# The Monthly Explorer



## Art Rock (Nov 28, 2009)

This is a variation on something I ran a few years ago.

I'd like to see whether we can have a monthly get together at TC to explore say 4-6 classical music works that are probably new to many of us (from any period, so medieval to contemporary).

The idea is that 4-6 people would nominate one work each of limited runtime (say max 20 minutes), that they like very much, and that they think many people here would not have heard yet. The nominated works should be available on YouTube so everyone can access them. These 4-6 people make a commitment to listen to all nominated works at least once in that month (so max 2 hours), and write a short review, stating at least whether the work was new to them and whether they liked it or not (more than that is welcome). Of course, everyone else can chip in and listen to any of the nominated works and review them as outlined above.

Would there be interest in this? If so, would you like to be one of the nominators (and reviewers) for the month October? No need to nominate works yet (in fact, I may ask you to do that via PM).


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## SanAntone (May 10, 2020)

I would be interested in taking part.


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## SuperTonic (Jun 3, 2010)

I'd like to participate.


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## Allegro Con Brio (Jan 3, 2020)

I would love to participate! I do remember taking part in threads like this run by Art Rock a couple years ago and greatly enjoying them.


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## 1846 (Sep 1, 2021)

I'm game for that.


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## ORigel (May 7, 2020)

I have no knowledge of music theory, and so can only express subjective opinions. So I would not be one of the Six but I might follow along as a layperson.


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## Art Rock (Nov 28, 2009)

Subjective opinions are perfectly fine with me, so feel free to be one of the nominators.


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## pianozach (May 21, 2018)

Theoretically this sounds interesting, although I'm often more of the "chip in" type.


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## Art Rock (Nov 28, 2009)

We'll do this with five unless the others who posted change their mind, or new players pop up (I'm willing to give up my spot):

1846
Allegro con Brio [submission received]
Art Rock
San Antone
SuperTonic [submission received]

Those listed above can already submit their work of choice by PM (max 20 minutes duration). Please include a YouTube link.


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## Art Rock (Nov 28, 2009)

Bumping the thread.


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## allaroundmusicenthusiast (Jun 3, 2020)

I like this, maybe I can nominate next month


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## Art Rock (Nov 28, 2009)

You can still join the nominators for this month (October).


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## allaroundmusicenthusiast (Jun 3, 2020)

It's alright, we're in good hands with SanAntone, ACB, Supertonic and you


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## Art Rock (Nov 28, 2009)

Still need submissions from 1846 and SanAntone.

Others can still join.


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## thejewk (Sep 13, 2020)

I'd like to join in on this, let me know if you want a submission from me @Art Rock.


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## SanAntone (May 10, 2020)

Oh, I must not have seen the request for submissions.

Okay, I will PM you.


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## Art Rock (Nov 28, 2009)

thejewk said:


> I'd like to join in on this, let me know if you want a submission from me @Art Rock.


You're in. Please send a submission including YouTube link by PM. Thanks.


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## realdealblues (Mar 3, 2010)

I'll be interested to see what you guys put forward.


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## Art Rock (Nov 28, 2009)

Players (nominations received):

1846
Allegro con Brio 
San Antone
SuperTonic 
thejewk

I will post the five nominated works (an interesting mix!) tomorrow. We still have space for a 6th until then.


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## Art Rock (Nov 28, 2009)

Pianozach will be the sixth. No more nominations for this month.


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## Art Rock (Nov 28, 2009)

Here are the six nominated works.

*1846:*
Kassiani - Hymn of Kassiani (around 850)






*Allegro con Brio:*
Duruflé - Prélude, Recitatif, and Variations for Flute, Viola, and Piano (1928)






*Pianozach:*
Martin, G. - Pepperland [from Yellow Submarine] (1968)






*San Antone:*
Britten - Nocturnal after John Dowland for guitar (1963)






*SuperTonic :*
Huang Ruo - Chamber Concerto No. 1 "Yueh Fei" (2000)

This link should take you to the first movement, and you should be able to listen to all 5 movements in sequence from there:

https://www.youtube.com/watch?v=I5VD...VszPhSxAONozw4

*thejewk:*
Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)






These six nominators have until the end of October to listen to all nominated pieces and write a (short or longer) review what they think of them. Also, feel free to introduce your own choices in this thread.

Everyone else can give their reactions to any of these pieces at any time as well in this thread. I do request to keep the discussion focused on the six pieces, and not start a general discussion on e.g. early music, baroque, contemporary, film music, etc.

If there is sufficient interest, I will ask for November submissions in the last week of October.


