concerto no. 2 really good. The relentlessness is well expressed.

Michael Byron: In the Village of Hope (2013) for harp





recording info: http://www.coldbluemusic.com/pages/CB0043.html
composer website: http://www.michaelbyron.org/index.html

Michael Byron (b.1953) is an American composer, studied with Tenney and Teitelbaum, influenced by Peter Garland, Harold Budd, Lou Harrison, Robert Ashley, and David Rosenboom. In the Village of Hope is a beautiful piece, continuously drifting and floating, with complex rhythm structure and weaving melody lines.


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## mmsbls

Catching up here.

20. Lachenmann: String Quartet #3 "Grido" (2001)
I have similar problems with both Lachenmann and Ferneyhough. I can't seem to hear their music in a way that makes sense and is enjoyable. Maybe sometime.

21. Pavlova: Symphony #3 (2000)
I posted about this. I like much of her work including the Symphony No. 3.

22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
Interesting piece.

23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
After a couple of minutes listening, I found myself enjoying the electronically manipulated flute sounds and feeling that the live flute matched those sounds nicely.

24. LERDAHL: String Quartet #3 (2008/10)
I was trying to decide if I've heard any of his string quartets. Perhaps not, but I did enjoy this work and have made a note to look into his other quartets.

25. Lena Frank: Walkabout: Concerto for Orchestra (2016)
Following the orchestra on the walkabout was definitely enjoyable. I will look into more music from Frank.

26. Tabakova: Frozen River Flows
Tabakova is one of my favorite contemporary composers. As Selby said, all the works from _String Paths_ are wonderful. I especially love the Concerto for Cello and Strings (on this CD). Normally I'm not a fan of accordian, but this work blends the sound to produce a moving work.

27. Byron: In the Village of Hope (2013) for harp
Lovely, interesting, rhythmically fascinating. I don't know all Byron's influences, but at times I was reminded of Harrison while listening.


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## Trout

Since I've last posted, here are some thoughts on some of the more interesting pieces posted (in my opinion of course):

11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
This was very enjoyable, and I am glad to see Gubaidulina still composing at a very high caliber.

12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
What a great discovery! It was an amazing exploration of timbres with many sounds completely new to me. I have added this to my shortlist of favorites and I will definitely be exploring more from Pampin.

13. Chin: Violin Concerto (2001)
Beautiful and breathtaking, this has been one of my favorites for a while.

14. Norman: Play (2013/16)
I was less impressed hearing this piece for the second time. I thought it was very enjoyable and riveting when I first heard it a few months ago, but it seems more routine now. Level 2 kind of bores me actually and Level 3, while it sounds nice, seems a bit too derivative of Adams.

17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
The timbre of the soundtrack was kind of distracting, but otherwise a fun, rhythmic piece.

19. Sahebnassagh: Kava (2007) for setar and ensemble
Another nice discovery. I found it very beautiful, if just a tad too stagnant.

20. Lachenmann: String Quartet #3 "Grido" (2001)
Interesting that Lachenmann's and Ferneyhough's music appear to be equally unintelligible for some here, but I personally find Lachenmann's music a lot more enjoyable and understandable. While Ferneyhough crams so much into every measure of his music, Lachenmann does more with less, using space and dynamics in his music wonderfully. His string quartets (especially my favorite, Gran Torso) are wonderful examples of such. Grido is very delicate and engaging, even if it does not have the inventiveness and the overt brilliance of Gran Torso.

22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
I'm not entirely sure what to think of this, but it was definitely intriguing. Reminds me a bit of Ferrari's electronic pieces but without much contrast.

23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
I found it very quriky and it brought a smile to my face. Short and sweet.

24. Lerdahl: String Quartet #3 (2008/10)
I like it. It strikes a good balance between the old and new. Lerdahl is a composer new to me, so I'll perhaps investigate more.

27. Byron: In the Village of Hope (2013) for harp
Is that an unabashedly tonal piece I hear?? In the 21st century???
Kidding aside, it sounds lovely and somewhat redolent of some of the French impressionist harp pieces. It manages to sustain my attention for its full duration which is difficult for solo (non-piano) instrumental works longer than 15 or 20 minutes. It's very nice.

I was mostly lukewarm on the other pieces.


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## Phil loves classical

Trout said:


> 20. Lachenmann: String Quartet #3 "Grido" (2001)
> Interesting that *Lachenmann's and Ferneyhough's music* appear to be equally unintelligible for some here, but I personally find Lachenmann's music a lot more enjoyable and understandable. While Ferneyhough crams so much into every measure of his music, Lachenmann does more with less, using space and dynamics in his music wonderfully. His string quartets (especially my favorite, Gran Torso) are wonderful examples of such. Grido is very delicate and engaging, even if it does not have the inventiveness and the overt brilliance of Gran Torso.


Those are the most postmodern in a sense. I've read that, as with the case of postmodern poetry, you are not supposed to try to make sense of it, like fitting pieces of a jigsaw puzzle that the mind usually does with traditional art. It is meant to be experienced, just the sounds and words of themselves, and what they conjure up in your mind.


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## 20centrfuge

I'm ready for another work from you, Trout. We all seemed to really like the Anderson: Book of Hours.


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## Portamento

By the way, Sina, are we going to get to see the results of the two surveys you have conducted on this thread?


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## Trout

*Beat Furrer: Piano Concerto (2007)*






It is one of my favorite concertos for its fascinating timbres and exhilarating rhythmic drive. The piano part is very Ligetian with its frenetic exuberance and intensity. The orchestra swirls and swells around the piano's energy, creating some wonderful juxtapositions. It's delightfully diabolical.


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## 20centrfuge

I wish I knew why some pieces speak to me and others do not. It almost seems random at times. This Beat Furrer piece is probably in my top 5 from this thread. I just love it. I love that demonic pianism. It reminds me a bit of Ginastera. I love that the piece has variety in it and changes gears so that it isn't always predictable. 

The beginning is very interesting to me as well, in that you have predominantly very low piano notes and then really high string harmonics that act like a sort of spooky resonance. It is very cool. Thank you, Trout. And please keep 'em coming!


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## 20centrfuge

I find the Village of Hope to be one of those works that I have to remind myself to listen to and try to come to understand on it's own terms. I believe the piece is NOT primarily about pitch. It is primarily about rhythm. The pitch sequence seems largely pentatonic and as such, sounds like music that could be played as background in a Japanese garden. But then I read somewhere that there is very diverse rhythmic interplay between the 2 apparent parts (like Nancarrow?) and I started to focus on that. I also wonder if it is meant to be a sort of meditation, and not the type of music that you are supposed to focus on. I am going to give it a second listen to see if there is something I am missing, but so far, maybe I am just not in the zone on this piece.


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## Sina

Portamento said:


> By the way, Sina, are we going to get to see the results of the two surveys you have conducted on this thread?


Well I intended to wait until the opening of the third edition hoping to get more responses by then. But anyway that sounded like a false hope. Here are the results, and some explanations:
21st Century Listening Chain Poll Results
1. We had 10 respondents for the first, and 7 respondents for the second poll. Overall 10 respondents and all participated in the first. There is a second chart presenting stats on the participants (who has given the most points and how many works they have rated).
2. Some results turned out equal for some works. When works A and B are equal in average points and percentage but not in rank, the higher-ranked work has been a "favorite" of more respondents. In the only case when two works are in the same rank, the distribution of their votes have been all the same. And it is similar with the second chart: when two users are equal in given points, the higher-ranked user has more "favorite" works.

By the way, I wholeheartedly ask other fellows who seem to follow the thread but have not participated in the polls, to do it 
The First Edition (Works 1-10)
The Second Edition (Works 11-20)


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## Selby

28. Furrer: Piano Concerto (2007)

Yup. I have listened to this multiple times over the years and I absolutely took the opportunity to hear it again. Fantastic selection, Trout. I would say, of all the works nominated, I would feel confident that this piece is the most likely to be remembered into the 22nd century, likely followed by the works by Gubaidulina and Chin. Furrer has a really unique approach to piano writing, I find it engaging and almost flirty, while still being, as a few of you described it "diabolical." I liked 20centrfuge's comparison to Ginastera. Nicolas Hodges should be praised for championing living composers like Furrer and Ferneyhough. His solo works are also really valuable and there is a recording available from Hodges on Kairos.


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## Portamento

Sina said:


> Well I intended to wait until the opening of the third edition hoping to get more responses by then. But anyway that sounded like a false hope. Here are the results, and some explanations:
> 21st Century Listening Chain Poll Results
> 1. We had 10 respondents for the first, and 7 respondents for the second poll. Overall 10 respondents and all participated in the first. There is a second chart presenting stats on the participants (who has given the most points and how many works they have rated).
> 2. Some results turned out equal for some works. When works A and B are equal in average points and percentage but not in rank, the higher-ranked work has been a "favorite" of more respondents. In the only case when two works are in the same rank, the distribution of their votes have been all the same. And it is similar with the second chart: when two users are equal in given points, the higher-ranked user has more "favorite" works.
> 
> By the way, I wholeheartedly ask other fellows who seem to follow the thread but have not participated in the polls, to do it
> The First Edition (Works 1-10)
> The Second Edition (Works 11-20)


Interesting! I certainly would not have expected the Kapustin to place last...


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## Phil loves classical

Sina said:


> Well I intended to wait until the opening of the third edition hoping to get more responses by then. But anyway that sounded like a false hope. Here are the results, and some explanations:
> 21st Century Listening Chain Poll Results
> 1. We had 10 respondents for the first, and 7 respondents for the second poll. Overall 10 respondents and all participated in the first. There is a second chart presenting stats on the participants (who has given the most points and how many works they have rated).
> 2. Some results turned out equal for some works. When works A and B are equal in average points and percentage but not in rank, the higher-ranked work has been a "favorite" of more respondents. In the only case when two works are in the same rank, the distribution of their votes have been all the same. And it is similar with the second chart: when two users are equal in given points, the higher-ranked user has more "favorite" works.
> 
> By the way, I wholeheartedly ask other fellows who seem to follow the thread but have not participated in the polls, to do it
> The First Edition (Works 1-10)
> The Second Edition (Works 11-20)


My answer to pretty much all of the works would be "interesting somewhat, and wouldn't listen again", which is not one of the options, but would drag down all the scores anyway. So I figured it would be more beneficial if I just didn't take the survey. :lol:


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## Portamento

*I would encourage everyone to click on "Rate this thread" in the upper-right corner so that we can have a fancy five stars next to the thread when you see it in the forums (like Current Listening Vol I & II). This could also entice more people to participate.*


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## 20centrfuge

I'm going to submit my third: A tonal work that hearkens to earlier religious music but that has some contemporary elements in its use of portamentos. I think it is a very beautiful work and I hope you like it.

*Caleb Burhans: Magnificat (2013)*






The composer's name is Caleb Burhans. Here is his some of his bio:
http://www.calebburhans.com

_Caleb Burhans (b. 1980) is an established, multifaceted presence in the New York contemporary music scene who is active as both a performer (strings, voice) and composer. Hailed by the New York Times as, "animated and versatile," and, "New York's mohawked Mozart" by Time Out New York, Mr. Burhans specializes in baroque performance practice, contemporary music, rock/pop music, electronica and free improv. He has been commissioned by Lincoln Center, Carnegie Hall, Library of Congress and the Kronos Quartet, to name a few.. In 2009 Caleb was awarded the prestigious Annenberg Fellowship.

You can hear Caleb's music around the world at events like the Bang on a Can Marathon, Look and Listen Festival, Tribeca New Music Festival, Darmstadt Internationale Ferienkurse für Neue Musik, Open Days Festival (Denmark) and the Aspen Music Festival.

Burhans is a founding member of Alarm Will Sound, itsnotyouitsme, Signal and the Wordless Music Orchestra and he is also a member of ACME, Newspeak and the disco band Escort. Caleb has also worked with the BBC Symphony Orchestra, Charleston Symphony, LA Philharmonic, Madison Symphony, Milwaukee Symphony, Philadelphia Chamber Orchestra, Princeton Symphony, Rochester Philharmonic, St. Louis Symphony, the New York New Music Ensemble, Nexus, SO Percussion, Ethel, Flux, JACK, Wild Up!, Roomful of Teeth, St. Thomas Choir of Men and Boys, Trinity Wall Street Choir, Arcade Fire, The Hold Steady, Grizzly Bear, Deep Purple, tUnE-yArDs, Bruce Springsteen, John Legend, Jonsi (Sigur Ros), Paul McCartney, fun., The National, Jonny Greenwood (Radiohead) and Björk._


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## Phil loves classical

Here is an exotic piece. It is a Passion which combines Latin and African music with Classical commissioned to commemorate the 250th anniversary of Bach. This is a little overview. I wonder how Bach would have liked it. :lol:






Whole piece on Spotify:


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## 20centrfuge

Critical response to Golijov's Pasión:

_"Even though the audience was shocked for the innovative character of the composition, it was very well received by public and critics, with a 25-minute standing ovation in the premiere. The New York Times and The Boston Globe called it "a work of genius". The latter also added that "the Pasión will stand as the first indisputably great composition of the 21st century." Alex Ross, from The New Yorker, said about the piece: "It drops like a bomb on the belief that classical music is an exclusively European art." (From Wikipedia)_

--------------------

I find myself thinking at times: "this is classical!?"

It sounds like 15% classical and 85% Latino music.

But if I listen to the whole thing, especially the magical last movement, I find a strangely cohesive work that makes a cultural statement on art music that is worth hearing.


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## Omicron9

With everyone's kind patience, I'm going to share another Ferneyhough work. This is a quartet piece from 2007, and is somewhat less abstract than the 6th quartet that I previously shared.


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## Sina

Here we go:
The Third Poll for works 21-30
And the updated results
:tiphat:


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## Portamento

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble 
4. Ferneyhough: String Quartet #6 (2010) 
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005) 
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01) 
10. Anderson: Book of Hours (2004) for ensemble and electronics 
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001) 
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000) 
17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002) 
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet

32. *Dusapin*: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)






Just heard this today - and wow!

No further comments.


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## Casebearer

I'll add Michel van der Aa's Up-close for solo cello, string orchestra and film (2010), played by Sol Gabetta and the Amsterdam Sinfonietta.


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## Phil loves classical

Kjetil Heggelund said:


> I've been busy scrubbing my terrace and didn't listen to much music for some days. I'll try to catch up on some of these pieces and would like to promote Gabriela Lena Frank (1972) with this piece from 2016. "Walkabout: Concerto for Orchestra" I wanted to link her piece called "Inca Dances" for guitar and string quartet but didn't find any.
> http://site-323590.bcvp0rtal.com/detail/videos/new-on-dso-replay/video/5330133056001/gabriela-lena-frank-walkabout:-concerto-for-orchestra?autoStart=true


Wow, i found this to be my favourite by far. Easily my favourite work this century. A masterpiece in my view.


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## mmsbls

28. Furrer: Piano Concerto (2007)

Very nice. I had heard this a couple of times before, but I didn't hear the piano as I did this time. Whether it was percussive, light and fleeting, driving hard, or tender, the sounds blended much better (for me) with the orchestra giving a cohesive effect. This is a keeper.

29. Burhans: Magnificat (2013), for chorus and organ

I liked this. I will have to hear more works from Burhans to see if his style seems "from an earlier era".

30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra

I've heard this work before, and I think the Latin flavor is not really to my taste. There are nice parts, but I'm unlikely to try this again.

31. Ferneyhough: Dum transisset (2007), for string quartet

Unfortunately Ferneyhough is still, in some way, beyond me.

32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)

Parts of this work (especially near the beginning) seemed chaotic and "messy". Other parts were very enjoyable. I enjoyed it more and more as the work progressed. Maybe if I hear it again, the earlier parts will sound less messy.

33. van der Aa's Up-close for solo cello, string orchestra and film

I've heard (and seen) this before. I actually like the music, but for whatever reason, the film is a negative distraction.


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## 20centrfuge

Casebearer said:


> I'll add Michel van der Aa's Up-close for solo cello, string orchestra and film (2010), played by Sol Gabetta and the Amsterdam Sinfonietta.


Welcome to the group Casebearer! And a great selection!


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## Portamento

If i may :

Christophe Bertrand: Vertigo for 2 pianos and orchestra (2006/07)






This thread is completely new to me. Wow - what a wealth of information! I hope I can contribute with this piece !


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## Casebearer

Well, I've cheated a bit because I hadn't listened to any of the other contributions for lack of time. So now I've started with that, from zero, and here's what I think about the first 8 on the list. Mainly First impressions…

1.	Haas – In vain
I’ve listened for 12 minutes but so far I don’t like this approach to music that much. Too much oriented to creating an atmosphere/sound scape that has it’s effect on you as a listener but without the music itself being interesting imo. I know many of you think differently.
2.	Hans Abrahamsen – Let me tell you
I’ve heard this before because Becca posted it earlier on and I absolutely love it. Not just one of the most beautiful 21th century pieces but of all time. It reminds me of Richard Strauss in some ways. Same shivers.
3.	Sigurdsson - Ghosts
Great piece that sounds quite original. I like the dark string sounds and the rhythms.
4.	Ferneyhough – string quartet no. 6
Maybe for the sake of nostalgia but I like the way it sounds. Brings me back to the second half of the 20th century and memories of attending to music in concert at that time.
5.	Thomas Adès – violin concerto
It is very beautiful but does sound more first half of the 20th century to me. Not that I really care about that.
6.	Parra – Chamber symphony no. 3
In my opinion a great piece of music. It also sounds very original within the ‘complex’ genre. 
7.	Magnus Lindberg – Mano a mano
I don’t know what to say. It has many very beautiful parts and other parts that are not that striking. Also I almost feel I’m listening to a flamenco guitarist. Nothing wrong with that – I love flamenco – but I myself wouldn’t post it under ‘21th century classical’.
8.	Julia Wolfe’s – Steel hammer
Sounds too much as a musical/music for a theatrical piece to my ears. Although I like minimalism (Reich, Glass) I don’t like this type of repeating every three words four times in the same way.