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## Merl (Jul 28, 2016)

Sounds very interesting, Arty, but my SQ obsession / blogging is taking all my time up (and costing Malx lots of money). Here's wishing this project well. If its as fulfilling as the weekly SQ thread it should be very enjoyable.


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## Bulldog (Nov 21, 2013)

Martin, G. - Pepperland [from Yellow Submarine]

Being a very short piece, I listened to it twice. The best I can say about it is that it's short.


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## Art Rock (Nov 28, 2009)

*Kassiani - Hymn of Kassiani (around 850)*

I had heard the name before, but never heard her music - apart from a couple of CDs of Gregorian (and Ambrosian) chants and a dozen or so of Hildegard von Bingen, there is basically no pre-renaissance music in my collection. So it was an interesting choice from my perspective. I can't tell whether it is the writing or the performance, but I liked the part where the women sang the lines far better than the men's initial part or the final. That said, this work does not inspire me to check out more of Kassiani - simply not my cup of tea.


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## SuperTonic (Jun 3, 2010)

*Martin, G. - Pepperland [from Yellow Submarine]*

There is definitely a place for music like this and I'm sure there are many people who would enjoy it, but I'm afraid I'm not one of them. That's all I have to say about this one I'm afraid.

*
Kassiani - Hymn of Kassiani (around 850)*

This on the other hand was fascinating to hear. It is my first exposure to music in this style and period, and is by far the oldest piece of music I can say I've ever heard. There's an interesting, though likely apocryphal, back story to this hymn on wiki involving what sounds like a medieval version of a bad reality TV show for anyone who is curious about it. I enjoyed hearing it, though I think the style, being mostly a monophonic melody sung over a drone, might wear thin on multiple hearings.


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## SuperTonic (Jun 3, 2010)

The links to the individual movements on the Youtube playlist for the Huang Ruo Chamber Concert no. 1 don't appear to be working. This link should take you to the first movement, and you should be able to listen to all 5 movements in sequence from there.


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## Art Rock (Nov 28, 2009)

I've edited this into the overview post (#21).


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## SanAntone (May 10, 2020)

*Huang Ruo - Chamber Concerto No. 1 "Yueh Fei" (2000)*

I had never heard of this composer but from what I've read he is someone I am interested in. Here's a note from the Wikipedia article on him:



> Christina Mamakos, who has created an installation combining Huang's music with a video, defines the technique he calls "dimensionalism" as follows: "Using an inventive musical voice which draws equal inspiration from Chinese folk, western avant-garde, rock and jazz, Ruo creates a seamless series of musical works that do not necessarily exist in the sound world of our daily life."


This is exactly the kind of composer that I find most interesting and so I was looking forward to experiencing his music.

My first impressions of the work under discussion are that it is an episodic piece, which obviously includes elements from Chinese musical traditions as well as Western Classical music (I didn't hear anything from rock and jazz). But I felt that it never took off. Each episodic theme seemed to lead to another one, and then another one, but never developing into a longer related structure.

Of course this is just my first listen, but my practice has always been to give a work some time to grab me - and if it doesn't, then I move on. However I did listen to the complete work.

While I liked many of the episodes, and think this composer is someone I will investigate further, this particular work did not hold my interest.


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## SanAntone (May 10, 2020)

*Kassiani - Hymn of Kassiani (around 850)*

I love this kind of music, although while I was aware of the _Hymn of Kassia_ I'd never listened to this work.

Very meditative, conducive to creating a sacred environment. It is my belief that humanity peaked early, prior to the development of technology, at least the kind of technology which began to alter our culture. I have thought for some time that since the invention of the personal computer and then the Internet, our culture has suffered dramatically. Music like this which employs nothing more than the human voice is very moving, and transports my imagination away from the ills of modern life.

I grieve for the loss of the kind of spirituality that produced this music. I detest the worship of technology which saturates our culture today. Aside from the trivial aspect of convenience, IMO, technology has introduced more bad than good into our lives.

The music from Gregorian Chant, Hildegard von Bingen and now Kassia, is some small antidote to the coarseness which pervades our culture.


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## Forster (Apr 22, 2021)

Thanks for setting this up, Art Rock.

A general observation first. 5 out of the 6 pieces are unknown to me, which is a good thing, given the purpose of the exercise. However, I'm struck by the part mood plays in attempting to access new music. One is not always in the mood to listen to a new piece - in fact, any piece if it doesn't complement one's mood at the time of listening. It may seem obvious, but it should be borne in mind when reading responses to each piece. (I had a very late night last night, and it was interrupted by a trip to the hospital at 4am.)

I've listened to the Duruflé, Kassia and Martin, but had to stop during the Britten - I'd already exhausted my willingness to be challenged! I'll come back to it later.

The Martin - the one piece I know - is delightful, suited to the purpose of a screen soundtrack to support the animation, aimed at establishing that Pepperland is a place of simple musical harmony and melody. It contrasts superbly with _Eleanor Rigby _which follows the introduction, and later, with the various pieces composed for the different seas the Fab Four journey through. If you're not familar with the movie or the music, at least bear in mind that it was not written as a concert piece, or as "absolute music".

The vernacular style of the Kassia, and the words I found a hindrance to engagement, but by the end, I was aware of the trance like state that was beginning to be created around me. I wonder if those 'singing' the drone part had to do that for the entire piece, or whether they took turns in order that their vocal chords gt a break!

I liked the Duruflé up until the flute went mad, disturbing the calm at first generated by the piece. While calm was restored, I'd become distracted and should not have attempted the Britten. I needed to stop and will come back later.


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## Art Rock (Nov 28, 2009)

There's a reason why I picked a full month to listen to these pieces... too much at a time can be distracting.
:tiphat:


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## Allegro Con Brio (Jan 3, 2020)

*Duruflé - Prélude, Récitatif, et Variations for Flute, Viola, and Piano*

About two and a half years ago, I attended a chamber music concert at my local university. The program started with Schnittke's dark, modernist Piano Quintet - a work that I have now come to like but, at the time I was not accustomed to. Nonetheless, it received surprisingly generous applause for such a difficult piece of music. This was followed by a pair of rather cloying, saccharine pieces by Shostakovich and Prokofiev for two solo violins. With my interest slowly flagging, I was immediately captured by the first impressionist chords on the piano, playing a piece by a composer who I had not heard of up to that point. From there, my musical Francophile mind was captivated by lush, gorgeous sounds of the three instruments weaving magical, glittering lines around each other. I was hooked on Duruflé, and once I heard his Requiem and his Motets on Gregorian Themes shortly thereafter I knew he was one of my favorite lesser-known composers. Shortly thereafter, I found out he was my organ teacher's - a fond musical mentor for me - favorite composer of all time, and that he considered his Prelude and Fugue on the Name ALAIN to be the greatest non-Bach organ composition. He was envious that I had the chance to hear his music live since it is so rarely heard. Obvious influences of Debussy, Ravel, and Fauré abound in one of the only chamber works from this über-perfectionist composer who published fewer than 30 compositions; but I still find the piece to have a voice of its own. And every time I revisit this perfect miniature work, I'm reminded of the first time that I really experienced the captivating power of live music.


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## SanAntone (May 10, 2020)

Allegro Con Brio said:


> *Duruflé - Prélude, Récitatif, et Variations for Flute, Viola, and Piano*
> 
> About two and a half years ago, I attended a chamber music concert at my local university. The program started with Schnittke's dark, modernist Piano Quintet - a work that I have now come to like but, at the time I was not accustomed to. Nonetheless, it received surprisingly generous applause for such a difficult piece of music. This was followed by a pair of rather cloying, saccharine pieces by Shostakovich and Prokofiev for two solo violins. With my interest slowly flagging, I was immediately captured by the first impressionist chords on the piano, playing a piece by a composer who I had not heard of up to that point. From there, my musical Francophile mind was captivated by lush, gorgeous sounds of the three instruments weaving magical, glittering lines around each other. I was hooked on Duruflé, and once I heard his Requiem and his Motets on Gregorian Themes shortly thereafter I knew he was one of my favorite lesser-known composers. Shortly thereafter, I found out he was my organ teacher's - a fond musical mentor for me - favorite composer of all time, and that he considered his Prelude and Fugue on the Name ALAIN to be the greatest non-Bach organ composition. He was envious that I had the chance to hear his music live since it is so rarely heard. Obvious influences of Debussy, Ravel, and Fauré abound in one of the only chamber works from this über-perfectionist composer who published fewer than 30 compositions; but I still find the piece to have a voice of its own. And every time I revisit this perfect miniature work, I'm reminded of the first time that I really experienced the captivating power of live music.


I was happy to see a Duruflé work included among the selections since he is also among my favorite composers despite him having only 14 opus numbers. Also, I had not heard this work so I am looking forward to it with great anticipation.

I enjoyed reading your post very much.