So far Hans Abrahamsen and Sigurdson are my favorites but I still have some listening to do and I'm curious what else will come up.


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## Casebearer

I'll add another one and then stop for some time (i've read the OP). A great (film) opera by Louis Andriessen (without the film, so it can't distract ha ha) with main roles for Dante, Beatrice and Lucifer.

If you wanna read some more about it: https://en.wikipedia.org/wiki/La_Commedia


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## Kjetil Heggelund

Overload here  I tried to keep up. I've heard Byron, Furrer, Dusapin and Golijov. Of these La Pasion by Golijov is the piece that got my attention right away. Love it! Maybe I listened to the other pieces when I was in the mood for something else.


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## Casebearer

I'm continuing with this. First time I don't mind having a backlog...

9. Rihm – String Quartet no. 12
I’m a sucker for string quartets and I love this one as well. On the other hand it’s not intriguing enough for me to probably want to listen to it again.

10. Julian Anderson – Book of Hours
The YT-videos are not available and I’m not on Spotify so I can’t comment on the piece. I’ve listened briefly to other pieces that are available (like the Discovery of Heaven) and he sounds very interesting as a composer.
PS. Well, then I went on Spotify because I was curious. Book of Hours is a fascinating piece of music for the 10 minutes I listened. I’ll have to listen to it again and in full.

11. Gubaidulina – Triple Concerto
You only have to hear a few notes to recognize the class Gubaidulina is in. A class of her own. Wonderful!

12. Pampin – On space
Intriguing music (although I could only listen to the On Space part). And the sounds are absolutely gorgeous. 

13. Unsuk Chin – Violin concerto
I love what I’ve heard of her before. Her violin concerto is great and original.

14. Andrew Norman – Play
What a great background story. I was immediately fascinated and to me this seemed music that really incorporated 21th century developments into music, just reading about it. The music of our time should reflect our times and not stick to 20th or 19th century idiom. That being said I like the piece but it would be much stronger if it was much shorter, more like Webern.

So far my favorites are Gubaidulina, Abrahamsen, Anderson, Chin and Parra.


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## SuperTonic

Unfortunately I've gotten behind on this thread. I've been too busy lately for any exploratory listening. I do plan on going back and listening to as much as possible though and I'll come back and give my thoughts.

My next contribution to the thread is Irish composer Donnacha Dennehy's Crane. I first heard this work live when the Fort Worth Symphony performed it a few years ago. The composer was present at the performance and spoke to the audience about the work before it was performed.
Originally Dennehy had planned this to be a large scale "industrial ballet". At the time he was commissioned for the work Dublin was going through a construction boom and there were many industrial cranes scattered throughout the city. The plan was to choreograph movement of the cranes to the music and somehow incorporate those images into the premiere performance. Unfortunately he was never able to bring the project together logistically so it fell through, but his research did inspire him to create this shorter work.






Here are a few words from the composer about the work:


> One connection between the early vision and the final piece is, for me, particularly poignant. During research for the original concept, I visited a school for Crane operators in Blanchardstown, on the outskirts of Dublin, accompanied by the wonderful Indian/English choreographer Shobana Jeyasingh, who was to choreograph the crane movements. There we meta crane operator who was a fascinating character. Something he said never left me. I asked him what he enjoyed about being a crane operator and he said it was that when he ascended the massive collection of ladders to reach his cabin high up in the sky, he left all the worries and troubles of his life down on the ground and could "watch the whole world go by." The gentle crux of this often extremely energetic, intense piece, at the very end, is a kind of a musical translation of such an oasis in the sky.


Source: http://www.musicsalesclassical.com/composer/work/56535


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## SuperTonic

I've gone back and listened to everything I haven't heard yet in this thread. There's some great music here and several composers that I will be exploring further for sure. Some particular stand outs to me are van der Aa, Kapustin, Charke, Frank, Tabakova, and Furrer. The only ones I haven't made a connection with yet are the Ferneyhough and the Lachenmann. Much as others have mentioned in this thread, I've always struggled with both of these composers. I WANT to like them, but there just doesn't seem like anything to latch on to when listening. It's almost like information overload with them. I don't really know what to listen for.

I think my favorite so far is the Frank's Walkabout: Concerto for Orchestra.


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## 20centrfuge

_I know we are all a bit backlogged on listening, but we'll eventually get it sorted out, and find a rhythm to this thread. Anyway, I'd rather have too much enthusiasm than not enough!_

*Dusapin* - The fundamental nugget of the piece is very cool. But after a while, it feels like one of those pop songs that only has one good idea that it repeats over and over.

*Bertrand: Vertigo*. I liked it. Lots of descending scale patterns, and with a good balance between chaos and focus, it does achieve a sense of vertigo, but is still enjoyable.

*Andriessen.* I am a big fan, but with limited exposure. I know *De Staat*, and I feel like it is one of the great masterpieces of the last 50 years.

I actually would like to see the video that goes with La Commedia. Thanks for the introduction to this piece. I plan now to buy the DVD!

Haven't yet got to the Dennehy


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## Casebearer

De Staat is a masterpiece, I agree. La Commedia stands out as well in my opinion. You won't be sorry buying the dvd I'm sure, although I haven't seen it myself.


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## Phil loves classical

Wow, was blown away by this one:


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## 20centrfuge

I really like the Dennehy piece! Right up my alley. I'll check out more from this composer. Any suggestions?

Rihm: I both love and struggle with his music. He is lyrical and has an ear for wonderful music, BUT, musically speaking, he can't seem to stay in the same spot for more than a few seconds. It's like he has no attention span "SQUIRREL!" I feel like if he were a chef he would be making hundreds of one bite "amuse bouche" but never an entree. It kind of drives me crazy.

I read somewhere that his musical philosophy is to present 'complex emotion' -- I will agree that he does that, but sometimes I wish he would paint with broader strokes.


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## 20centrfuge

Casebearer said:


> De Staat is a masterpiece, I agree. La Commedia stands out as well in my opinion. You won't be sorry buying the dvd I'm sure, although I haven't seen it myself.


Just made the order today on Amazon!


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## Portamento

20centrfuge said:


> Rihm: I both love and struggle with his music. He is lyrical and has an ear for wonderful music, BUT, musically speaking, he can't seem to stay in the same spot for more than a few seconds. It's like he has no attention span "SQUIRREL!" I feel like if he were a chef he would be making hundreds of one bite "amuse bouche" but never an entree. It kind of drives me crazy.


Rihm and Kancheli..... two peas in a pod.


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## ST4

Portamento said:


> 1. Haas: in vain (2000)
> 2. Abrahamsen: let me tell you (2013), for soprano and orchestra
> 3. Sigurðsson: Ghosts (2013), for chamber ensemble
> 4. Ferneyhough: String Quartet #6 (2010)
> 5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
> 6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
> 7. Lindberg: Mano a mano (2004) for solo guitar
> 8. Wolfe: Steel Hammer (2009)
> 9. Rihm: String Quartet #12 (2000/01)
> 10. Anderson: Book of Hours (2004) for ensemble and electronics
> 11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
> 12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
> 13. Chin: Violin Concerto (2001)
> 14. Norman: Play (2013/16)
> 15. Reich: Double Sextet (2007)
> 16. Salonen: Dichotomie (2000)
> 17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
> 18. Kapustin: Cello Concerto #2, op. 103 (2002)
> 19. Sahebnassagh: Kava (2007) for setar and ensemble
> 20. Lachenmann: String Quartet #3 "Grido" (2001)
> 21. Pavlova: Symphony #3 (2000)
> 22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
> 23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
> 24. Lerdahl: String Quartet #3 (2008/10)
> 25. Frank: Walkabout: Concerto for Orchestra (2016)
> 26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
> 27. Byron: In the Village of Hope (2013), for harp
> 28. Furrer: Piano Concerto (2007)
> 29. Burhans: Magnificat (2013), for chorus and organ
> 30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
> 31. Ferneyhough: Dum transisset (2007), for string quartet
> 
> 32. *Dusapin*: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
> 
> 
> 
> 
> 
> 
> Just heard this today - and wow!
> 
> No further comments.


While I would be reluctant personally on a few works from composers on there I am very familiar with, that is quite a nice, comprehensive list


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## Portamento

ST4 said:


> While I would be reluctant personally on a few works from composers on there I am very familiar with, that is quite a nice, comprehensive list


I agree. I reckon this thread would be running out of contributions by around 60-70... but you never know! Either way, it will become a great resource for future users.


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## Sina

i like music said:


> I agree. I reckon this thread would be running out of contributions by around 60-70... but you never know! Either way, it will become a great resource for future users.


I hope that never happens and, as the enthusiasm is not going to wear off, nor this thread will.
So here's my next contribution

38. *Per Nørgård*: _Symphony No. 6 "At the End of the Day"_ (1999/2000)
There are two recordings available
*Thomas Dausgaard* on Chandos: Spotify; Youtube 1; Youtube 2
*John Storgårds* on Dacapo: Spotify; Youtube
The symphony was composed in response to a commission to celebrate the Millennium, and the premier took place in January 6 of the new year, and after another performance Nørgård revised the score. So I believe it well suits to be a link in the 21st century listening chain!


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## ST4

A couple that jump out at me: *Haas*, I think his cello concert and many opera works would take that spot for me. 
*Lachenmann*, I think the string quartets in particular are a huge accomplishment. 
*Lindberg*, I think the clarinet concerto or Kraft


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## 20centrfuge

Sina said:


> I hope that never happens and, as the enthusiasm is not going to wear off, nor this thread will!


Hell YES!!! I love this post!

We haven't even scratched the surface. Composers we haven't even touched: David Lang, Nico Muhly, Jennifer Higdon, Poul Ruders, Joan Tower, John Anthony Turnage, Christopher Rouse, Ellen Taafe Zwillich, Steven Stucky, Aaron Kernis, George Benjamin, James MacMillan, John Adams.......(could list dozens more)


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## mmsbls

i like music said:


> I agree. I reckon this thread would be running out of contributions by around 60-70... but you never know! Either way, it will become a great resource for future users.


I love the enthusiasm so far on this thread. I tend to agree with Sina and 20centrfuge. I think our problem so far has been works posted too quickly. I can't really complain about people wanting to suggest works since that what draws me to this thread, but I wonder if we tried in some way to limit new suggestions to 1 per day if people would have more time to listen and comment.

I do hope this thread continues for a long time.


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## mmsbls

Bertrand: Vertigo for 2 pianos and orchestra - I loved this work. The interplay between pianos is great and the orchestration adds wonderful moments. I really like his Satka as well. I'll have to listen to more from him.

Andriessen - This work is a bit long so I may not get to it. Others have mentioned De Staat, which is wonderful. I also love his Hout.

Dennehy: Crane - I was a bit rushed when listening to this work. I liked what I heard, but I'll have to hear more.

Rihm: Deus Passus - I definitely enjoyed this. Some really beautiful parts. 

Nørgård: Symphony No. 6 - I love Norgard and this work only adds to that feeling. His Symphony No. 3, Concerto in due tempi (piano concerto), and 2nd violin concerto are wonderful.


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## 20centrfuge

mmsbls said:


> I think our problem so far has been works posted too quickly. I can't really complain about people wanting to suggest works since that what draws me to this thread, but I wonder if we tried in some way to limit new suggestions to 1 per day if people would have more time to listen and comment.


I think one-a-day would be a good rule of thumb going forward. Part of our recent problem is that we had some contributions by people that I don't think realized that we're all actually listening to *everything*. I think they thought it was more of a 'share the recent greats' type thread. It resulted in the feeling of trying to eat an entire cow in one sitting.

*MMMMmmmm.....Coooowwww........*


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## Kjetil Heggelund

Good idea to limit to one per day! I'd like to hear them all and be a part of the thread even though I usually write short replies.


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## Art Rock

I love the idea of this thread, but coming late to the party, the backlog of "must listens" is getting a bit too much. How about posting one per day and in groups of ten? That way latecomers can jump in at say #41-50 and still participate - while exploring #1-40 at their leisure.


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## 20centrfuge

The original idea for latecomers was just to listen to the most recent five music posts and then to keep up from there.

But, honestly, each person can determine their own frequency and level of participation. The spirit of the thread is exploring and discussing together, but it's not a strict thing and there's certainly room for flexibility.


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## mmsbls

If we decide for 1 per day, we'll have to find a way to determine whose turn it is. The problem is that people could be be continually shut out when others post. If we wait for a particular person, they may not post.


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## 20centrfuge

Let's see how it goes. I'm hesitant to have assignments. It leaves less room for newbies and less flexibility for those that don't want to submit very often, and conversely, for those that like to submit a little more frequently.

In the event of getting shut out and never getting an opening to submit, someone could write "I'd like to submit a work tomorrow (or in two days, etc)" to gauge wether someone else may be thinking of it.

How does that sound?


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## ST4

I would do two threads personally:

A conversation thread (more or less like this) and a findings sort of blog-like thread.

Is that too confusing for people? it would work fine in the present at least... 

:tiphat:


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## mmsbls

I think 20centrfuge's idea of having people post that they want to submit a work should work well.


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## 20centrfuge

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet
32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
33. Van der Aa: Up Close (2010), for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07), for 2 pianos and orchestra 
35. Andriessen: La Commedia (2008), opera with film
36. Dennehy: Crane (2009)
37. Rihm: Deus Passus, "St. Luke Passion", (2000) oratorio for soloists, chorus and orchestra
38. Nørgård: Symphony No. 6 "At the End of the Day" (1999/2000)


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## ST4

Omicron9 said:


> With everyone's kind patience, I'm going to share another Ferneyhough work. This is a quartet piece from 2007, and is somewhat less abstract than the 6th quartet that I previously shared.


Heavily inspired/influenced by early composer Christopher Tye too! :tiphat:


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## Art Rock

I'd like to submit a work today or whenever appropriate. I'll work my way backwards through what's posted so far.


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## Art Rock

Got the go ahead.





39. de Raaf - Unisono for orchestra (2004)

Orchestra: Royal Concertgebouw Orchestra
Conductor: Ed Spanjaard

Robin de Raaff (1968) has been programmed relatively frequently over the past 10 years or so in Dutch concerts.


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## Omicron9

Portamento said:


> 1. Haas: in vain (2000)
> 2. Abrahamsen: let me tell you (2013), for soprano and orchestra
> 3. Sigurðsson: Ghosts (2013), for chamber ensemble
> 4. Ferneyhough: String Quartet #6 (2010)
> 5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
> 6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
> 7. Lindberg: Mano a mano (2004) for solo guitar
> 8. Wolfe: Steel Hammer (2009)
> 9. Rihm: String Quartet #12 (2000/01)
> 10. Anderson: Book of Hours (2004) for ensemble and electronics
> 11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
> 12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
> 13. Chin: Violin Concerto (2001)
> 14. Norman: Play (2013/16)
> 15. Reich: Double Sextet (2007)
> 16. Salonen: Dichotomie (2000)
> 17. Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
> 18. Kapustin: Cello Concerto #2, op. 103 (2002)
> 19. Sahebnassagh: Kava (2007) for setar and ensemble
> 20. Lachenmann: String Quartet #3 "Grido" (2001)
> 21. Pavlova: Symphony #3 (2000)
> 22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
> 23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
> 24. Lerdahl: String Quartet #3 (2008/10)
> 25. Frank: Walkabout: Concerto for Orchestra (2016)
> 26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
> 27. Byron: In the Village of Hope (2013), for harp
> 28. Furrer: Piano Concerto (2007)
> 29. Burhans: Magnificat (2013), for chorus and organ
> 30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
> 31. Ferneyhough: Dum transisset (2007), for string quartet
> 
> 32. *Dusapin*: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
> 
> 
> 
> 
> 
> 
> Just heard this today - and wow!
> 
> No further comments.


Agreed on the Dusapin; thanks for sharing it.

-09


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## Omicron9

If I might again contribute to this fine thread: relating to the previous posting of Per Nørgård (a highly underrated composer IMHO), I submit his String Quartet No. 10 (2005).






Edit: Dang, I just started reading backwards and realized the rules for this thread have changed. Please feel free to remove this post if this is out of line with the new suggested posting procedure.

Thanks,
-09


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## 20centrfuge

We can just consider it a posting for tomorrow, Omicron9, and suggest that nobody submit a work tomorrow.


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## Sina

With the 40th work submitted, the 4th edition of the polls is now underway, and again I invite more participation for the previous ones 
Works 1-10
Works 11-20
Works 21-30
Works 31-40
And here are the results so far in details and added charts.
Also, I compiled a sorted list of works for reference and kind of a guide for newcomers.


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## 20centrfuge

I'm enjoying very much the de Raaf - Unisono. We've had three Dutch composers submitted so far (to my knowledge) and they have all been really strong. It makes me think that perhaps the Netherlands is one of the leading centers of contemporary music.

I'm on my second time through the de Raaf piece. It is really great. I'd put it in my top ten so far for sure.


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## mmsbls

de Raaf: Unisono for orchestra - I enjoyed this work especially the beginning portion with the rising scales in varying timbres. I was unfamiliar with de Raaf. I've added him to my seemingly never ending list of composers and works to explore. 

Per Nørgård: String Quartet No. 10 - I enjoy much of what I've heard from Norgard. I think I've listened to one or more quartets, but I can't remember which ones. I definitely enjoyed this one and will listen to others.


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## mmsbls

I'll submit Penderecki's String Quartet No. 3 (Leaves from an Unwritten Diary) (2008). I love much of Penderecki's work.

Hopefully there's a long way to go with this thread. I was trying to decide whether to submit works I felt would be better known or from more obscure composers. If we go long enough, there will be plenty of time for both.


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## Nereffid

Sina said:


> With the 40th work submitted, the 4th edition of the polls is now underway, and again I invite more participation for the previous ones
> Works 1-10
> Works 11-20
> Works 21-30
> Works 31-40
> And here are the results so far in details and added charts.
> Also, I compiled a sorted list of works for reference and kind of a guide for newcomers.