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## thejewk (Sep 13, 2020)

Kassiani - Hymn of Kassiani (around 850)

I've never heard this before, or anything quite like it, and I love it. The rich and sonorous male voices of the opening prepare for the stunning female voices which suspend above a series of ethereal held drones. I will definitely be investigating more Byzantine hymns in the future, so thanks for this one.


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## thejewk (Sep 13, 2020)

Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)

This one's my choice, so thought I'd share why I picked it. Due to health issues, I have found myself less and less able to play the instruments that I have played over the years, particularly my guitars and saxophone. Having rather diverse tastes, I ended up exploring desktop synthesizers and going down a rabbit hole. Then, on a whim, I asked for a plastic alto recorder for Christmas. From the day I got my first recorder, I was hooked, and soon went on to sell my synthesizers, and now I am the proud player of a good wooden baroque alto, and a transitional soprano. As I started developing my site reading skills, I started searching for good quality repertoire and quickly found Telemann's Fantasias for flute.

These challenging pieces, a total of twelve pieces, display Telemann's skill at writing improvisational feeling suites that cover all of the main styles of baroque writing of the day. Some of the movements are elaborate French style overtures, others sweet dances, followed by severe and serious contrapuntal movements where one instruments plays two lines of melody alternately.

Number 10 is the one I'm working on at the moment. I love the thorough first movement, covering the entire range of the instrument, with the main theme being based around a few simple arpeggios. The second is a challenging and brisk, hopping dance that seems to fracture and split, constantly returning to the opening phrase played in many registers and turned inside out. The final movement is a sweet dance that reminds me of something that might be found in the Anna Magdalena Notebooks.

I hope you enjoy it.


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## SanAntone (May 10, 2020)

*Duruflé* - Op. 3 _Prélude, Récitatif et Variations_

I really enjoyed this work by one of my favorite composers; a work I had not heard before, which blows my mind.

One thing about Duruflé I've always enjoyed was his treatment of rhythm, usually in a fluid manner almost without meter or pulse. This work features a very improvisatory style of writing. The instrument combination has a nice blend, and he has given each voice its own role.

This is an early work, but Duruflé was very self-critical and only published 14 works, this one Op. 3 was still a mature work. It is unique among his oeuvre since most of his works are choral or for organ.

Very French sounding and it shows an influence from Debussy.

I am very glad to have heard it.


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## SanAntone (May 10, 2020)

*George Martin* - _Pepperland_

Light and bubbly; not very much to say about this one. Ive always felt that George Martin's best work was what he added to a Beatles song, not these instrument originals.


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## SanAntone (May 10, 2020)

*Telemann* - _Fantasie _no. 10
Stefan Temmingh (recorder)

Completely bowled me over since I have never been a fan of Telemann's music, but this was fantastic. I was not expecting a solo recorder work, and Temmingh gets such a rich full sound it sounded like an organ. (Not sure if that is a compliment or not, but it is supposed to be.)

Funny, just the other day I was thinking about a composer who wrote a lot of music , mostly unimpressive, and Telemann's name came to my mind. But I can't sustain that judgment after hearing this work.

Truly an eye-opening, or ear-opening, experience.


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## thejewk (Sep 13, 2020)

Duruflé - Op. 3 Prélude, Récitatif et Variations

I really like this one, and I've not heard any of Durufle's work before. I find it odd to read that he was considered very conservative and reacted badly to jazz, considering the fact that I find much of this piece to have early jazz inflections. I suppose the conservative comment would be very appropriate when he is considered as a successor to Ravel and Debussy, both of whom I hear loud and clear in the sparkling and ambiguous harmonies and skipping rhythms. It definitely brings to my mind Ravel's magnificent string quartet in F.

What a shame his list of published works is so slight. I will be listening to the lot soon enough.


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## Art Rock (Nov 28, 2009)

*Britten - Nocturnal after John Dowland for guitar (1963)
*
Not new to me, I actually have two renditions on CD (Bonell on EMI and Fernandez on Decca). Solo guitar works are rather uncommon in classical music, especially outside Spain and South America. Britten really explores the possibilities of the instrument in a work that juxtaposes calmer and more excited passages. I still remember when I played it for the first time about 30 years ago, I expected it to sound something like Chopin's nocturnes - it does not. Although not among my absolute favourites from this composer (whom I love), this is a work well worth hearing. I'm glad I got to enjoy it once more.


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## SuperTonic (Jun 3, 2010)

*Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)*

For such a prolific composer, I'm afraid I have to admit I know very little of Telemann's music. I've not really spent much time with him. This flute fantasia is a gem though and it does make me want to explore more. I've listened to it twice now, once with a score and once without and it held my attention all the way through even without the score.

As I was listening with the score I kept thinking how difficult it must be to write interesting solo music for an instrument with somewhat of a limited range (relatively speaking) and that is only capable of playing a single not at a time. Despite those limitations Telemann is able to create a sense of harmonic progression and even counterpoint at times that helps propel the piece forward and hold my interest.


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## SuperTonic (Jun 3, 2010)

*Huang Ruo - Chamber Concerto No. 1 "Yueh Fei" (2000)*

This was my nomination for this project. What I love most about this piece is the orchestration. The way he is able to blend the timbres of the different instruments into a seamless sound is fascinating to me. I think it points to a real mastery of orchestration. Two of my favorite moments in the piece both involve the tam-tam, once earlier in the piece and again at the beginning of the final movement. In both case there is a very loud tam-tam crash that is allowed to decay, and as it decays instrumental harmonies kind of bloom out of the texture almost seamlessly. I get chills every time I hear it.

I also really like the unexpected juxtapositions that he uses occasionally throughout the piece to keep things interesting. Like sudden declamations during lyrical passages or unexpected changes in timber, rhythm or harmony. You never know what is going to happen next.

This chamber concerto is the first in a cycle of four. The Naxos recording that is used in the Youtube link I provided includes the entire cycle. I highly recommend it for anyone who is interested in exploring this composer further.


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## Art Rock (Nov 28, 2009)

*Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)
*
The name Telemann is of course not new to me. I have a few CDs, collected in my first few years of listening to classical music (around 1986), but he is not a composer I have found a longer term interest in. Combine that with an alto recorder (not my favourite instrument by far), and I was not keen to listen to this. Well, I was wrong. This is a pleasant composition, and I particularly like the tempo switch after about 3 minutes. I don't think it will inspire me to check out more Telemann, but I'm glad I heard this.


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## Allegro Con Brio (Jan 3, 2020)

*Huang Ruo - Chamber Concerto No. 1 "Yueh Feh"*
First of all, the YouTube link in the initial post didn't work for me, so here are two videos I found:








I generally enjoy different world music styles and I like the sub-genre of chamber concerti, so off to a good start there. Right off the bat I like the colorful, "exotic" sonic combinations punctuated with judicious use of percussion. However, the piece quickly morphs into somewhat of a stereotypical "chaotic" modern work which didn't really sustain my attention. Lots of great and memorable moments throughout, though, especially in the instrumental combinations employed; though the ending with the added vocals was a bit gimmicky. I mostly liked the parts where it sounded more Chinese rather than Western. Overall a very creative choice and one I've glad to have heard though it does not inspire me to revisit it.

*Telemann - Fantasia for Flute/AltoRecorder, Op. 10*
Telemann's music, like lots of music from the Baroque (at least for me) never offends but rarely entices either. I usually find his music nice enough but nothing to write home about. That description applies here as well. In all fairness, Telemann is quite successful in crafting a miniature collage of events with his small package, both scale and duration-wise. He exploits darned near every possibility that the recorder can offer and elevates it far above that annoying whistle that you had to learn to play in third grade, with passages that test the skill of the performer and showcase sparkling wit and lyricism. A worthwhile little listen.

*Hymn of Kassiani*
Wow, what an extraordinary find! Even though I am currently taking a college course on Middle Ages and Renaissance Music, I know virtually nothing about Eastern Orthodox church music, and I was blown away by this. Yes, Gregorian Chant was the main influence on the subsequent development of European music, but there is a lot of richness and fascination to be found here as well. Stylistically, it is totally different than the chants we usually hear, with some striking dissonances and phrasings that the Romans would never have allowed. I find it hypnotic and moving - my favorite of this bunch.

*Pepperland*
Well, it's a fun little pops-orchestra/light music/film music piece (I wouldn't call it classical). At least it is cleverly orchestrated.

*Britten - Nocturnal After John Dowland*
Britten is a real conundrum for me. His operas, song cycles, and choral works are among my favorite works in those genres of the 20th century; but his instrumental music almost universally leaves me cold, sounding meandering, pedantic, and jagged. Nonetheless he was an exceptionally important and original composer and this is undoubtedly a masterpiece for solo guitar, wending its way through a variety of fleeting moods in its stream-of-consciousness variations on the Dowland tune. Unfortunately, solo guitar/lute music isn't really my jam for focused listening, though I love it for background/concentration music. Thus, I couldn't really stay focused on the piece, especially as it didn't seem to be terribly structured. If I made a more concerted effort to take it in, I might have more success with it, but overall Britten's instrumental music has mostly left me so flustered that I'm about ready to accept it as a blind spot and move on.