Thank you for this "added value". I promise I will catch up with my listening and vote accordingly, but it will take a while!

Intriguing that Reich's work is the only one to score no 3s but did well on 4s - does this make him a "polarizing" composer?


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## Portamento

Man, I'm on TC just to check up on this thread...

Jonathan Harvey hasn't been mentioned.

*String Trio (2004)*

The composer writes of his piece:

"Having now written four string quartets, writing a string trio has felt rather an exposing medium. There is even less possibility of 'ensemble' texture than in a quartet, every note and sound is an individual assertion, strongly expressive almost in the way that a solo is. On the other hand, that can be quite a liberating situation: it is no longer so necessary to think vertically. The three players can pull apart and meet up at certain places. We can leave the current paradigm of the recording-studio performances we find everywhere, in which the excitement of horizontal, soloistic freedom is jettisoned for the convenience of splices which must always be of similar little takes, together in the same way each time. In composing we suffer from the same vertical thinking if we use computer-scoring, where two simultaneous and different time-worlds can scarcely be comprehended by the proscriptive program, which thereby imposes vertical strait-jackets.

So, writing my score in pencil, I sometimes exploit soloistic playing modes of simultaneously different tempi and style. In particular, there are two main (and contrasting) types of music - the rustic and the sacred. The rustic is folkloristic, and the sacred is derived from my liturgical drama Passion and Resurrection - the music associated with the discovery of the empty tomb on Easter Sunday.

The collision of these two moods is the energising spark of this fifteen-minute work, written at the request of Harry Vogt for the Witten Festival to be played by Ensemble Recherche."


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## 20centrfuge

Portamento said:


> Man, I'm on TC just to check up on this thread...


Me, too! I practically live for this thread. I just wait around for someone to post a new work that I can explore. It's like my daily bread, my manna from Heaven.

It'll sound silly perhaps, but I really appreciate all of you for your adventurous spirit and for the collaborative nature of this thread. It seems like a rare thing to get a group of people together that are willing to collectively listen to new music and to be willing to give up some control over the music that is selected.

To me, this is one of our strong points, though. If I go to a restaurant and only ever order what I think looks good, I might miss out on flavor combinations that are greater than I ever imagined. This thread, to some extent, is like going to a restaurant and saying to the waiter, or chef, "you pick what I eat" and leaving the experience open.

So anyway, my hats off to all of you!
:tiphat:


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## Phil loves classical

Sina said:


> With the 40th work submitted, the 4th edition of the polls is now underway, and again I invite more participation for the previous ones
> Works 1-10
> Works 11-20
> Works 21-30
> Works 31-40
> And here are the results so far in details and added charts.
> Also, I compiled a sorted list of works for reference and kind of a guide for newcomers.


Wow, I used to think I was a die-hard contrmporary music fan. Looks like I'm the black sheep of the bunch. :devil:


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## Kjetil Heggelund

I'm still catching up! Heard Nørgård's pieces, that I always like, and de Raaff, which was surprisingly nice (since he was unknown to me). Now I'm hearing Gubaidulina, that I always like as well. Of the pieces here I actually got most excited about Golijov, which is absolutely not like typical classical music at all  I will give my points as I go along. Cheers from Norway!


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## 20centrfuge

Ended up listening to the Norgard quartet several times. My favorite so far by this composer. Once upon a time I spent about a week trying to "get" his Symphony no.3 and ultimately failed, so it was nice to come to terms with one of his works in this SQ.

I don't know Penderecki's music well. This string quartet was enjoyable, but didn't hook me.

Still working my way through all of the Rihm Deus Passus

Harvey: He gets into typical ethereal/spacey Harvey through the bulk of the piece. I just don't get quite why he started the way he did: with a fake tuning and a quasi hoedown that quickly dies away. It seems odd though I can hear that occasional sparks of that hoedown come back periodically.


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## Portamento

20centrfuge said:


> Harvey: He gets into typical ethereal/spacey Harvey through the bulk of the piece. I just don't get quite why he started the way he did: with a fake tuning and a quasi hoedown that quickly dies away. It seems odd though I can hear that occasional sparks of that hoedown come back periodically.


Interesting, I thought that was weird too. But the rest of it was so good that by the end I forgot all about it!


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## StDior

I would like to nominate Bent Sørensen's Phantasmagoria this time. A very nice memory from the TC Top 125 recommended piano trio project.


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## 20centrfuge

*21st Century Listening Chain - Guidelines Update*

_If unfamiliar with the premise of this thread, please refer to the very first post. This is simply a review of guidelines with recent changes as discussed._

This exercise is all about exploring and sharing. *The spirit of the process is more important than the letter of the law.* But in general, please follow these guidelines:

_1. To help participants not feel too overwhelmed, try to keep each entry to an average of 20 minutes (or less). This may mean only submitting a movement or excerpt of a longer work. Of course complete/longer works can be submitted, but keep in mind that longer works will tend to bog down the thread.

2. To keep the amount of musical material to a manageable level, let's limit the number of musical submissions on the thread to one per day (2 per day if the works are very short). If you are concerned about someone submitting before you get a chance on any given day, just inform in advance that you are intending to submit a work.

3. New participants are always welcome. If you enter the exercise when the list is long, we ask that you listen to the most recent 5 musical submissions before submitting a work. After that we hope you will keep listening and participating with the rest of us. Other previously submitted works can be ignored or explored at your leisure.

3. Space out your entries. Each person has different tastes and points of view, so it is more enjoyable if we get a lot of diverse entries.

4. Let's limit all entries to music of the 21st century.

5. Please tell us about the music we are going to listen to: why you are submitting it, composer background, composition techniques, program notes, etc.

6. Remember that this is a discussion thread as well as a listening thread, so please post your thoughts on the music you listen to. Whether they be positive or negative, any thoughts tend to generate discussion and insight into the music.

7. Lastly, please participate in Sina's surveys. They are a great way for us to gauge the interest of participants. Thanks Sina!_


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## Portamento

Phantasmagoria is pretty short so I will recommend:

Tan Dun - Internet Symphony: Eroica (for orchestra) (2009)






Go to around 2:35 to skip Tan Dun's little talk.

Interesting piece - only around 5 minutes, but packs a punch,


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## Melvin

I've been skimming through the posts trying to catch up! I'm at about 60% right now. So many great composers to explore thanks everyone!

Here's an exciting young composer I haven't seen mentioned yet:
*Guillaume Connesson*

I'm giving 4 short pieces that sum up to less than 25 minutes. Hope that's ok! But if needed we could just say the main piece here is "Aleph" I suppose.

Cosmic Trilogy, Part I: Aleph





mvmnt III of Concertino pour piano~





Piano concerto: 'The Shining One'





Techno Parade - for piano, flute, and clarinet





I think many will enjoy! Reminiscent of Ravel. Themes of outer space. Syncopated funk rhythms of James Brown. Full of brilliant melodies. I enjoy very much. I recommend also the album containing 'Lucifer' and the Cello Concerto if you would like to hear more.


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## 20centrfuge

Sounds good, Melvin. We'll consider those all as tomorrow's submission and ask everyone for no more entries tomorrow. Also, I'd like to submit a work the following day if that's alright with everyone.

I'm excited to hear these recent works!


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## 20centrfuge

I've been listening to this French composer, Connesson, a lot today with Melvin's links. I also read this about Connesson on Wikipedia:

_"As a composer, he asserts influences as various as François Couperin, Richard Wagner, Richard Strauss, Claude Debussy, Maurice Ravel, Igor Stravinsky, Olivier Messiaen for the Turangalîla-Symphonie and Saint François d'Assise, Henri Dutilleux for his Métaboles, Steve Reich and also John Adams but also movie composers such as Bernard Herrmann or John Williams or the funk style of James Brown."_

Well, right there are names some of my favorite composers! As I have listened to the Cosmic Trilogy, I pick up a lot of influence by Ravel. In fact, I would say the Cosmic Trilogy might be considered a 21st century Daphnis and Chloe (?)

I like it a lot, especially Part II, which is some sumptuous writing.

Techno Parade (which would also make a great username) is also one that I have enjoyed a lot. It feels like it has some American influence with hints of minimalism and off-beat rhythms like John Adams used in his Chamber Symphony (3rd movement - Roadrunner) for example.

---------------------
Tan Dun - that piece would make a great encore for a touring orchestra. Lots of positive energy, cool percussion, and a catchy melody.

I know it is off the subject, but did you notice the late cymbal crash at at 6:46? :lol:

---------------------
As a tangent, I think at some point it would be interesting to have a thread specifically highlighting tonal music from the 21st century for those a-tonal haters out there who seem to remember their mother playing Schoenberg while beating them with a cast-iron frying pan. Maybe it will show them that the current musical landscape is actually quite diverse.


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## Art Rock

I've now listened to 31-40. I intend to keep up with the new posts and hopefully explore 1-30 in due course.

31. Ferneyhough - Dum transisset

String quartets are for me often the best way to appreciate a new contemporary composer, but I've found Ferneyhough a tough nut to crack. I have the Arditti Quartet CD with his fourth SQ, which appeals to me more than this piece.

32. Dusapin - String quartet 6

A new composer for me. I like the drive in this piece, alternated by short calmer passages. In the end though it does not give me the urge to explore this composer further.

33. van der Aa - Up-close

A new composer for me. I love the long solo cello intro, and the way the orchestra comes in. It keeps holding my attention throughout, definitely a piece I will come back to and a composer I will explore further. The film does not add anything for me, and its sounds distracted me.

34. Bertrand - Vertigo for 2 pianos and orchestra

A new composer for me. I liked this piece very much, the title is spot on. My runner up of this series of ten. On the "composers to explore further" list.

35. Andriessen [L] - La commedia

I have 7 CD's of L Andriessen, but not this opera. He's a composer who I like less than I expected when I started collecting his works (in fact I prefer his father's late romantic oeuvre). I stopped listening after 10 minutes, not for me (in general, contemporary opera is not my taste).

36. Dennehy - Crane

Video not available. I have one Dennehy CD that I like very much (with Dawn Upshaw), definitely a composer to explore further.

37. Rihm - Deus passus

I have a number of Rihm CDs, and my general impression is solid but in the end perhaps lacking something to make his work really interesting. I found this one of his best works I've heard though.

38. Norgard - Symphony 6

I have a number of Norgard CDs, including symphonies 3-5. Even his relatively famous third did not really click with me yet. 
Both these video's are not available.

39. de Raaff - Unisono
Intriguing piece, and I'm currently exploring more of his work (there's quite a lot on Youtube).

40. Norgard - String quartet 10

Now this is a Norgard I love. I'll explore his chamber music further. My favourite of these ten.


----------



## Sina

Art Rock said:


> 36. Dennehy - Crane
> 
> Video not available.





Art Rock said:


> 38. Norgard - Symphony 6
> 
> Both these video's are not available.


Most of the pieces are also available on Spotify, and since some Youtube videos might not be available in some countries It would be appreciated if with each submission we provide the Spotify link as well. If not, the listeners can always search on Spotify.
Here are the both works by Dennehy and Nørgård (Dausgaard and Storgårds)

Also, it would be really great I think if someone takes the responsibility to make playlists of submitted works on both Youtube (a channel perhaps) and Spotify.


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## Art Rock

Unfortunately, I'm not on Spotify....


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## Portamento

*YouTube playlist:*
https://www.youtube.com/playlist?list=PLJ90RXXnSVlPYO_RftFdaUMP3HrWQo-Vb

All contributions (except Frank's _Walkabout_, which is not available on YT) are present. Enjoy.


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## Melvin

20centrfuge said:


> As a tangent, I think at some point it would be interesting to have a thread specifically highlighting tonal music from the 21st century for those a-tonal haters out there who seem to remember their mother playing Schoenberg while beating them with a cast-iron frying pan. Maybe it will show them that the current musical landscape is actually quite diverse.


May be a good idea. But I don't think they should be segregated. I think anyone can learn to love atonal music with enough exposure and the will to do so. It took me about three years of force feeding myself before I could say that I genuinely enjoy it. But my line of logic was that I didn't want to miss out on 100+ years worth of music by saying atonalism is no good. If you choose to say it is no good and choose to dismiss it, then of course you will never like it. It's like learning a new language, it seems impossible at first, but eventually it starts to snap. It took me many years of dipping my toes in the water every so often, but I think I finally started really understanding it after I had sat through full performances of atonal pieces at the DSO, such as Ginastera's 1st piano concerto... But I am young, maybe you can't teach an old dog new tricks.

But that being said, this is not a bad idea at all. I can see why people wouldn't want to torture themselves!


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## Portamento

I want to keep tonal and atonal together. It's all 21st-century music, whether steeped in improvisational jazz like Kapustin's or "characterized by highly complex notation and... irregular nested rhythmic tuplets" as Ferneyhough's is. I hope that these two worlds will learn to co-exist on TC, because that is the way it is in real life. Also: making new threads tends to stretch participation thin. We have a good thing going, so let's keep it (fairly) centralized.

I am okay with different threads for each century, but types/styles of music _within_ each century? - that'd be like having seperate threads for pre- and 'post-Beethoven's death' 19th century!


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## 20centrfuge

Just to clarify, I'm not suggesting a music chain or anything like that. What we have here is perfect, and I agree 100% not to split hairs about tonal/atonal.

I was just thinking, that for those who won't listen to ANY new music for mortal fear of hearing a-tonal, that there might exist a thread simply listing the recent tonal works for those that that might interest. It could be called something like "The traditionalists guide to contemporary music" or something like that.

I personally totally agree with Melvin, that exposure to a-tonal is absolutely key, and has been in my case. I relish all new music, tonal, a-tonal, hybrid. I'm really just sifting for music of quality, beauty, and soul that connects with me on some level.

Anyhoo, it was just a passing thought to try to get some of our long lost classical brothers and sisters to find something in the new music realm.


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## Portamento

20centrfuge said:


> Just to clarify, I'm not suggesting a music chain or anything like that. What we have here is perfect, and I agree 100% not to split hairs about tonal/atonal.
> 
> I was just thinking, that for those who won't listen to ANY new music for mortal fear of hearing a-tonal, that there might exist a thread simply listing the recent tonal works for those that that might interest. It could be called something like "The traditionalists guide to contemporary music" or something like that.
> 
> I personally totally agree with Melvin, that exposure to a-tonal is absolutely key, and has been in my case. I relish all new music. I'm just looking for quality (and soul, frankly)
> 
> Anyhoo, it was just a passing thought to try to get some of our long lost classical brothers and sisters to find something in the new music realm.


That's an interesting idea. If we're going down this road, I'd say that once this chain has a good number of works (75-100) we can post all the tonal works on _The traditionalist's guide_ (not to single out atonal music as being worse). The chain can still continue, but that will be a savehaven for more conservative users to discuss contemporary music (if they want to). But that's the thing - most of them _don't_ want to. The vast majority dislike atonal music so much that they will avoid anything written in remotely the same time period. As Melvin says, "you can't teach an old dog new tricks." But maybe it's "you can't teach this _type_ of dog new tricks"? That's what my cynical side says, and Mr. Cynical is right all too often in this neck of the woods.


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## Melvin

On the other hand, yes there is a lot of good tonal music from the 21st century that many would enjoy, and is actually very accessible. All of this atonal stuff would have scarred me off of this thread while I was a younger listener, but I still would have enjoyed something like Connesson.


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## Portamento

Melvin said:


> On the other hand, yes there is a lot of good tonal music from the 21st century that many would enjoy, and is actually very accessible. All of this atonal stuff would have scarred me off of this thread while I was a younger listener, but I still would have enjoyed something like Connesson.


Exactly. What if you like some atonal music but can't stand hardcore modernists (Ferneyhough, Lachenmann)? Now we have to set custom definitions for clarity, and those stuck in the middle will be forced to jump between threads. Too much hassle, and for what gain?


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## DeepR

Haas - In Vain

I'm impressed with the sonic palette, the timbres and textures. Other than that it doesn't do much for me. But I'm going to be fair and listen again a few times.


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## 20centrfuge

DeepR said:


> Haas - In Vain
> 
> I'm impressed with the sonic palette, the timbres and textures. Other than that it doesn't do much for me. But I'm going to be fair and listen again a few times.


Welcome to the thread!


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## 20centrfuge

I've been waiting to share this one for a while. Poul Ruders is a Danish composer. His Symphony No.4 "Organ Symphony" is a bold work that utilizes the organ as a solo instrument that also lends depth and power to the brass section, and another dimension of color to the orchestra as a whole. There are 4 movements. Movement 1 is a slow prelude. Mvmnt 2 is labeled "cortege", which is defined as "a solemn procession, especially for a funeral." Movement 3 is a short interlude and Movement 4 is a chaconne -- as such you will hear a repeated melody (often in the background) throughout. Since Ruders was an organist earlier in his life, I imagine he played and knew quite well Bach passacaglia (similar to chaconnes).

Here are movements 2-4, duration ~ 21"

<Spotify Link Here>

*Poul Ruders: Symphony No.4, 2008*
















Here are the composers own program notes, if you are interested:

An organ Symphony

2008-2009

When introducing a large-scale symphonic work not only as a symphony, but as an organ symphony, it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns's famous Symphony no. 3, popularly known as the organ symphony. Well, that is a risk I am prepared to take - and live with the consequences.

Saint-Saëns, however, listed his work as a symphony avec/with organ. The organ only appears in two out of the four sections of the piece. In my symphony, the instrument plays a far more significant part and is features in all four movements. But it is not a concerto for organ and orchestra, rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So, an Organ Symphony it is.

The first movement, Prelude, is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up, side-by-side, getting to know one another.

The second movement, Cortége, is a slowly moving processional and it evokes extreme solemnity and austerity. Later on, the music takes flight and the atmosphere lightens considerably, a far more playful music emerging.

This leads to the third movement, Etude, an exercise in instrumental virtuosity and technical challenge.