An interesting selection of pieces for sure. I do like the activity and would like to see it continued - it is a fun ear-opening exercise that exposes me to things I would probably never have heard otherwise.


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## SuperTonic (Jun 3, 2010)

It's a shame that Naxos recording of the Huang Ruo piece got taken down from Youtube. I really like that recording.


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## SanAntone (May 10, 2020)

*Nocturnal after John Dowland*

I nominated this work for this thread because it has been one of my favorite works since I first discovered it decades ago. It is odd since Bitten is a composer I otherwise hardly listen to. But I really should. For no other reason than he wrote a bunch of operas, and I love opera, I ought to devote time to going through them. But Nocturnal was love at first "heard."

Here's what Wikipedia says about it:



> The piece acts as a sort of reverse theme & variations based on "Come, Heavy Sleep" from John Dowland's First Book of Songs (1597). Rather than begin the piece with the main theme followed by its variations, the theme does not appear in its original form until the very end. Each variation contains fragments of Dowland's theme, most notably the use of the perfect fourth interval. The variations move progressively closer to the Dowland song concluding the piece.
> 
> The nine movements are as follows:
> 
> ...


It was that reverse structure on the traditional theme and variations which was the hook that excited my interest after I first heard it and liked it and wanted to know more. I thought that Britten was exceptionally clever with that kind of structure.

Having been a guitarist, solo guitar music has been an enduring preoccupation of mine and this work literally blew my mind when I heard it. I bought the music and tried learning it, but it was beyond my capabilities. Still, I find it a remarkable work, one which pays enormous dividends with each listening.

It is very meditative and seems improvisatory - but in actuality it is very finely crafted and put together like an exquisite puzzle.

Do spend some time with it - I can't help but feel that you will find the time well spent.


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## SuperTonic (Jun 3, 2010)

*Britten - Nocturnal after John Dowland for guitar (1963)*

Britten has always been a bit of blind spot for me I'm afraid, which is weird considering that he falls right into the my favorite period of time for classical music (mid-20th century). And I did initially have trouble staying focused on this work when I listed to it the first time through using the Youtube link provided. However I found another recording on Youtube that had the sheet music, and I found that I was able to stay focused better listening with the music. I went back and listened to the Julian Bream recording again and was able to follow along better with that one too.

I think my favorite variation was the Passacaglia variation with the increasingly complex improvisational sounding sections interspersed with the familiar passacaglia theme that kept it grounded. I also really liked the 3rd variation which had a lot of duple vs triple rhythms, which I can imagine must take a lot of practice for a guitarist to be able to do accurately (the guitarist in the Youtube video with the sheet music struggled a bit with this variation, but Bream's performance was much better).

I'm glad for the opportunity to have heard this, and it has made me want to try again with Britten, possibly seeking out more Youtube videos with scores/sheet music.


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## Art Rock (Nov 28, 2009)

SuperTonic said:


> It's a shame that Naxos recording of the Huang Ruo piece got taken down from Youtube. I really like that recording.


I found it (no guarantees how long it will last):


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## pianozach (May 21, 2018)

Merl said:


> Sounds very interesting, Arty, but my SQ obsession / blogging is taking all my time up (and costing Malx lots of money). Here's wishing this project well. If its as fulfilling as the weekly SQ thread it should be very enjoyable.


I'm getting ready to post my reviews on all the pieces, but it occurred to me that if you're obsessing over string quartets, you may truly enjoy the *"Yueh Fei": Chamber Concerto No. 1* by *Huang Ruo*, as it could be seen as a SQ + four other instruments.


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## pianozach (May 21, 2018)

*Monthly Explorer*

Well, I've not heard any of these before, other than the one I submitted.

And for no real discernable reason, I slipped into a "Two Thumbs" system for rating the works. It wasn't deliberate, it just happened to turn out that way.

*The Hymn of Kassianí (medieval melody) - Cappella Romana*

*First listen*:
Modal (Mixolydian), Misogynistic, and I zoned out listening to it somewheres between the 4 and 5 minute mark, returning for the last minute of the piece. Of course, a 7 minute drone can do that to you. The ensemble also "drifted" a bit flat by the end of the performance, and the opening soloist seemed a bit vague pitchwise to begin with.

I have a love/hate relationship with "church" music, in that the message will often sour the enjoyment of the music. Frankly, I enjoyed this more before I got a good gander at the text.

*Second listen*:
While it's episodic, it seems to not really have a destination. It seems more about the journey, and the journey is slow and reflective. That's not necessarily a bad thing, but it does create a situation where the piece is difficult to warm up to.

*Last listen*:
I focused on the text, and it's relationship to the music that was set to it. Well, the text makes me grumpy; it's blatantly misogynistic, and, on top of THAT, nothing pisses me off more than when God is referred to as being unfathomably merciful, but He created mankind knowing that He'd be sending most of them to burn in a Lake of Fire for all Eternity.

One thing that *Art Rock* mentioned was the women's voices featured in sections of the piece, which he seemed to like better than the rest. I, too, felt that the women's voices were a high point of the piece, although since it dates from around 850, I doubt that it was originally intended to include women's voices at all.

*Final thoughts*: 
I honestly do like the vibe of Gregorian Chant, in spite of its Christian symbiosis. I like the purity of the voices, and the simplicity.

But yeah, I'm "out" on this one, in spite of its mystical beauty. It's like a delicious omelette, but there's eggshells in it.

*Two thumbs down*.

*Duruflé - Prélude, Recitatif, and Variations for Flute, Viola, and Piano (1928)*

Well, now, I can't say I'm familiar with *Duruflé*, but he sounds much like a contemporary of *Debussy*.

And I'm a sucker for score videos, although I run into trouble sight reading anything in C clef. So thanks for that.

Moreover, as a pianist, I often tend to shift my focus to the piano part at the expense of the lines from the solo instruments. The piano part here looks mostly playable for me, once the patterns and chord changes are figured out. Yeah, stress the word *"mostly"* here, as the arpeggiations eventually get too complex for a simple sight reading. But I do love how the piano creates harmonic sound washes that tend to almost disguise the time signatures.

I do love how the piece remains tonal while seemingly eschewing any sense of permanent key. No matter - sticking to a single tonal center is overrated.

My personal understanding of harmonic progressions from the Impressionists is inadequate to the task of understanding how it all works, but, again, that's actually irrelevant as well - what matters is the overall sum of the parts, and this one is quite complex and lovely.

There's a journey here, and all the steps along the way seem to be well laid out.

*Final thought*: It's actually nice hearing the *viola* featured in, well, just *anything*. And it's a beautiful sound it produces when played well, as it is in this performance.

*Two thumbs up*.

*Martin, G. - Pepperland [from Yellow Submarine] (1968)*

Having submitted this one, I'm bound to be biased towards it.

Lovely melodies, and a sort of miniature *Young Person's Guide to the Orchestra* in less than three minutes. *George Martin* rolls out the orchestra instruments in 1/6 of the time it takes *Ravel* in *Bolero*.

Martin's orchestrations are top notch, and in terms of melodic invention, just as talented as Mancini.

*Two thumbs up*.

*Britten - Nocturnal after John Dowland for guitar (1963)*

Well, that's some mighty fine playing from *Julian Bream*, but compositionally *Britten* doesn't really do it for me. It's just so pointedly random-sounding; frankly, Bream could be muffing up every third chord, and I probably wouldn't be able to tell, as he plays with such blessed assurance and confidence. But it's just so unpleasant to listen to. Annoying. Like, you know, "What the Sam Hill are you playing? Have you been hitting the moonshine already today?"

I love the way a Classical guitar sounds, yet I feel that if this piece were transcribed for piano I would most assuredly hate every aspect.

Overall I didn't really enjoy the piece. Sorry, Ben, it's incessantly annoying.

*One and a half thumbs down, half a thumb up* (for the choice of guitar, and the superb playing).

*Huang Ruo - Chamber Concerto No. 1 "Yueh Fei" (2000)*

LOL. Just barely under the 20 minute time limit at 19:10.

The composer has generated some nifty sonorities, and I enjoyed the string *glissandos*. I like how the slow glisses often give a "melting" texture.

I also think that the inclusion of a *percussionist* really gives the piece some life and excitement that it would be lacking otherwise. In fact, the composer uses the percussion quite well, and is _almost_ my favorite part of the overall suite of movements. And I'll grant that the composer's use of the strings seemed excellent, and often quite interesting. The orchestration was good.

I do find the choices of the rest of the instruments to be excellent, although not entirely unexpected: A string quartet with piano, plus a couple of woodwinds (and percussion).

There's a pointed Asian vibe to the whole thing, which gives it character, and justifies the title, "Yueh Fei".