The fourth and last movement is called Chaconne, but I could just a well have named it passacaglia (the definition of those two terms seems to blur, even among the learned). Bearing in mind the last movement of Johannes Brahms's Symphony no. 4, which is universally agreed on as being a passacaglia, I chose to avoid the Wrath of the Gods and opted for "chaconne" (also a nicer and less heavy word, I think).

In any case, both tiles indicate a composition progressing on the back of a doggedly repeated bass line, which eventually wedges its way up and into the middle and upper layers of the composition. In classical times, a passacaglia/chaconne was always in three quarter meter. Mine is in four quarter meter, and the tune, the so-called ostinato, opens the movement, not in the bass, as tradition dictates, but in the middle register, played by winds and strings. When the organ enters the picture a bit later, the build-up starts in earnest, reaching its peak at the conclusion, the coda of the movement.

There is, however, a little surprise, an almost inaudible turn of events at the very end.


----------



## KenOC

Listening to the Ruders Organ Symphony now. YouTube has a different performance, complete, in a single file. Good stuff!


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## Portamento

Since I've cheated a bit, this will be my last submission for a while.

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet
32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
33. Van der Aa: Up-close (2010) for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra 
35. Andriessen: La Commedia (2004/08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (St. Luke Passion) (1999/2000) for soli, mixed choir and orchestra
38. Nørgård: Symphony #6 "At the End of the Day" (1998/99)
39. Raaff: Unisono (2002/04) for large orchestra 
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet #3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007) for violin, cello and piano
44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
45. Connesson: Cosmic Triology (1997/2007)
46. Connesson: Piano Concertino (2013)
47. Connesson: Piano Concerto "The Shining One" (2009)
48. Connesson: Techno-parade (2002) for flute, clarinet and piano
49. Ruders: Symphony #4 (An Organ Symphony) (2008)

50. *Cleare:* _I should live in wires for leaving you behind_ (2014) for two pianists (1 piano) and two percussionists

Only on Vimeo:





How have I not heard of Ann Cleare until today?! The live performance is such a treat to watch (because I would have _no_ idea what is going on otherwise). I'll leave Sina to somehow categorize it (I guess "ensemble" or "chamber" works...).

EDIT: Happy 50th contribution! :trp::trp:


----------



## 20centrfuge

Portamento said:


> Since I've cheated a bit, this will be my last submission for a while.
> 
> EDIT: Happy 50th contribution! :trp::trp:


I say keep 'em coming!


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## 20centrfuge

Portamento gets #1 and #50! You get BINGO!!!!!


----------



## Melvin

Ann Cleare: spin a metal bowl on the floor and call it classical music. I think I could easily write a better one than this. Spin TWO metal bowls on the floor! Now I am a big famous composer at the height of the avant-garde!


----------



## Sina

Melvin said:


> Ann Cleare: spin a metal bowl on the floor and call it classical music. I think I could easily write a better one than this. Spin TWO metal bowls on the floor! Now I am a big famous composer at the height of the avant-garde!


If there will be people who'd enjoy your music, then whyfuckingnot?


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## Portamento

Melvin said:


> Ann Cleare: spin a metal bowl on the floor and call it classical music. I think I could easily write a better one than this. Spin TWO metal bowls on the floor! Now I am a big famous composer at the height of the avant-garde!


I mean... the rest of it was kinda cool.... This all has to do with the 'anything is music' idea that has made most avante-garde music contraversial. For me: if I enjoyed it, it's music. :tiphat: But I have to agree that ending was lame-o.


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## Portamento

This interview w/ Cleare may 'enlighten' some of us (haven't watched it yet):


----------



## Melvin

Sorry for throwing darts, it's all in jest you know. Anything goes on this thread. Bring it on I want to hear it! 
By the way just completed my concerto for spinning metal bowl. It will feature some interesting sounds such as tin foil in a microwave, and a trained singing dolphin. Portamento, I think you will love it! Now I just need to find some chumps who are willing to perform it for me...


----------



## Portamento

Melvin said:


> Sorry for throwing darts, it's all in jest you know. Anything goes on this thread. Bring it on I want to hear it!
> By the way just completed my concerto for spinning metal bowl. It will feature some interesting sounds such as tin foil in a microwave, and a trained singing dolphin. Portamento, I think you will love it! Now I just need to find some chumps who are willing to perform it for me...


I found those chumps you were looking for:
:lol::lol::lol:


----------



## Melvin

Sometimes I find myself listening to some odd "noise" music and inexplicably enjoying it. 
You're not that weird Portamento.
I'm going to post something on this thread soon I think by Simon Steen-Andersen.


----------



## Portamento

Melvin said:


> Sometimes I find myself listening to some odd "noise" music and inexplicably enjoying it.
> You're not that weird Portamento.
> I'm going to post something on this thread soon I think by Simon Steen-Andersen.


We're all weird, and that makes none of us weird (at least to each other).


----------



## mmsbls

We may want to consider Melvin's contribution as the one piece, Cosmic Trilogy, rather than the 4 works. The others are there to sample, but maybe the list would be:

44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
45. Connesson: Cosmic Triology (1997/2007)
46. Ruders: Symphony #4 (An Organ Symphony) (2008)
47. Cleare: I should live in wires for leaving you behind 

My thoughts on the works - 

Harvey: String Trio - This was a bit difficult for me. I enjoyed parts but overall I felt a bit removed from it.

Sorensen: Phantasmagoria - I had heard this from the Piano Trio list game. I'm not sure that I liked it much then, but I listened several times now and found it quite enjoyable. Parts were simply gorgeous.

Dun: Internet Symphony: Eroica - I liked the work but found much of it sounding conservative. That's not necessarily a bad thing, but in this case I tended to lose interest at times.

Connesson: Cosmic Trilogy - I had heard this before and I definitely enjoy the work especially the last movement. I also like other works by Connesson (e.g. Piano Concerto, Sextet).


----------



## Portamento

mmsbls said:


> We may want to consider Melvin's contribution as the one piece, Cosmic Trilogy, rather than the 4 works. The others are there to sample, but maybe the list would be:
> 
> 44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
> 45. Connesson: Cosmic Triology (1997/2007)
> 46. Ruders: Symphony #4 (An Organ Symphony) (2008)
> 47. Cleare: I should live in wires for leaving you behind


To quote Melvin, "if needed we could just say the main piece here is "Aleph" I suppose." I don't think that's needed. And, to my knowledge, he did submit four separate pieces (the reason being they are all relatively short).


----------



## Casebearer

I want to keep this thread pleasing me so I don't mind I'm having a backlog. It just means I'll be having enough to listen to.
So here's what I've been listening to tonight and what my impressions were.

*15. Steve Reich - Double Sextet*
Couldn't find the post in which it is introduced so I looked it up on YT. Decent piece by Reich but as I have been listening to Reich and Glass all evening, not that surprising as a whole. I like the slow, middle part best for it's beautiful melodies.

*16. Salonen's Dichotomie*
Video wasn't available. I've listened to Per Tengstrands version on YT. 
Great piece of music and this surely got me interested in Salonen as a composer. Nevertheless Mécanisme is not really what I'm looking for in 21th century music. Organisme is more to my liking in that respect but as a whole Dichotomie sounds 20th century-ish. I found his Helix for Orchestra from 2005 (which YT offered next; conducted by Gergiev) more surprising and exciting especially in the sound colours. 





*17. Van der Aa's Hysteresis*
I'm very sorry I'm not able to find it on YT. I would love to hear it as I like Van der Aa's work.

*18. Kapustin - Concerto II for cello and orchestra*
I'm not excited by this. To my ears it's an easy listening blend of outdated and not very exciting constituent parts. Kapustin chooses his sources in strands of classical music and jazz that don't interest me.

*19. Kiawasch Saheb-Nassagh - Kava*
It took me some minutes to adjust but then it grew on me and took me afloat. Beautiful. I would love to hear it live in concert.

*20. Lachenman - 3rd string quartet*
I'm not sure yet. Certainly worth another listen.


----------



## Sina

mmsbls said:


> We may want to consider Melvin's contribution as the one piece, Cosmic Trilogy, rather than the 4 works. The others are there to sample, but maybe the list would be:
> 
> 44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
> 45. Connesson: Cosmic Triology (1997/2007)
> 46. Ruders: Symphony #4 (An Organ Symphony) (2008)
> 47. Cleare: I should live in wires for leaving you behind


45. Guillaume Connesson - Cosmic Trilogy I: Aleph (2007) for orchestra
46. Guillaume Connesson - Piano Concertino (2013) for piano & chamber orchestra
47. Guillaume Connesson - Piano Concerto "The Shining One" (2009)
48. Guillaume Connesson - Techno-parade (2002) for flute, clarinet & piano

This is how I listed the works in the poll and added to the works list. I'm waiting for an agreement to be reached so I can publish the poll.


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## 20centrfuge

I originally thought all four, but I think it keeps our pattern intact if we just do the first one, and consider the other three as samplers like mmsbls suggests.

So, my vote is just the Cosmic Trilogy


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## 20centrfuge

BTW, I loved the Cleare piece, though part of me wonders if I would have enjoyed it as much if it weren't a video. There's something about the performance aspect that I found riveting.

I also was realizing that she doesn't use any drum rolls or really even mallets in the traditional sense. Everything is scratched, rubbed, dropped, spun, slapped, etc. (also the wires are never plucked!!) it results in a fascinating work of sound, and texture.

I also thought the spinning bowl at the end was genius. Everyone has to wait for the bowl to stop on its own. It becomes a gesture of randomness (duration not controlled by a human) and also instantly relatable to every audience member who has done that in their own kitchen.

Oh and here's the YOUTUBE link for it:


----------



## 20centrfuge

mmsbls said:


> We may want to consider Melvin's contribution as the one piece, Cosmic Trilogy, rather than the 4 works. The others are there to sample, but maybe the list would be:
> 
> 44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
> 45. Connesson: Cosmic Triology (1997/2007)
> 46. Ruders: Symphony #4 (An Organ Symphony) (2008)
> 47. Cleare: I should live in wires for leaving you behind


I can totally see this point of view. There is something about the pattern of not having more than one entry for the same composer at the same time.

But, the other part of me feels that by dropping the other three works, I am leaving my children at the gas station and driving away for good.

Oh, the ANGUISH!!!!!


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## 20centrfuge

20centrfuge said:


> Everything is scratched, rubbed, dropped, spun, slapped, etc.


reminds me of a date I had once


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## Portamento

20centrfuge said:


> I originally thought all four, but I think it keeps our pattern intact if we just do the first one, and consider the other three as samplers like mmsbls suggests.
> 
> So, my vote is just the Cosmic Trilogy


Aww, so I don't get bingo??


----------



## Art Rock

*34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra*

As a side note, the last two days I have been listening to most of his output available on YouTube (would be enough to fill 3 CD's). What a talent, and what a shame he took his own life. Thanks again for bringing him to my attention.

The coming days I will tackle 41-50.


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## Casebearer

I'm continuing my journey through earlier posts. Tonight I listened to these.

*21. Pavlova - Symphony nr. 3*
Beautiful music. But as Phil said it draws heavily on Tchaikovsky. It would make a great 19th century symphony but I would hardly call it 21th century music.

*22. Unknown - Just intonation …*
I find the sounds very intriguing, fresh and nice but musically I'm not won yet.

*23. Charke - WARNING*
Reading the liner notes presented by Nerefidd I was quite interested but, I'm sorry, it doesn't grab me.

*24. Lerdahl - String quartet no. 3*
As I said before I'm a sucker for string quartets. I love this one, it's very beautiful, also because it's dark and expressionist, two important qualities for musical enjoyment in my case. For some reason string quartets have a timeless abstract quality that makes it easier for me to ignore that the music sounds like it would have been composed in the days of Bartók. So it's great but maybe not that surprising.

*25. Gabriela Lena Frank - Walkabout*
I couldn't listen to the link (unable to download) but I looked for her on YT and found _Leyendas. An Andean Walkabout_. A different piece, but WOW, this is nice, different and convincing!


----------



## Portamento

Art Rock said:


> *34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra*
> 
> As a side note, the last two days I have been listening to most of his output available on YouTube (would be enough to fill 3 CD's). What a talent, and what a shame he took his own life. Thanks again for bringing him to my attention.
> 
> The coming days I will tackle 41-50.


Glad that you are enjoying Bertrand so much! I admit, I tend to stray away from composers and performers that took their own lives because I see their compositions as... suicide notes. I know, a bit silly of me! I'm sure that you've heard _Mana_ and _Scales_ - those are my other favorites.


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## mmsbls

I think maybe Sina is waiting for a sign on how to proceed with the polling. This thread is a bit more casual than other "voting" threads so I don't think the rules need to be strictly adhered to. Maybe since Portamento started the thread, he should just decide on whether to include all four of Connesson's works. 

We seemed to have hit a slowdown. Anyone interested should post another work.


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## Kjetil Heggelund

I have a piece in mind! Should I go for it now, even if I'm not up to date on several pieces?


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## mmsbls

Kjetil Heggelund said:


> I have a piece in mind! Should I go for it now, even if I'm not up to date on several pieces?


Sure. we haven't had a selection for a few days.


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## 20centrfuge

Yes. Please post. I believe the Connesson issue is resolved with one piece - the Cosmic Trilogy.


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## Kjetil Heggelund

Here it comes! I didn't listen to it for several months, but liked it a lot those times I heard it. TC members have voted it into the recommended listening thread "The Classical Music Project" a while ago. It's a Grawemeyer Award-winner, written in 2011!


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## Portamento

Now that there is no more confusion, an updated list:

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet
32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
33. Van der Aa: Up-close (2010) for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra 
35. Andriessen: La Commedia (2004/08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (St. Luke Passion) (1999/2000) for soli, mixed choir and orchestra
38. Nørgård: Symphony #6 "At the End of the Day" (1998/99)
39. Raaff: Unisono (2002/04) for large orchestra 
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet #3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007) for violin, cello and piano
44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
45. Connesson: Cosmic Triology (1997/2007)
46. Ruders: Symphony #4 (An Organ Symphony) (2008)
47. Cleare: I should live in wires for leaving you behind (2014) for two pianists (1 piano) and two percussionists
48. Zivkovic: On the Guarding of the Heart (2011)


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## 20centrfuge

When we get to 50, I think it would be interesting to hear each persons list of those pieces that have made an impact, were memorable, or that have become favorites.


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## Portamento

Roll? I don't roll. I'm not too obese yet... one cheesecake away, some would say.


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## 20centrfuge

Portamento said:


> I like that. Kind of like a little "tea party" before we push for 100.
> 
> (That was a _really_ weird analogy. Do me a favor and ignore it.)


Ha, ha, now we know how Portamento rolls!!!! :lol:


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## Casebearer

If I may, if it's my turn again, I would like to propose a new composer tomorrow.


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## 20centrfuge

Casebearer said:


> If I may, if it's my turn again, I would like to propose a new composer tomorrow.


Looking forward to it!


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## Melvin

*Matthew Taylor* - Violin Concerto. (2011)






Taylor has lately come to be one of my favorite composers to listen to. I really connect with his music, and I enjoy listening to it over and over again. His style seems to maintain traditional classical forms but with a modern idiom and approach. I think he is a worthy successor to the great 20th century English composers such as Tippet and Simpson. I think this thread will appreciate his music, and I'd love to bring attention to this genius composer and maestro.

Taylor's music has decent availability on CD with 3 records available on 'Toccata Classics' and a fourth on the 'Dutton' label. Taylor conducts in this video.


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## Casebearer

20centrfuge said:


> Looking forward to it!


Allright then. It's the (relatively) young Russian-born American composer Lera Auerbach. I find her very intriguing and powerful and love what I've heard of her. If you want to read something about her: https://en.wikipedia.org/wiki/Lera_Auerbach

I chose the relatively short piece _Dreams and whispers of Poseidon_ (2005). Somehow it doesn't sound short at all, it's full of life, changes and developments and I'll need to listen to it much more often myself.


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## 20centrfuge

*The FIRST 50!!

In 35 days of this thread, we've had 50 entries by 47 different composers.

When you get here, take a moment to look back over all 50:

Which ones will stick with you?
What has your experience been so far?*

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet
32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
33. Van der Aa: Up-close (2010) for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra 
35. Andriessen: La Commedia (2004/08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (St. Luke Passion) (1999/2000) for soli, mixed choir and orchestra
38. Nørgård: Symphony #6 "At the End of the Day" (1998/99)
39. Raaff: Unisono (2002/04) for large orchestra 
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet #3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007) for violin, cello and piano
44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
45. Connesson: Cosmic Triology (1997/2007)
46. Ruders: Symphony #4 (An Organ Symphony) (2008)
47. Cleare: I should live in wires for leaving you behind (2014) for two pianists (1 piano) and two percussionists
48. Zivkovic: On the Guarding of the Heart (2011)
49. Taylor: Violin Concerto (2011)
50. Auerbach: Dreams and whispers of Poseidon (2005)


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## 20centrfuge

I listened to the Taylor VC 3 times. The third time it really came into focus for me. I appreciate his musical language and thematic development. My favorite movement was number two - very beautiful. This is a composer I'm going to investigate more. Thanks for introducing him to me.


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## Portamento

_Where is Sina when you need them?_


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## Melvin

Glad you enjoyed the Taylor VC, centerfuge. I listened to it 3 times as well yesterday! His voice has matured nicely since his earlier opuses I think. I have one more to post, from this same concert: it is Matthew Taylor conducting a symphony by David Matthews, in much the similar vein. I love this neotonal stuff, it's exactly what I like, I really connect with it!


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## Portamento

Melvin said:


> Glad you enjoyed the Taylor VC, centerfuge. I listened to it 3 times as well yesterday! His voice has matured nicely since his earlier opuses I think. I have one more to post, from this same concert: it is Matthew Taylor conducting a symphony by David Matthews, in much the similar vein. I love this neotonal stuff, it's exactly what I like, I really connect with it!


I can connect with Stravinskian neoclassicism, but in the 21st century? - the anachronism is enough to keep me from fully appreciating the piece.


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## Melvin

out of 41-50 lots of good stuff. The Penderecki string quartet was excellent, as to be expected of this musical giant. I enjoyed the Harvey, although both of these fellows are truly 20th century composers.
Sørensen's Phantasmagoria trio is excellent I love it. I enjoyed the Dun, though it was short. The Ruders Organ symphony was very nice. The Zivkovic and Auerbach I must give more listens, but seem promising! Thanks contributors for all the great music!


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## Portamento

Melvin said:


> out of 41-50 lots of good stuff. The Penderecki string quartet was excellent, as to be expected of this musical giant. I enjoyed the Harvey, although *both of these fellows are truly 20th century composers.*
> Sørensen's Phantasmagoria trio is excellent I love it. I enjoyed the Dun, though it was short. The Ruders Organ symphony was very nice. The Zivkovic and Auerbach I must give more listens, but seem promising! Thanks contributors for all the great music!


Maybe, but the bulk of Harvey compositions that I enjoy have come from the 21st century.


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## Melvin

Portamento said:


> I can connect with Stravinskian neoclassicism, but in the 21st century? - the anachronism is enough to keep me from fully appreciating the piece.


It's the 21st century anything goes! And also, a lot of Taylor's earlier stuff is a quite a bit more tonaly free than in this particular piece, so I wouldn't call him anachronistic with out first considering a few of his other works. He's just doing what he likes to do, and that is to write great music! plus I consider it ever so refreshing to hear some composers returning to a more harmonious idiom. In the postmodern era I hope every thing can coexist.


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## Melvin

Upon listening to more Harvey pieces, I take back my prior statement. He has been extremely prolific in the 21st century, and has a very futuristic sound. RIP


----------



## Sina

Portamento said:


> _Where is Sina when you need them?_


:lol:

I'm sorry I was pretty busy last few days and could only listen to 3 of the last 10 works. But here is the 5th edition of the polls as well as the previous ones:
Works 1 to 10
Works 11 to 20
Works 21 to 30
Works 31 to 40
Works 41 to 50
Also the results and the sorted list of works which are to be updated.


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## 20centrfuge

I was trying to figure out what on earth I was hearing on that Auerbach piece. It turns out that it is a theremin. Here's a little clip illustrating this instrument. It's strange. It gives a vintage sci-fi quality to the music.






Regarding the music, I found it enjoyable, and rather cinematic sounding. This could easily work its way into a Poseidon movie.
Also, I stumbled across Auerbach's piece about Icarus. I like it even more. Thanks for the intro to this composer, Casebearer!


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## Phil loves classical

My favourites would have to be the Bertrand Vertigo, Frank Walkabout, Rihm Deus Passus, and Zivkovic On the Guarding of the Heart.


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## Melvin

20centrfuge said:


> I was trying to figure out what on earth I was hearing on that Auerbach piece.


Yeah! I was thinking of the sci-fi UFO sound effect!


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## 20centrfuge

Not sure where everyone is. The thread is sagging right now. I hope people are still into this. Please post some music!!!

Anyway, I'll post a work I recently heard that I like a lot by Martin Bresnick, entitled "Prayers Remain Forever," dated 2011 for cello and piano.

It is available on Spotify here:


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## Sina

I thought, and hoped, it was just the break after 50. So if it's OK I'm gonna post a work tomorrow.


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## mmsbls

I've been a bit busy, but in a couple of days I will post another work.


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## Art Rock

I'm still trying to keep up, in between my regular CD playing.....


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## 20centrfuge

C'mon people, this thread should be the MOST IMPORTANT THING IN YOUR LIFE!!! No more excuses for being busy! First comes this thread, then your family, then work, then everything else.

:lol:


----------



## Phil loves classical




----------



## Casebearer

20centrfuge said:


> I was trying to figure out what on earth I was hearing on that Auerbach piece. It turns out that it is a theremin. Here's a little clip illustrating this instrument. It's strange. It gives a vintage sci-fi quality to the music.
> 
> 
> 
> 
> 
> 
> Regarding the music, I found it enjoyable, and rather cinematic sounding. This could easily work its way into a Poseidon movie.
> Also, I stumbled across Auerbach's piece about Icarus. I like it even more. Thanks for the intro to this composer, Casebearer!


Glad you like it. Apart from the theremin (a fascinating instrument that I've encountered several times recently) the piece also has a musical saw! (Someone on YT wrote it's the only piece of music that has both :lol. I myself enjoyed her first symphony a lot as well but it was too long to post in this thread. So she doesn't seem to be a one day fly.


----------



## eugeneonagain

I just listened to this posted to George Gianopoulos's youtube channel. For solo violin. I generally listen to the new music posted there. To be honest I don't like it all that much, but I wonder what others here think.


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## 20centrfuge

Innurah for Violin - It fits roughly in the category of _difficult listening_ for me. I recognize the use of harmonic overtones and some other techniques that results in a fragile sounding work. It has some very beautiful moments and I would say on the whole that I like it.

Boulez: Phil has thrown down the gauntlet with this piece, but I'm going to rise to the challenge and give it 3 listens. It's been ages since I listened to Boulez, so it'll be a good exercise for me, and interesting to see how I connect with it.

Sina, I'd say go ahead and post your work whenever!


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## mmsbls

47. Cleare: I should live in wires for leaving you behind - This isn't really my type of music.

48. Zivkovic: On the Guarding of the Heart - I hadn't heard any Zivkovic before. This work definitely grew on me. 

49. Taylor: Violin Concerto - I listened twice. The second time I heard many beautiful parts and greatly enjoyed it. I will definitely follow up on Taylor.

50. Auerbach: Dreams and whispers of Poseidon - I like many of Auerbach's works (Dialogues on Stabat Mater, Symphony No. 1, 
Double Concerto	, Icarus – Symphonic Poem). I found Dreams enjoyable but not as compelling as some of her other works. 

51. Boulez: Derive 2 - I love Boulez. Enough said.


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## 20centrfuge

Don't forget Bresnick, mmsbls.

51. Bresnick
52. Boulez
53. Vanden Heuvel

*BRESNICK: PRAYERS REMAIN FOREVER, 2011*


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## mmsbls

I did miss that. I actually prefer links rather than embedded videos, but they are easier to miss. Thanks.


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## tortkis

Benjamin Vanden Heuvel: Innurah
This is an impressive music, strongly invoking an elegiac mood. Several techniques are utilized to express feelings of uncertainty and unstability. (That's what I felt.)

Martin Bresnick: Prayers Remain Forever
Very nice. Moderate repetition and dynamic movements are quite effective.

Boulez: Derive 2
I listened to this before multiple times. Sharp and gorgeous.


----------



## Sina

*54. Pierluigi Billone: Sgorgo (2012/13)*
A triptych for solo electric guitar, the 1st composed in 2012 and the next two composed in 2013, were released last year on Kairos:
Youtube: Sgorgo Y; Sgorgo N; Sgorgo oO
Whole album in one playlist: Youtube; Spotify
Live performance: Sgorgo Y; Sgorgo N
You can also read the booklet on Kairos website here.


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## Portamento

Sina said:


> *54. Pierluigi Billone: Sgorgo (2012/13)*
> A triptych for solo electric guitar, the 1st composed in 2012 and the next two composed in 2013, were released last year on Kairos:
> Youtube: Sgorgo Y; Sgorgo N; Sgorgo oO
> Whole album in one playlist: Youtube; Spotify
> Live performance: Sgorgo Y; Sgorgo N
> You can also read the booklet on Kairos website here.


I've been wanting to share this for a while now! Amazing work - I have the CD.


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## Portamento

The *YouTube playlist* has been updated as per the first 55* submissions.

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2013), for soprano and orchestra
3. Sigurðsson: Ghosts (2013), for chamber ensemble
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die Sekunde, for chamber orchestra (2008)
7. Lindberg: Mano a mano (2004) for solo guitar
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
11. Gubaidulina: Triple Concerto (2016) for violin, violoncello, bayan and orchestra
12. Pampin: On Space (2000/05) for percussion sextet and electronic surround sounds
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013/16)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007) for setar and ensemble
20. Lachenmann: String Quartet #3 "Grido" (2001)
21. Pavlova: Symphony #3 (2000)
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
23. Charke: WARNING! Gustnadoes Ahead (2008) for solo flute and CD
24. Lerdahl: String Quartet #3 (2008/10)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
27. Byron: In the Village of Hope (2013), for harp
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
31. Ferneyhough: Dum transisset (2007), for string quartet
32. Dusapin: String Quartet #6 "Hinterland" ("Hapax" for string quartet and orchestra) (2009)
33. Van der Aa: Up-close (2010) for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra 
35. Andriessen: La Commedia (2004/08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (St. Luke Passion) (1999/2000) for soli, mixed choir and orchestra
38. Nørgård: Symphony #6 "At the End of the Day" (1998/99)
39. Raaff: Unisono (2002/04) for large orchestra 
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet #3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007) for violin, cello and piano
44. Dun: Internet Symphony: Eroica (for orchestra) (2009)
45. Connesson: Cosmic Triology (1997/2007)
46. Ruders: Symphony #4 (An Organ Symphony) (2008)
47. Cleare: I should live in wires for leaving you behind (2014) for two pianists (1 piano) and two percussionists
48. Zivkovic: On the Guarding of the Heart (2011)
49. Taylor: Violin Concerto, op. 42 (2011)
50. Auerbach: Dreams and Whispers of Poseidon (2005) for orchestra
51. Bresnick: Prayers Remain Forever (2011)
52. Boulez: Dérive 2 (1988-2006/09)
53. (Vanden) Heuvel: Innurah (2017), for solo violin
54. Billone: Sgorgo Y. N. oO (2012/13)

55. *HARVEY: Messages* (2007), for chorus and orchestra*

YouTube (music starts at 3:53)

_Messages makes for a disquieting first impression-it's tempting to conclude that nothing really happens, at least nothing of substance. The sung text comprises a list of Judaic and Persian angels-144 of them, no less-which is intoned solemnly through music emanating from a pair of diatonic chords. Harvey's programme note (see below) cites the nine hierarchies of angels and the concomitant seven heavens, but while that starts to bespeak the kind of hieratic language one associates with Olivier Messiaen (and which is understandably off-putting to those of a more secular persuasion), there's precisely nothing in the music that makes either lists or numbers feel remotely relevant. In truth, the music seems semi-improvisatory, guided by the words which, in a sense, don't matter, being as they are merely the vehicle for a work that aspires to tap into and draw deeply on the transcendent heights of heaven in which these angelic forms are traditionally placed. The slow-moving, occasionally borderline-static choral movement is embedded within and borne aloft by opulent textures from the orchestra, encrusted with glinting percussion including the sparkling jangle of a cimbalom. There is a structure-or, at least, an order-of sorts in Messages, but Harvey's language is such that keeping hold of one's bearings often feels difficult, which is quite remarkable considering the work's sedate pace. The underlying triadic sense, arising from those two fundamental chords of E-flat and D-flat, results in a harmonic language that is at once familiar and alien (another echo of Messiaen), endlessly mobile, never resting for more than a moment; it's entirely fitting that a work so utterly focussed on the Msacred should sound comfortable and unsettling simultaneously. To mention Messiaen one more time, the piece as a whole brings to mind what Robert Sherlaw Johnson described as his "ecstatic" idiom, where a single idea is conveyed by a music that is transfixed by the dazzling light and intensity of its own inner profundity. Only in that sense, to return to my initial point, could Messages be described as a piece where nothing really happens; on the contrary, something is happening, but its scale and scope aspire to nothing less than the infinite._

In the composer's words:

"..._Messages_ is one of my favorite works; it's a very direct work that speaks from heart to heart, I think. And of course with the subject of angels' names, it had to have a certain purity of musical style (which I hope I have captured)."

I find this piece especially moving, considering that Harvey joined those angels a mere five years after its composition. It is very inspired music, and I hope it makes a better impression than his _String Trio_ did (although I thoroughly enjoy that work as well).


----------



## tortkis

These are the most memorable pieces among #28-50.

Dusapin: String Quartet #6 "Hinterland"
I have the recording. This is stunning.

Dennehy: Crane 
Powerful, Fascinating. I was reminded of Varèse, Antheil, Honegger, Mosolov. There is something enticing in massive machines.

Penderecki: String Quartet #3
Very good, expressive piece. (Since the sound of youtube clip was not so good, I purchased the track of Royal String Quartet's recording from Hyperion. Excellent performance.)

Sørensen: Phantasmagoria
This is one of the most beautiful, delicate pieces. Started with uncanny glissandi of strings, with piano occasionally interjecting lyricism, then all the voices are unified as one exquisite ensemble.

Ruders: Symphony #4
I think Ruders creates quite unique sound colors.

Zivkovic: On the Guarding of the Heart
Eerie soundscape intensifying toward the climax. Very interesting.

Bertrand, Furrer, Nørgård, Andriessen are also impressive. Cleare's piece is nice, but a bit too subtle.


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## 20centrfuge

Of the first 50, including the ones I submitted, and those that were already favorites...
*
These are the ones that made a big impact on me:*

2. Abrahamsen: let me tell you (2013), for soprano and orchestra 
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
13. Chin: Violin Concerto (2001)
17. Van der Aa: Hysteresis (2013) for solo clarinet, ensemble and soundtrack
22. [unknown] / acriel: "just intonation generative ambient in Pure Data" [2015]
26. Tabakova: Frozen River Flows (2005) for violin, accordion and double bass
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat (2013), for chorus and organ
30. Golijov: La Pasión según San Marcos (2000) for soloists, chorus and orchestra
36. Dennehy: Crane (2009)
46. Ruders: Symphony #4 (An Organ Symphony) (2008)
47. Cleare: I should live in wires for leaving you behind (2014) for two pianists (1 piano) and two percussionists

*And these are ones I feel I need to revisit a few more times, at least, but have real potential:*

1. Haas: in vain (2000)
9. Rihm: String Quartet #12 (2000/01)
10. Anderson: Book of Hours (2004) for ensemble and electronics
33. Van der Aa: Up-close (2010) for solo cello, string orchestra and film
34. Bertrand: Vertigo (2006/07) for 2 pianos and orchestra 
35. Andriessen: La Commedia (2004/08)
37. Rihm: DEUS PASSUS (St. Luke Passion) (1999/2000) for soli, mixed choir and orchestra
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
49. Taylor: Violin Concerto (2011)
50. Auerbach: Dreams and whispers of Poseidon (2005)


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## Casebearer

mmsbls said:


> 47. Cleare: I should live in wires for leaving you behind - This isn't really my type of music.
> 
> 48. Zivkovic: On the Guarding of the Heart - I hadn't heard any Zivkovic before. This work definitely grew on me.
> 
> 49. Taylor: Violin Concerto - I listened twice. The second time I heard many beautiful parts and greatly enjoyed it. I will definitely follow up on Taylor.
> 
> 50. Auerbach: Dreams and whispers of Poseidon - I like many of Auerbach's works (Dialogues on Stabat Mater, Symphony No. 1,
> Double Concerto	, Icarus - Symphonic Poem). I found Dreams enjoyable but not as compelling as some of her other works.
> 
> 51. Boulez: Derive 2 - I love Boulez. Enough said.


The reaction by mmsbls on Auerbach is what I was afraid for a little bit: not her best piece.

Dreams and whispers of Poseidon is a beautiful piece - or else I would not have chosen it - but it may not be her best piece I agree. I chose it partly because my former post (La Commedia by Andriessen) is almost two hours and we were asked to post short pieces. So what do we want here? Posting short pieces to keep keeping up manageable or posting 'the best' pieces regardless of length. I myself would prefer the last. Everybody can decide for themselves how long they want to listen.


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## 20centrfuge

Casebearer, why not submit another Auerbach? What's her "best?"

What you say is true: people can always decide how long they will listen.


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## tortkis

Personally, I prefer the original rules and like that members casually post recommended short pieces which they find interesting, not so much concerning whether they are the best or not. But I am not too particular about this.


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## 20centrfuge

tortkis said:


> Personally, I prefer the original rules and like that members casually post recommended short pieces which they find interesting, not so much concerning whether they are the best or not. But I am not too particular about this.


I agree with everything you said 100%.

I think this thread has room for everybody, and if a long work is important to someone, by all means post it. For my part, I like submitting relatively focused shorter works or segments of music. I also try to always share music that I'm passionate about.


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## mmsbls

Casebearer said:


> Dreams and whispers of Poseidon is a beautiful piece - or else I would not have chosen it - but it may not be her best piece I agree. I chose it partly because my former post (La Commedia by Andriessen) is almost two hours and we were asked to post short pieces. So what do we want here? Posting short pieces to keep keeping up manageable or posting 'the best' pieces regardless of length. I myself would prefer the last. Everybody can decide for themselves how long they want to listen.


I agree this is a potential issue. There are many games on TC where participants vote or in some way evaluate works. If one knows the work, the length does not matter, but if one does not know the work, one must hear it first. For much music that's not much of a problem, but for long works it can be a disincentive to listen. Unfortunately that can exclude some wonderful music. I don't know a good solution.

I will say that the guideline to submit works of manageable length is useful, but anything under 40-45 minutes is fine for me. I know others may find that length prohibitive especially if most works are that long.

In this thread I sometimes like to include other works I enjoy from a given composer when I talk about a piece so people can sample them if they wish.


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## mmsbls

We've gone a couple of days without a submission so I'll suggest a work by Charles Wuorinen.

56. Charles Wourinen: Second Piano Quintet (2008)

It took me awhile to like Wourinen's works. Several members repeatedly suggested his First Piano Quintet and Microsymphony as wonderful works. I listened several times without much success until I started to hear the works differently. I probably would have submitted the Microsymphony, but it was composed in 1992.


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## Casebearer

mmsbls said:


> I agree this is a potential issue. There are many games on TC where participants vote or in some way evaluate works. If one knows the work, the length does not matter, but if one does not know the work, one must hear it first. For much music that's not much of a problem, but for long works it can be a disincentive to listen. Unfortunately that can exclude some wonderful music. I don't know a good solution.
> 
> I will say that the guideline to submit works of manageable length is useful, but anything under 40-45 minutes is fine for me. I know others may find that length prohibitive especially if most works are that long.
> 
> In this thread I sometimes like to include other works I enjoy from a given composer when I talk about a piece so people can sample them if they wish.


Right. I don't have a solution as well. I think the problem arises because the thread is now set up to serve two goals:
(1) introduce people to 21th century classical pieces and composers (keep it short please!)
(2) evaluate what we as a community find the most interesting pieces and/or composers (length should be of no regard)


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## Portamento

Casebearer said:


> Right. I don't have a solution as well. I think the problem arises because the thread is now set up to serve two goals:
> (1) introduce people to 21th century classical pieces and composers (keep it short please!)
> (2) evaluate what we as a community find the most interesting pieces and/or composers (length should be of no regard)


I agree that these two goals contradict each other. I opt for (2), but don't have a real preference.


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## 20centrfuge

I want to like Boulez, but I just find my mind wandering. In sincerity, please help me by suggesting how you listen to Boulez. Is it about sensing rhythm, is it more about energy levels, colors? Should I learn it to the point of being able to "sing along" to truly appreciate?

Billone- this is a very cool piece. It's like another planet. The electric inducuced resonance, decay. The pitch bends. I plan to live with this one for a while, but am really enjoying what I've heard so far.


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## mmsbls

I wanted to like Boulez for a long time as well. His music just didn't make sense and didn't click at all. I found a video with him discussing his work, _Sur Incises_, as members of the ensemble played very short portions, and the video helped me enormously. Unfortunately I can't find the video (or it's now private). When I listen to Mozart, I listen for extended phrases and melodies. With Boulez I listen to very short motifs, blends of timbres, bursts of sound. Each short segment seems almost isolated as I hear one and then another. I feel much more in the moment.


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## Phil loves classical

20centrfuge said:


> I want to like Boulez, but I just find my mind wandering. In sincerity, please help me by suggesting how you listen to Boulez. Is it about sensing rhythm, is it more about energy levels, colors? Should I learn it to the point if being able to "sing along" to truly appreciate?
> 
> Billone- this is a very cool piece. It's like another planet. The electric inducuced resonance, decay. The pitch bends. I plan to live with this one for a while, but am really enjoying what I've heard so far.


Boulez talked about spontaneity of Debussy vs constructivism of the 2nd Viennese school. He tried to combine both in his music. I feel his music certainly sounds projected (not incidental), there is a more specific quality to the sounds. They sound very systematically organized as well. That is the difference between modern and postmodern to me, Modern is more systematically organized, while postmodern hinged on the effects.


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## Melvin

I've never really sat down and listened to Boulez before this. Maybe a long time ago on the radio... But I was entranced by this piece. For some reason I was instantly transported when I listened yesterday, probably because it was in the morning and I'd just had coffee, and that my mind was in an extra attentive place. 
Also I plan to explore some more of Bresnick and Harvey and Auerbach.


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## Nereffid

I feel a little bad for being away from this thread for a while - various distractions rather than losing interest. I have a lot to catch up with.

In the meantime, here's my contribution: George Crumb's _American Songbook_. These are Crumb's settings of various "folk" songs; 7 volumes have been completed. I love Crumb's sonorities, which bring such strangeness to some otherwise very familiar pieces.
Here's the 1st song from Volume 1:


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## 20centrfuge

I listened to Wuorinen, including his Microsymphony. I find his music more appealing than Boulez, personally. It will require a few more listens, still.

Crumb: I've always like Crumb. This particular one was enjoyable. I found the piano accompaniment rather Messiaenesque. I also love that soprano's voice. Very sultry and sexy.


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## Phil loves classical

This is the 3rd of the commissioned passions for Bach's 250th anniversary of his death on this thread. The others were Golijov's Le Pasion, and Rihm's Deus Passus. The remaining one is by Tan Dun.


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## mmsbls

57. Crumb: American Songbook - I have heard relatively little Crumb. I didn't know the song _Shall We Gather at the River?_, and the first listen was mixed. I listened to other songs from Songbook II which had a number of songs I knew (Swing low, sweet chariot, Joshua Fit de Battle Ob Jerico, Sit down, Sister, Nobody Knows de Trouble I See). I loved the instrumentation. The songs sound both familiar and decidedly new. I fond myself looking forward to each song. Definitely a hit.

58. Gubaidulina: Johannes Passion - I did enjoy the portion I heard (I got about half way through). Gubaidulina is another one of those composers that continues to grow on me.


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## Sina

I want to submit a short work by *Helen Grime*. It was days after Boulez death and I was watching a video of him conducting some contemporary master works and, among them, two premiers by two young composers totally new to me. I remember it was the other work by a French composer (and organist - his name escapes me right now) that left me totally blown away but could never find a video or recording of that piece (and that performance especially). But anyway, let's listen to
*59. Helen Grime: Virga (2007) for large orchestra:*
Youtube
Spotify
Program Note & Info
Album Page on NMC Recording Website


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## Melvin

Henri Lazarof: Piano Trio no. 2 (2005)


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## Sina

Now it's time for another poll, and here are the previous five as well as *the new 6th*:
Works 1 to 10
Works 11 to 20
Works 21 to 30
Works 31 to 40
Works 41 to 50
*Works 51 to 60*
And the results so far and the sorted list of works.


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## Sina

Just to prevent this thread from slowly dying I'm gonna post another relatively short piece and you're gonna say what happened to you all!

*61. Alireza Farhang: Insolente chose (2007) for flute, clarinet, harp, violin, viola, cello & piano*
Links: Youtube; Spotify; Some Other Website


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## 20centrfuge

*Edit: Deleted Submission.*

I changed my mind. I think this piece is too short and probably not an effective submission for this thread.


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## 20centrfuge

Let this post serve as a roll call. If you are following this thread at all please "like" *this* post.
_
(and also so I can feel super-popular)_


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## Phil loves classical

This is the only thread on this Discussion board I'm following lately.


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## mmsbls

Sina posted a work today, but we had a couple of days without works so hopefully it will be OK for me to submit a work as well. So many contemporary composers/works that I like were originally suggested here on TC. I generally add names to my long list of works to sample and eventually find time to listen. An example is Andrea Tarrodi. I greatly enjoy a number of her works.

62. Andrea Tarrodi: Madárdal (String Quartet No. 2).


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## Casebearer

What's all the complaining about the thread dying? In my opinion we should take our time with this. It's impossible to keep up (for me at least) but I will now and again listen to posted works. I'm sure others will. Now we have more than 60 works already in. I think it's important to post our opinions on previous entries. Even if they were posted weeks ago....


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## Melvin

We will keep it rolling. I have many more favorites to post but not all at once. I have discovered many new favorites through this thread already. I will definitly catch up on listening when I return home from out of town, I'm on a public computer right now.


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## Portamento

The *YouTube playlist* has been updated.


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## ST4

At the moment, most of the music I am listening to is just early music (anything up to Monteverdi) and barely anything else. I'm going through a phase but when I get back it'll be full force. 


Maybe there should be an "ask ST4" thread though, as you'd know I've gobbled this stuff up year after year :kiss:


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## 20centrfuge

Gubaidulina is a very interesting composer. I haven't read a detailed biography, but I'd like to. I do understand, though, that spiritualism plays a big role for her, and has seemed to play a greater and greater role as time has progressed. I heard a chamber piece that she wrote early in her career. It was a well crafted but utterly conventional work, maybe similar to early Shostakovich. Her works from the 80's - 90's have seemed to be more her true style (though I admit I haven't listened extensively). Sometimes I do feel that some of her music (recent stuff?) gets a bit too murky, which is to say, that the spiritualism gets really thick.

I guess when it comes down to it, is that one can't listen _*casually*_ to her music. You almost have to submit to a quasi-trance, a native American sweat lodge type of musical experience. (I know, heavy stuff. I just made that up :tiphat.

I don't know if any of this makes any sense.

Onward, Forward. I'll be submitting a work soon, maybe tonight.


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## 20centrfuge

*63. Dog Days by David T. Little*

-- An opera based on the short story "Dog Days" by Judy Budnitz.

This is an aria that I think represents the opera quite well:





This opera is really more of a chamber opera. I can't imagine it being presented in a large space. It concerns a family during wartime that comes in contact with a man who acts and presumably thinks he is a dog. He dresses in a dog suit. Otherwise he is non-verbal and homeless. He and the thirteen year old daughter become friends (as much as a homeless dog man and a teen can without it being creepy). As far as I can tell, we don't really learn about the mans background, but I personally imagine him as a veteran who has serious mental illness.

I include this opera because I think it represents a new direction for opera in terms of style. It seems to embrace a slight pop sensibility (maybe in the way Nico Muhly, or Julia Wolfe does?).

Here is a review from the Guardian periodical.


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## Portamento

*64.* Fujikura: Calling (2011) for bassoon

This cool piece is a new discovery for me. Give it a listen:


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## musicrom

This thread is very cool, but unfortunately I'm lagging way behind. I think I've listened to the first 13 or 14. I don't think I have the ability to write a detailed analysis of most of these pieces, like many of you have, but is it okay if I still post a piece (a little later) that I am quite fond of, despite not having accomplished what the original post says I should have before posting?


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## 20centrfuge

By all means post away musicrom and we welcome you to our band of TC misfits


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## Portamento

musicrom said:


> This thread is very cool, but unfortunately I'm lagging way behind. I think I've listened to the first 13 or 14. I don't think I have the ability to write a detailed analysis of most of these pieces, like many of you have, but is it okay if I still post a piece (a little later) that I am quite fond of, despite not having accomplished what the original post says I should have before posting?


To hell with the rules! We're 64 submissions in, and newcomers can't be expected to listen to each and every one.

I say go for it.


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## mmsbls

61. Alireza Farhang: Insolente chose - This is an example of a work that surprised me. The first minute or so sounded rather uninteresting, but as more instruments entered I focused on the various timbres. I loved the piano throughout. The rush of excitement about 2/3 of the way through was quite fun, and the piano towards the end was serenely beautiful.
62. Andrea Tarrodi: Madardal - I listened to several Tarrodi works after she was suggested in some earlier thread. I like her String Quartet No. 1 and Empireo as well as this work. 
63. David T. Little: Dog Days - Given that this is a short excerpt from an opera, it's a bit hard to have a sense for the whole work. I don't hear many operas in English, but I usually have much more difficulty understanding the words. The subject matter seems a bit odd probably due to being taken out of context. I did enjoy the aria purely as a musical piece. 
64. Dai Fujikura: Calling (2011) for bassoon - Admittedly the bassoon is not my favorite instrument, and I enjoy it much more as an ensemble instrument. I have heard Vivaldi bassoon concertos that I enjoyed, but this solo work never really engaged me.


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## mmsbls

@sina: I think I voted on works 51-60, but I'm not sure. I linked to the voting input and mistakenly "submitted" a blank vote. Could you let me know if I have actually voted for he 51-60 group?


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## 20centrfuge

I love the sound of solo bassoon and, on the whole really like the Fujikura. The tessitura of the piece vaguely reminds me of the opening of Le Sacre. I like the haunting resonance the bassoon is capable of. I also really like the multiphonics. And the way the piece ends is very cool.


I actually feel a kinship between this piece and the electric guitar piece Sina shared a bit ago. I like them both for the soundscape and mood that are invoked.


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## Sina

mmsbls said:


> @sina: I think I voted on works 51-60, but I'm not sure. I linked to the voting input and mistakenly "submitted" a blank vote. Could you let me know if I have actually voted for he 51-60 group?


Yes in August 11th you have submitted a completed vote sheet.


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## StDior

I just went through from 40 to 50. The Harvey and the Zivkovic piece looked the most promising for me.
I'd like to submit another piece now. It is from 2001 and mentioned already in a couple of threads here on TC. Still one of my most favorite contemporary music:
Georg Friedrich Haas: String quartet No.3 (in iij. Noct.):
Well-structured preparation of the finale, beautiful Gesualdo quote in the middle and a powerful and irresistible finale.


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## mmsbls

I'm not sure why there has been a drop off in works posted. We've had 3 works posted in the past 13 days. I don't think we have to keep up with the 1 per day rate, but I think we can handle more than that. If some people are not posting works because they don't have time or would prefer not to listen to many of the works posted, I would suggest that they post works anyway (but keeping the rate below 1 per day).


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## ST4

I barely post anything on this site, so there's that. If I did, I'd have a few hundred-thousand posts


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## 20centrfuge

I've listened to the Haas string quartet about 3 times. I can see that he will likely be seen as one of the greats of this generation. This string quartet goes through atmospheric ramblings for the first 15 minutes that are enjoyable, albeit fairly static. At about 20 minutes when the quartet starts sliding chords together it gathers more interest for me. He demonstrates tremendous skill in crafting the last half of this quartet.


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## musicrom

Ok, I suppose now I will post a piece. I'm still in progress w.r.t. listening to all of these recommendations, but so far my favorites have been _Hysteresis_, by Michael van der Aa, and _Mano a mano_, by Magnus Lindberg. I enjoyed the energy and intrigue in the van der Aa, and _Mano a mano_ really sounded like one of those guitar classics, but with a Lindbergian spin: I could catch some motifs he used in his Violin Concerto and other pieces. Great music. Interestingly enough, my entry will feature the performer of the former, Kari Kriikku, and the composer of the latter, Magnus Lindberg.

*Magnus Lindberg's* _Clarinet Concerto_ (2002) successfully premiered in Finlandia Hall under the baton of Jukka-Pekka Saraste. From the opening clarinet solo, calm and pleasing, the piece quickly diverges into a modernistic piece, with interesting harmonies and thematic ideas, and virtuosic clarinet playing. Sometimes sounding romantic, modernist, or even jazzy, the piece is a kaleidoscope that is hard to put down.

Some info on the composition process:



> During the summer, I work at my cottage on an island in the Gulf of Finland: the house has been in my family since the 1830s and it's where I grew up. Kari Kriikku lives on the outskirts of Helsinki and though I could drive to his house, it's much easier to take the boat. So each spell of writing the concerto ended with a wonderful recreation, a boat trip! It was a perfect reward. The Clarinet Concerto is a big work, not in length but in scale. Kari's first words to me were "Write something fortississimo for the orchestra but allow the clarinet to be heard!" So often with new music, people are afraid of putting solo instruments against a loud orchestra. But we did it! Of all my works, the Clarinet Concerto is one I still have a lot of affection for.


Without further ado:


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## Portamento

mmsbls said:


> I'm not sure why there has been a drop off in works posted. We've had 3 works posted in the past 13 days. I don't think we have to keep up with the 1 per day rate, but I think we can handle more than that. If some people are not posting works because they don't have time or would prefer not to listen to many of the works posted, I would suggest that they post works anyway (but keeping the rate below 1 per day).


While I am not going to ignore the steep decline in participation, I think we should be happy with what we have - which is, as it stands, a community of passionate listeners, 66 submissions to show for it, and a YouTube playlist documenting our progress.

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2012-13) 
3. Sigurðsson: Ghosts (2013)
4. Ferneyhough: String Quartet No. 6 (2010)
5. Adès: Violin Concerto "Concentric Paths", Op. 24 (2005)
6. Parra: Sirrt die sekunde (2008)
7. Lindberg: Mano a mano (2004)
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet No. 12 (2000-01)
10. Anderson: Book of Hours (2004)
11. Gubaidulina: Triple Concerto (2016-17)
12. Pampin: On Space (2000-05)
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013, rev. 2016)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013)
18. Kapustin: Cello Concerto No. 2, Op. 103 (2002)
19. Sahebnassagh: Kava (2007)
20. Lachenmann: String Quartet No. 3 "Grido" (2001-02) 
21. Pavlova: Symphony No. 3 (2000)
22. acreil: "just intonation generative ambient in Pure Data" [2015] 
23. Charke: WARNING! Gustnadoes Ahead (2008) 
24. Lerdahl: String Quartet No. 3 (2008, rev. 2010)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005)
27. Byron: In the Village of Hope (2013) 
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat 
30. Golijov: La Pasión según San Marcos (2000) 
31. Ferneyhough: Dum Transisset I-IV (2006-07) 
32. Dusapin: String Quartet No. 6 "Hinterland" (hapax) (2009)
33. Van der Aa: Up-close (2010)
34. Bertrand: Vertigo (2006-07)
35. Andriessen: La Commedia (2004-08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (1999-2000)
38. Nørgård: Symphony No. 6 "At the End of the Day" (1997-99) 
39. De Raaff: Unisono (2004) 
40. Nørgård: String Quartet No. 10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet No. 3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007)
44. Dun: Internet Symphony "Eroica" (2009)
45. Connesson: Cosmic Trilogy (1997-2007)
46. Ruders: Symphony No. 4 "An Organ Symphony" (2008-09)
47. Cleare: I should live in wires for leaving you behind (2014)
48. Zivkovic: On the Guarding of the Heart (2011)
49. Taylor: Violin Concerto, Op. 42 (2010-11) 
50. Auerbach: Dreams and Whispers of Poseidon (2005)
51. Boulez: Dérive 2 (1988, rev. 2006-09) 
52. (Vanden) Heuvel: Innurah (2017)
53. Bresnick: Prayers Remain Forever (2011)
54. Billone: Sgorgo Y, N, oO (2012-13)
55. Harvey: Messages (2007)
56. Wuorinen: Second Piano Quintet (2008)
57. Crumb: American Songbook (2001-10)
58. Gubaidulina: Johannes-Passion (2000)
59. Grime: Virga (2007)
60. Lazarof: Piano Trio No. 2 (2005)
61. Farhang: Insolente chose (2007)
62. Tarrodi: Madárdal (String Quartet No. 2) (2013)
63. Little: Dog Days (2012) 
64. Fujikura: Calling (2011)
65. Haas: String Quartet No. 3 "In iij Noct." 
66. Lindberg: Clarinet Concerto (2001-02)

I will be taking the next few weeks to re-evaluate my favorites from this list.


----------



## Phil loves classical

musicrom said:


> Without further ado:


After relistening to many of the works in the list so far, this one is at the top of the pile for me (I was already familiar with this work from before) along with Rihm's Deus Passus. Although he is an acknowledged vet composer, I didn't think the Boulez's Derive was one of his better works.


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## Phil loves classical

The 4th of 4 works to commemorate Bach's 250th anniversary if his death.


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## mmsbls

65: Haas: String Quartet No. 3 "In iij Noct." - I like many of Haas's orchestral works, but I've had more trouble with his quartets. I'm not really sure why. There were some parts that I liked but overall I didn't feel much connection to this work.

66. Lindberg: Clarinet Concerto (2001-02) - I had wanted to hear this work since some here had strongly recommended it and I like much of what I've heard from Lindberg. This may be my favorite work that I've heard of his.


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## 20centrfuge

*Lindberg:* I'll agree with mmsbls that it is, for me as well, my favorite work that I've heard by Lindberg. I almost really like it!

*Tan Dun:* Initially I don't quite know what to make of Tan Dun. It's like performance art, which at least initially, makes me want to vomit a little. But I'm trying to keep an open mind.

As I listen more and more, I recognize a bona fide piece of music. The piece is interesting and I think this idea of using water as an acoustic interface is quite intriguing. I know some composers have done things with this - submerging reverberating instruments in water etc. (I'm thinking of Maslanka).

I also like that it invokes Tibetan monks and chant. It's Tan Dun nodding to his geographical roots a bit, I think.

----
As an aside, the Bach commemorative group must have had one helluva budget to commission 4 large scale, long works by big name composers. Thanks phil loves classical for sharing these four as a series.


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## Phil loves classical

20centrfuge said:


> *Lindberg:* I'll agree with mmsbls that it is, for me as well, my favorite work that I've heard by Lindberg. I almost really like it!
> 
> *Tan Dun:* Initially I don't quite know what to make of Tan Dun. It's like performance art, which at least initially, makes me want to vomit a little. But I'm trying to keep an open mind.
> 
> As I listen more and more, I recognize a bona fide piece of music. The piece is interesting and I think this idea of using water as an acoustic interface is quite intriguing. I know some composers have done things with this - submerging reverberating instruments in water etc. (I'm thinking of Maslanka).
> 
> I also like that it invokes Tibetan monks and chant. It's Tan Dun nodding to his geographical roots a bit, I think.
> 
> ----
> As an aside, the Bach commemorative group must have had one helluva budget to commission 4 large scale, long works by big name composers. Thanks phil loves classical for sharing these four as a series.


The Tan Dun and Golijov were more popular than the Rihm and Gubaidunlina passions I read. They were all commissioned by Helmuth Rilling, but he ended up only recording the Rihm (maybe because it was the best of the 4 ).


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## 20centrfuge

I know I'm posting this a little earlier than I normally do, but I think this one is a landmark piece for the 21st century. I feel like we need this one on our list. Perhaps you've already heard it!

*Dutilleux: Correspondances (2003)*






SPOTIFY

_BTW, it is purely a coincidence that I have a small crush on Barbara Hannigan and that this is the second piece I've posted in which she is the soloist._


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## 20centrfuge

This is a solo recital performance of some of the percussive moments of the Tan Dun piece. I think it is fun to hear it in isolation:
(not a submission, mind you)


----------



## Kjetil Heggelund

How about this people? Written in 2007. Great to have guitarmusic by this major composer.


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## Portamento

*70. Corigliano: The Red Violin Caprices*https://www.youtube.com/watch?v=jsO4xSpvY8c (1999)

1999, I know, but so was Nørgård's Sixth Symphony.

Very fine casual listening, derived from a very fine film score.

Also - 70 submissions!


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## Sina

*Polls Time Again!
Works 61 to 70*

And the previous polls for those who haven't participated yet:
Works 1 to 10
Works 11 to 20
Works 21 to 30
Works 31 to 40
Works 41 to 50
Works 51 to 60

And the results so far and the sorted list of works.


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## Portamento

Super glad to see that people liked _Messages_.


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## 20centrfuge

Ok, I'm ready to give Mr. Haas a sabbatical from this thread. He's not doing it for me lately. 

I'm ready for the next submission. If we haven't heard from you in a while, please post a work.


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## Trout

I've unfortunately fallen way behind on listening (I'm still around the mid-40s), but I'll still contribute a piece or two periodically if that's alright.

I love the energy and expressiveness of the violin concerto *Seven* by *Peter Eötvös*. He composed it in memory of the seven astronauts who perished in the Columbia disaster in 2003. The concerto conveys this commemoration through its overall anguished mood. I also notice several moments redolent of his compatriot Ligeti but without the playfulness.

Akiko Suwanai's live performance below is great as well as the recorded version by Patricia Kopatchinskaja.


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## 20centrfuge

Nico Muhly is a composer on the rise that we haven't yet seen on this thread. This is from a 2016 composition.

*Nico Muhly: Fast Patterns (2016)*


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## 20centrfuge

Since that previous work is quite short, I'd like to add a second fairly short work by Paula Matthusen that I like quite a bit:

*Paula Matthusen: corpo/Cage (2009)*

written for: two flutes, clarinet, soprano saxophone, alto saxophone, french horn, two trombones, tuba, electric guitar, bass, guitar, percussion


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## 20centrfuge

This piece Sina introduced us to awhile back has been haunting me. I think about it regularly.


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## mmsbls

Trout said:


> I've unfortunately fallen way behind on listening (I'm still around the mid-40s), but I'll still contribute a piece or two periodically if that's alright.


More than alright. We will demand it.


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## mmsbls

I'm almost caught up. 

67: Tan Dun's Water Passion – There are many components of this work that I enjoyed. Both the solo and choral singing were engaging. Much of the percussion and string instrumental parts were most definitely a joy to listen to. I did enjoy the percussive elements with water, though most of the water effects were too quiet for me to hear. I could imagine what they might sound like and think those sounds would have enhanced the music, but generally I simply could not hear them. I would love to see how the water sounds were notated, for example, at roughly 40:00 in the video.
68. Dutilleux: Correspondances – Dutilleux is one of my favorite modern/contemporary composers. I did enjoy Correspondances if perhaps somewhat less than most of his other works.
69. Haas: Quartet for 4 guitars – I found parts of this interesting but I’ve never really enjoyed guitar music. Also I seem to have a block with Haas’s quartets. I don’t know why.
70. Corigliano: The Red Violin caprices – I knew the “Red Violin” Concerto, but I had never heard of the caprises. They are fantastic. I absolutely adored these. It was great to have the score. I have questions for my wife about how one plays certain parts. 
71. Eötvös: Seven – I listened to this work twice. I enjoyed it the first time and more so the second. The ensemble setup was interesting with performers in the “clouds.” Or maybe in space? The expressiveness was wonderful as Trout mentioned. I really liked the percussion throughout the work. I have not heard much of Eötvös, but I plan to hear much more now.	
72. Muhly: Fast Patterns – I like many of Muhly’s works, but I truly loved this from start to finish.


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## Phil loves classical

Here is a catchy piece I heard on Sirius Symphony Hall today. A string quartet version of an electronic piece by Stevens called Run Rabbit Run.

first movement is called Year of the Ox






sound quality much better here


----------



## Portamento

Once again, thank you 20centrfuge for making this thread possible. It has truly been a treat to widen my knowledge of 21st-century music (and do the complete opposite to my wallet) throughout the course of the past few months.


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## Phil loves classical

Even though I already posted the last work on this thread, I came across one I couldn't help but post. One of Henze's last works. One of the subject matters is actually "the nearness of death" which maybe is something he was struggling to cope with.


----------



## 20centrfuge

I've been researching this piece just now, Phil loves classical. It is inspired by a poem by George Trakl of the same name -- Sebastian im Traum (Dream of Sebastian). Here is a translation of the text of that poem found here:

*Dream of Sebastian by Georg Trakl*
(For Adolf Loos)

_At the centre of this selection of poems by Georg Trakl stands 'Dream of Sebastian'. The collection includes most of the poems of Trakl's maturity; it also counts as one of his most extensive - and final - expressions of artistic intent, over which, as we now know, the poet continued to take the greatest pains until shortly before his death. 'Dream of Sebastian' in particular could be said to offer a key to all that is of special significance in the work of this enigmatic poet.
[Hans Szklenar writing in Georg Trakl: Gedichte, Fischer Bücherei, Frankfurt, 1965, trans. Stephen Johnson]_

1.
Mother bore the babe in the silver month,
In the shade of the walnut-tree, the ancient elders,
Drunk with the poppy's juice, and the thrush's lament;
And silently
Bent over them in pity a bearded face
Softly in the dark of the window; and the father's household gods
Lay in disrepair;
Loving, autumnal daydream.
Dark was the year's daybreak, sorrowful childhood,
When the boy climbed softly down to the cool waters, to the silver fish,
Calm the face;
When in demented rage he hurled himself on the ground,
In the dreary night his star watched over him;
Or when, in the evening, grasping his mother's cold hand,
He passed through St Peter's autumnal churchyard,
A delicate corpse lay silently in the darkened vault
And raised its cold eyelids towards him.
He was a tiny bird in bare branches,
Long the chimes in the November evening,
The father silent, when in sleep he descended the twilit spiral stairs.

2.
The soul at peace. Solitary winter evening,
The shepherds' dark shapes by the old pool,
Babe in the hut of straw; O how quietly
The face sinks in dark delirium.
Holy Night.
Or when his father's hard hand led him
Silently onward to sombre Calvary
And in the rock's twilit folds
The liquid shadow of a man traced the course of his legend,
From the wound beneath the heart the blood ran purple.
O how softly the Cross arose in the dark soul.
Love; the snow melted in the black crannies,
An azure breeze merrily stirred in the ancient elders,
In the shadowy vault of the walnut-tree;
And quietly before the boy appeared a rose-cheeked angel.
Joy; in cool chambers an evening sonata sounded,
In the brown wood beams
A blue moth crept from its silver chrysalis.
O the nearness of death. Within a stony wall
Bowed a yellowed head, silent the child,
When in that March the moon passed away.

3.
Rose-pink daffodils in the grave-vault of the night
And the stars' silver voices,
So the dark delusion sank in showers from the sleeper's brow.
O how silently, forgetfully, descended the blue stream,
When in the green boughs
The thrush sounded an alien note through the decline.
Or when, at sunset, holding the old man's bony hand,
He passed by the city's fallen walls
And a black-caped figure carried a rose-cheeked babe,
In the walnut-tree's shadow the Spirit of Evil appeared.
Feeling its way along Summer's green stairway. O how softly
The garden decays in the russet hush of Autumn,
Scent and sadness of the ancient elders,
When in Sebastian's shadow the angels' silver voices died away.


----------



## arpeggio

Portamento said:


> *64.* Fujikura: Calling (2011) for bassoon
> 
> This cool piece is a new discovery for me. Give it a listen:


I really can not address whether one likes the work or not. I happen to like it.

As a bassoonist I can tell everyone that this is an incredibly difficult work. The person who is playing it is one hell of a bassoon player.


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## 20centrfuge

¿Dónde está Sina?


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## Sina

20centrfuge said:


> ¿Dónde está Sina?


私はここにいます！
I know poll results and works list are not updated, I'm sorry. I'll update them till tomorrow. But we have only 5 participant for the latest poll. We've had more than this!


----------



## Portamento

76. *Brant: Ice Field* (2001)

HENRY BRANT (1913-2008) was a composer best known for his pioneering spatial work. _Ice Field_, which won the Pulitzer Prize in 2002, is typically seen as the culmination of that work. A 'spacial organ concerto', it was inspired by Brant's memory "as a 12-year-old in 1926, of crossing the Atlantic by ship, which navigated carefully through a large field of icebergs in the North Atlantic."

Not to be passed up, by any means.


----------



## eugeneonagain

I just listened to this. I enjoyed it, but found myself thinking that it sounds very "20th century" even though it's from 2006. It's amusing to think like this: already seeing work which is still not largely accepted by the wider listening public as somehow "old fashioned". Compare it with the second piece I have posted underneath it, which has a much more 'contemporary' feel.


----------



## mikeh375

my God what a thread. I consider myself well educated musically speaking and now I realise I know bugger all (ok well not quite that bad).
I'm glad I joined this forum. For my offering, I'd like to add David Matthews 2nd symphony.

http://https://www.youtube.com/watch?v=rYxgJsHdA4k

I'm an going to go through as many of the pieces listed here as I can.

www.mikehewer.com


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## eugeneonagain

mikeh375 said:


> my God what a thread. I consider myself well educated musically speaking and now I realise I know bugger all (ok well not quite that bad).
> *I'm glad I joined this forum. For my offering, I'd like to add David Matthews 2nd symphony.*
> 
> http://https://www.youtube.com/watch?v=rYxgJsHdA4k
> 
> I'm an going to go through as many of the pieces listed here as I can.
> 
> www.mikehewer.com


Good choice. Have you heard his string quartets? You can even have a listen to them here: Toccata Classics.


----------



## 20centrfuge

mikeh375 said:


> my God what a thread. I consider myself well educated musically speaking and now I realise I know bugger all (ok well not quite that bad).
> I'm glad I joined this forum. For my offering, I'd like to add David Matthews 2nd symphony.
> 
> http://https://www.youtube.com/watch?v=rYxgJsHdA4k
> 
> I'm an going to go through as many of the pieces listed here as I can.
> 
> www.mikehewer.com


Excellent, welcome aboard Mike! And please don't feel like you absolutely have to hear all past entries. We're very happy to have more participants here.

...and I'm looking forward to hearing the piece you submitted. :tiphat:


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## mikeh375

@Eugene,
No, I don't know the 4tets, but will have a listen, especially as I am planning one myself. So much music to be getting on with and listen to and so little time. I'm just getting into Matthews and am enjoying his symphonies at the moment.

@20centrfuge,

Thanks for the welcome. A worthy thread for our musical times.


----------



## 20centrfuge

mikeh375 said:


> my God what a thread. I consider myself well educated musically speaking and now I realise I know bugger all (ok well not quite that bad).
> I'm glad I joined this forum. For my offering, I'd like to add David Matthews 2nd symphony.
> 
> http://https://www.youtube.com/watch?v=rYxgJsHdA4k
> 
> I'm an going to go through as many of the pieces listed here as I can.
> 
> www.mikehewer.com


While I am quite enjoying this Symphony No.2 by Matthews, I found out it was written in the 1970's. So to be true to the thread itself focusing on works premiered after 01/01/2000, I would suggest instead one of Matthews symphonies written in this century, namely symphony 6, 7, 8, or 9.

http://www.david-matthews.co.uk/wor...rtby=name&sortorder=asc&page=1&nosearch=False

His symphony 8 is one such option available on YouTube: here


----------



## Nereffid

I suppose this would have been more appropriate a couple of weeks ago, but my latest piece is Lois V Vierk's _Words Fail Me_:






From the liner notes of the recording on New World Records (by the performers above):


> In 1998, Vierk was struck with a debilitating autoimmune disorder that often restricts her ability to compose, but the condition provided perspective on her life and art: "It was terrible on many fronts when I frst got sick," Vierk recalls. "I just [didn't] have it in me to fnish pieces. I think being out of the scene for so long makes you realize what really is important and what's not. The scene is not important." She would begin many pieces, but she found it impossible to sustain the physical energy necessary to complete a work. Before she was properly diagnosed, she had several sketches in various stages when the appalling tragedy of September 11, 2001 took place. "My family and I had watched horrid events of that day 'live' out our apartment window, as thousands of people were murdered before our eyes when the World Trade Center was shot down," Vierk relates. "It is an image I will never ever forget of smoke and dust drenching lower Manhattan in a horrible white cloud of debris that used to be a building vibrant with the energy of many living, breathing people." After spending several weeks "in a kind of daze," she discarded her earlier sketches and composed a simple melody that became the basis of Words Fail Me (2005), an expression of the devastation of the community and, perhaps, her personal affiction.
> Written for cello and piano, Words Fail Me consists of two contrasting movements that refect Vierk's ongoing fascination with dualities. The melancholy frst movement features the halting lyricism of the cello melody, replete with heart-wrenching glissandos, which is accompanied by short ascending furries in the piano. Initially devoid of a perceivable pulse or meter, the instruments seem rhythmically isolated from each other until the latter half of the movement, when the cello melody is conjoined with the steady chordal accompaniment of the piano. The driving energy of the second movement is launched by a motoric rhythm in ffths and octaves in the low register, which is slightly reminiscent of Beethoven's "Waldstein" Sonata. A series of modulations send the music into different harmonic regions and higher registers as the movement builds in thunderous intensity, with the increasingly dense texture giving the impression of a larger ensemble. The unmistakable sense of defant struggle and achievement offers a triumphant counterpart to the somber spirit of the frst movement. "This piece is meant as a tribute to the victims and to all the people of greater New York City," Vierk explains, "as well as to all people anywhere who survive tragedy and disaster and go on with life with great resolve."


----------



## mmsbls

I hope we're not getting too far ahead for some. Here's Bolcom's Piano Quintet No. 2 (2012).

Allegro con fuoco 
Adagio espressivo 
Scherzo nero; with abandon 
Vivo, con passione 

Bolcom is not an up and coming composer (age 79), but this quintet may be my favorite work of his. The quintet has a lovely and serene 2nd movement. The third movement is playful at times with a driving piano bass. The fourth movement may be my favorite with a lovely melodic phrase appearing throughout.


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## mmsbls

I think we're at work number 80. Here's my list:

71. Eotvos: Seven
72. Muhly: Fast Patterns
73. Paula Matthusen: corpo/Cage
74. Stevens: Run Rabbit Run
75. Henze: Sebastian im Traum
76. Brant: Ice Field (2001)
77. Rodrigo Herrera M. - Tamoturbio for Horn and Chamber Orchestra (2006) 
78. Matthews: Symphony No 2 (other?)
79. Lois V Vierk: Words Fail Me
80. Bolcom: Piano Quintet No. 2 (2012)

I'm not sure what to put at 78. Should we use another Matthews' symphony from the 21st century? Also I only put the first work suggested by eugeneonagain.


----------



## 20centrfuge

Let's substitute Matthews Symphony No.8 in the absence of any input from mikeh375, or alternately just omit that entry until he suggests something else. What do you think?


----------



## Portamento

20centrfuge said:


> Let's substitute Matthews Symphony No.8 in the absence of any input from mikeh375, or alternately just omit that entry until he suggests something else. What do you think?


I vote for the latter.


----------



## 20centrfuge

71. Eotvos: Seven
72. Muhly: Fast Patterns
73. Paula Matthusen: corpo/Cage
74. Stevens: Run Rabbit Run
75. Henze: Sebastian im Traum
76. Brant: Ice Field (2001)
77. Rodrigo Herrera M. - Tamoturbio for Horn and Chamber Orchestra (2006) 
78. Lois V Vierk: Words Fail Me
79. Bolcom: Piano Quintet No. 2 (2012)


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## mikeh375

Gosh guys, I've been deleted....
Of course, my mistake, I just took the thread to be a modern one without thinking about the dates. Ok you're serious, excellent, in that case here is my new offering....John McCabes' cello concerto.






His language is fundamentally traditional in that his rhythm has not lost its unifying capability by completely disregarding pulse and his sense of line is still connected and logical in the traditional way. His invention and imagination though are modern in outlook and the combination of all these elements is intoxicating to my ears. Hope some of you give it a go.


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## Portamento

Hey! 5-star thread! :trp::trp:


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## Portamento

71. Eötvös: Seven. (2006).
72. Muhly: Fast Patterns. (2016).
73. Matthusen: corpo/Cage. (2009).
74. Stevens & Osso: Run Rabbit Run.
75. Henze: Sebastian im Traum. (2004).
76. Brant: Ice Field. (2001).
77. Herrera M.: Tramoturbio. (2006). 
78. McCabe: Cello Concerto (Songline). (2007).
79. Vierk: Words Fail Me.
80. Bolcom: Piano Quintet No. 2. (2012).


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## Sina

Polls!
*Works 71 to 80*

Previous ones:
Works 1 to 10
Works 11 to 20
Works 21 to 30
Works 31 to 40
Works 41 to 50
Works 51 to 60
Works 61 to 70

With the results and sorted list of works to be updated in few days.


----------



## Kjetil Heggelund

This thread is great, but it is a bit like HOMEWORK...and I'm usually the one who gives homework. Now I know what it's like. Think I'll drink some wine...


----------



## Phil loves classical

Came across this today. Sounds like a return to form for him. Got the impression his later works were written mainly for effects.


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## 20centrfuge

I keep hoping and expecting Penderecki's music to grab me, but it hasn't yet. Oh well.


----------



## Omicron9

Greetings.

I'm not entirely positive this was composed after 1999, but reasonably sure. It also spotlights one of my favorite instruments as soloist. I like it very much:


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## 20centrfuge

It was written in 2006


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## Omicron9

20centrfuge said:


> It was written in 2006


Thanks, 20centrfuge!


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## 20centrfuge

*Rautavaara: Cello Concerto No. 2
*


----------



## Guest

After spending the last few years catching up with the first millennium of art music, I have recently been thinking that it is time to investigate the current one, particularly as we are now 17 years into it. This thread provides a great way to do that, so thank you 20centrfuge, this is a gold star thread.

I'm listening from the beginning, starting from Haas 'In vain', but as I am a latecomer I don't plan to talk much about these earlier ones as it will make the thread confusing and bloated. I'm also listening to current recommendations, so will be more comfortable commenting on these.

First up was 79. Lois V Vierk's 'Words Fail Me'. I couldn't relate the music to 9/11 or any other atrocity committed by or on the USA, or indeed to the ideas of sadness and anger alluded to in the introduction by Mook. Nevertheless I enjoyed the work, which built up in energy throughout its length, the middle age cellist in particular must be very fit!


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## melodiousmonkey

Arranged by the Danish String Quartet: part two of three in their Danish Bridal Trilogy, featuring traditional Nordic folk tunes.


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## Guest

Unfortunately *2. Abrahamsen: Let me tell you (2012-13) for soprano and orchestra ---- <20centrfuge> * is no longer available on YT, though part of the stunning work is here:






It would be good to have an easily accessible piece by Hans Abrahamsen on this chain thread, so I propose the following sparse composition, Schnee (2008) as today's piece:






I ignore the 20 minute rule. It is preferable for longer compositions to be both selected and heard in their entirety.


----------



## Guest

Unfortunately, 80. Bolcom: Piano Quintet No. 2 (2012) is no longer available on youtube.

For today's piece I recommend Bolcom: First Symphony for Band (2008) 16 mins.





















The brass was more subdued than I expected. Symphonic in outline, this is very good ballet music.


----------



## Guest

melodiousmonkey said:


> Arranged by the Danish String Quartet: part two of three in their Danish Bridal Trilogy, featuring traditional Nordic folk tunes.


I didn't enjoy this one. The music is superficial and the video sick making.


----------



## Portamento

Tulse said:


> I didn't enjoy this one. The music is superficial and the video sick making.


I agree with this assessment.


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## Phil loves classical

^^ Really? But then all contemporary music, if not all music, could be considered artificial/superficial.


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## mmsbls

How are people doing with listening? Are people having trouble keeping up? I still think anyone should feel comfortable posting a work even if they aren't "caught up". 

The recent works:

81. Penderecki: Concerto Grosso for 3 cellos	
82. Aho: Contrabassoon Concerto	
83. Rautavaara: Cello Concerto No. 2	
84. Sonderho Bridal Trilogy (Composer?)
85. Abrahamsen: Schnee	
86. Bolcom: First Symphony for Band


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## Kjetil Heggelund

From 2015. An important addition to contemporary classical guitar repertoire. To my (worn out) ears this is pretty accessible music


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## KenOC

Note quite new enough (1993) but...The central movement from Christopher Rouse's Flute Concerto. His reaction to a tragedy so extreme it doesn't bear even thinking about.


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## Guest

mmsbls said:


> How are people doing with listening? Are people having trouble keeping up? I still think anyone should feel comfortable posting a work even if they aren't "caught up".
> 
> The recent works:
> 
> 81. Penderecki: Concerto Grosso for 3 cellos
> 82. Aho: Contrabassoon Concerto
> 83. Rautavaara: Cello Concerto No. 2
> 84. Sonderho Bridal Trilogy (Composer?)
> 85. Abrahamsen: Schnee
> 86. Bolcom: First Symphony for Band


I played the Penderecki today and really enjoyed it.Very heavy and grave in places utilising the celli to the full.

Unfortunately I have missed the Aho which has now gone. Rautavarra's is also away. It seems like it is necessary to get onto YT as quickly after the post as possible, before they are taken down. Rauta's cello concerto was on the channel of the cellist Mork, so I'm not sure what is going on there.


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## 20centrfuge

If you have Spotify you can always check those out.


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## Guest

20centrfuge said:


> If you have Spotify you can always check those out.


True, but I prefer not to stream music. I'll pay for these missing ones when I can.


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## mmsbls

Here's a work for flute, ensemble, and electronics:

Murail: Winter Fragments (2000)

Murail's music was the first spectralism that I liked.


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## Guest

Francisco Meirino live [remembering Zbigniew Karkowski] 2014


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## mmsbls

Here's another work by Nico Muhly.

Muhly: Viola Concerto


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## eugeneonagain

Not sure if anyone has already posted this somewhere. Lukáš Sommer - String Quartet 2 'Elf Girl'. Sommer is a Czech guitarist and composer with an impressive list of credits. See his website here.

The video has a score to follow.


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## eugeneonagain

A live performance of the same composer's Concertante for Organ and String orchestra:


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## Portamento

Sommer is on IMSLP, I believe. He posts his works from time to time.


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## eugeneonagain

Portamento said:


> Sommer is on IMSLP, I believe. He posts his works from time to time.


On IMSLP? Are you sure? He doesn't appear to be there in any capacity. I'm sure he doesn't want to give his work away.


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## Phil loves classical

Here is an interesting solo piano piece. Chin's 5th piano etude, finished in 2003.


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## Portamento

eugeneonagain said:


> On IMSLP? Are you sure? He doesn't appear to be there in any capacity. I'm sure he doesn't want to give his work away.


I meant TalkClassical... :cheers:


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## Johnnie Burgess

Jonathan Leshnoff's Clarinet Concerto world premier 2016:


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## Casebearer

mmsbls said:


> How are people doing with listening? Are people having trouble keeping up? I still think anyone should feel comfortable posting a work even if they aren't "caught up".
> 
> The recent works:
> 
> 81. Penderecki: Concerto Grosso for 3 cellos
> 82. Aho: Contrabassoon Concerto
> 83. Rautavaara: Cello Concerto No. 2
> 84. Sonderho Bridal Trilogy (Composer?)
> 85. Abrahamsen: Schnee
> 86. Bolcom: First Symphony for Band


I haven't been able to keep up for several months now, due to my kind of work. Too busy, too many deadlines. I've limited my time on TC, mainly voting in Bulldogs polls. I plan to take it up where I left in the coming months. I wish I had a crystal ball to see if I'll be able to manage that in time.

I think it would also be nice to make a connection between Bulldog's polls and this thread. Bulldog recently had some polls on Unheralded composers (not confined to 21th Century) that stimulate getting to know their music. Same could be done with 21th century composers that come up in this thread. (It could be an addition to what Sina has been doing inside this thread because the audience over there is different).


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## Portamento

Casebearer said:


> I think it would also be nice to make a connection between Bulldog's polls and this thread. Bulldog recently had some polls on Unheralded composers (not confined to 21th Century) that stimulate getting to know their music. Same could be done with 21th century composers that come up in this thread. (It could be an addition to what Sina has been doing inside this thread because the audience over there is different).


I'm afraid that there wouldn't be enough participants for that kind of a poll. It is my understanding that the users who want to engage in 21st-century music are already here.


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## Casebearer

Portamento said:


> I'm afraid that there wouldn't be enough participants for that kind of a poll. It is my understanding that the users who want to engage in 21st-century music are already here.


The way the polls are set up there are always enough participants. I just might take some more time to get to a result if the number of participants that vote daily is limited. Nevetheless I wouldn't except too much of it also, and I don't mean it as a substitute to Sina's polls, just as an addition to broaden the interest in 21st century composers through people that like voting in polls. It can be a way of enticing people to listen to music they don't know yet.


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## Portamento

Casebearer said:


> The way the polls are set up there are always enough participants. I just might take some more time to get to a result if the number of participants that vote daily is limited. Nevetheless I wouldn't except too much of it also, and I don't mean it as a substitute to Sina's polls, just as an addition to broaden the interest in 21st century composers through people that like voting in polls. It can be a way of enticing people to listen to music they don't know yet.


Then I guess it's worth a try.


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## Casebearer

I'll check out with Bulldog if he's inclined to some polls on 21th century composers.


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## Phil loves classical

Here is a piece by John Adams, a symphony adapted from his music in his opera


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## 20centrfuge

I quite like the trumpet solo in the Dr Atomic Symphony. Good stuff. 

BTW. I’m back being a regular participant in this. I had to take a small break from TC for sanity sake.


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## Phil loves classical

20centrfuge said:


> I quite like the trumpet solo in the Dr Atomic Symphony. Good stuff.
> 
> BTW. I'm back being a regular participant in this. I had to take a small break from TC for sanity sake.


I love John Adams. He is a great orchestrator, with interesting rhythms, and his music has a certain voice.


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## 20centrfuge

I agree about Adams. I feel like Harmonielehre, in particular, may very well be the greatest work written in the last 40 years.


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## Portamento

It's about time the list has been updated.

1. Haas: in vain (2000)
2. Abrahamsen: let me tell you (2012-13) 
3. Sigurðsson: Ghosts (2013)
4. Ferneyhough: String Quartet #6 (2010)
5. Adès: Violin Concerto, op. 24 "Concentric Paths" (2005)
6. Parra: Sirrt die sekunde (2008)
7. Lindberg: Mano a mano (2004)
8. Wolfe: Steel Hammer (2009)
9. Rihm: String Quartet #12 (2000-01)
10. Anderson: Book of Hours (2004)
11. Gubaidulina: Triple Concerto (2016-17)
12. Pampin: On Space (2000-05)
13. Chin: Violin Concerto (2001)
14. Norman: Play (2013, rev. 2016)
15. Reich: Double Sextet (2007)
16. Salonen: Dichotomie (2000)
17. Van der Aa: Hysteresis (2013)
18. Kapustin: Cello Concerto #2, op. 103 (2002)
19. Sahebnassagh: Kava (2007)
20. Lachenmann: String Quartet #3 "Grido" (2001-02) 
21. Pavlova: Symphony #3 (2000)
22. acreil: "just intonation generative ambient in Pure Data" [2015] 
23. Charke: WARNING! Gustnadoes Ahead (2008) 
24. Lerdahl: String Quartet #3 (2008, rev. 2010)
25. Frank: Walkabout: Concerto for Orchestra (2016)
26. Tabakova: Frozen River Flows (2005)
27. Byron: In the Village of Hope (2013) 
28. Furrer: Piano Concerto (2007)
29. Burhans: Magnificat 
30. Golijov: La Pasión según San Marcos (2000) 
31. Ferneyhough: Dum Transisset I-IV (2006-07) 
32. Dusapin: String Quartet #6 "Hinterland" (hapax) (2009)
33. Van der Aa: Up-close (2010)
34. Bertrand: Vertigo (2006-07)
35. Andriessen: La Commedia (2004-08)
36. Dennehy: Crane (2009)
37. Rihm: DEUS PASSUS (1999-2000)
38. Nørgård: Symphony #6 "At the End of the Day" (1997-99) 
39. De Raaff: Unisono (2004) 
40. Nørgård: String Quartet #10 "Høsttidløs (Harvest Timeless)" (2005)
41. Penderecki: String Quartet #3 "Leaves of an unwritten diary" (2008)
42. Harvey: String Trio (2004)
43. Sørensen: Phantasmagoria (2007)
44. Dun: Internet Symphony "Eroica" (2009)
45. Connesson: Cosmic Trilogy (1997-2007)
46. Ruders: Symphony #4 "An Organ Symphony" (2008-09)
47. Cleare: I should live in wires for leaving you behind (2014)
48. Zivkovic: On the Guarding of the Heart (2011)
49. Taylor: Violin Concerto, op. 42 (2010-11) 
50. Auerbach: Dreams and Whispers of Poseidon (2005)
51. Boulez: Dérive 2 (1988, rev. 2006-09) 
52. (Vanden) Heuvel: Innurah (2017)
53. Bresnick: Prayers Remain Forever (2011)
54. Billone: Sgorgo Y, N, oO (2012-13)
55. Harvey: Messages (2007)
56. Wuorinen: Second Piano Quintet (2008)
57. Crumb: American Songbook (2001-10)
58. Gubaidulina: Johannes-Passion (2000)
59. Grime: Virga (2007)
60. Lazarof: Piano Trio #2 (2005)
61. Farhang: Insolente chose (2007)
62. Tarrodi: Madárdal (String Quartet #2) (2013)
63. Little: Dog Days (2012) 
64. Fujikura: Calling (2011)
65. Haas: String Quartet #3 "In iij Noct." 
66. Lindberg: Clarinet Concerto (2001-02)
67. Dun: Water Passion after St. Matthew (2000)
68. Dutilleux: Correspondances (2002-03)
69. Haas: Quartet for Four Guitars (2007)
70. Corigliano: The Red Violin Caprices (1999)
71. Eötvös: Seven (2006)
72. Muhly: Fast Patterns (2016)
73. Matthusen: corpo/Cage (2009)
74. Stevens & Osso: Run Rabbit Run
75. Henze: Sebastian im Traum (2004)
76. Brant: Ice Field (2001)
77. Herrera M.: Tramoturbio (2006) 
78. McCabe: Cello Concerto "Songline" (2007)
79. Vierk: Words Fail Me
80. Bolcom: Piano Quintet #2 (2012)
81. Penderecki: Concerto Grosso #1 (2000-01)
82. Aho: Concerto for Contrabassoon and Orchestra (2004-05)
83. Rautavaara: Cello Concerto #2 "Towards the Horizon" (2008-09)
84. The Danish String Quartet: Sønderho Bridal Trilogy (2013-14)
85. Abrahamsen: Schnee (2008)
86. Bolcom: First Symphony for Band (2009)
87. Anderson: Catalan Peasant with Guitar (2015)
88. Murail: Winter Fragments (2000)
89. Karkowski & Meirino: ZKFM (extract; unfinished)
90. Muhly: Viola Concerto (2014)
91. Sommer: String Quartet #2 "Elfka (Elf)"
92. Chin: Piano Etudes (1995-2003)
93. Leshnoff: Clarinet Concerto (2015)
94. Adams: Doctor Atomic Symphony (2007)


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## 20centrfuge

We are six shy of 100 entries. That could be a nice concluding point for this thread. Anyone......?


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## 20centrfuge

*Pascal Le Boeuf: Alkaline (2017)*


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## Portamento

*Pärt: Symphony #4 "Los Angeles"* (2008)

Great work, and deservedly popular.


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## Guest

it is true that it is sometimes difficult to appreciate the works of some of the major composers of our time, like ferneyhough; the reason is that such a composer is ahead of his time, like stockhausen and xenakis were in the sixties; his music is also more cerebral
G.F.Haas is no easy composer either but I believe he is the best composer alive and is probably more accessible;
there are great younger composers like Tabakova and Thorvaldsdottir, who compose very moving and accessible pieces;
the key is to find access to a composer's work; try to find a work by ferneyhough that you like better than the others and play it a couple of times


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