I went to the Interwebs, because the title intrigued me: As it turns out, *"Yue Fei, (aka Pengju), was a celebrated Chinese military general who lived during the Southern Song dynasty, known for leading Southern Song forces in the wars in the 12th century between Southern Song and the Jurchen-ruled Jin dynasty in northern China."*

So, I'm guessing that the inclusion of deliberate chaos in the piece is meant as a metaphor for the chaos of war and conflict.

BUT, in spite of some really neat things that go on in the piece, overall I get the sense that there is a great deal of random textures, rhythms, and tidbits of the kitchen sink variety simply thrown in for their own sake. There seemed to be a lot of "Hey, listen to THIS!" moments. So, I give it an "A" for Orchestration, but a "D" Compositionally. Some neat moments followed by pointless chaos. However, I did enjoy watching the conductor, who often appeared to dancing the work as much as conducting it.

And calling it a *"Chamber Concerto for Eight Instruments"* just puzzles me. To me this is not a *"concerto"*: It's more of a Piano Octet, or a Suite for String Quartet, Clarinet, Flute, Piano, and Percussion.

I also liked the vocals in the last movement; in fact the last movement seemed a brilliant way to end the seemingly entropic first four movements. This would be my favorite element in the suite. Still, I find it hard to move past all that, in spite of the creative use of the instruments.

Again, as a pianist, I tend to give the piano an equal or greater share of my focus, and I found that the inclusion of the piano was almost irritating (even though it seems like it might be fun to play) . . . it was like the piano was some sort of jokey stereotype, a Dad joke. Y'know, I just don't know; it just seemed like an afterthought. Yet . . . it WAS used rather well as a "color" instrument.

So, in light of the unusual balance of things I liked, vs. things I didn't like, I award this one an ambivalent

*One Thumb Up, One Thumb Down*

*Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)*

*Telemann*'s *Fantasia for Flute*, as a baroque work, can be played on flute, recorder, cello, violin, clarinet, guitar, or any other baroque instrument.

So, I really like how a well played *recorder* sounds, and *Stefan Temmingh* plays quite well.

I did have to listen without watching the goofy photos of Stefan and his recorder at the beach in the video; not really as much for their inherent cheesiness, but because the recording was obviously made indoors, either in a hall, or with reverb added as a production effect, but the juxtaposition was just annoying. AND . . . the saturated reverb, whether natural or not, was a bit much.

Otherwise, I enjoyed this one a great deal.

*Final Thoughts*:
I may have to seek out some *Telemann* for some quality time. My in-house collection of Telemann is small (a collection of Suites [in C, D, and Bb], a Recorder Concerto in C, and the Overture from the Recorder Suite in A minor); barely 95 minutes. If I had some pocket change, I'd remedy that (As it is, I think I got all of these from the local library, and downloaded them).

*Two thumbs up*.


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## Forster (Apr 22, 2021)

*Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)
*
Something about baroque music gets in the way of my enjoying what was quite a pleasant, contemplative piece. Can someone explain if the leaping about across wide intervals is one of the things, or the thing that distinguishes Baroque from other musics?


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## pianozach (May 21, 2018)

Forster said:


> *Telemann - Fantasia for Flute (or alto recorder) no. 10 (1732)
> *
> Something about baroque music gets in the way of my enjoying what was quite a pleasant, contemplative piece. Can someone explain if the leaping about across wide intervals is one of the things, or the thing that distinguishes Baroque from other musics?


No. You can find _"leaping about across wide intervals"_ in practically every genre of music, with the exception of Medieval and Rap.


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## Forster (Apr 22, 2021)

pianozach said:


> No. You can find _"leaping about across wide intervals"_ in practically every genre of music, with the exception of Medieval and Rap.


So, what is distinctive about Baroque music that means I can recognise it as such?


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## pianozach (May 21, 2018)

Forster said:


> So, what is distinctive about Baroque music that means I can recognise it as such?


That's a good question, and I don't have a decent answer.

Of course, there's the instrumentation, which will often include a continuo. You're more likely to hear a harpsichord or recorder. And you're more likely to hear fugues and rampant polyphony, as well as baroque ornamentation.


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## SanAntone (May 10, 2020)

Forster said:


> So, what is distinctive about Baroque music that means I can recognise it as such?


This work by Telemann may not the most representational example since when I think of Baroque period music the first thing that comes to mind is counterpoint. The word baroque, like rococo, is often used to mean florid, or busy, or richly ornamented, which can also describe much of the musical style. But I don't hear much similarity between Bach and Vivaldi, so regional differences are important and can be more defining than period.

What the Baroque period led to might also be instructive: a more homophonic style, i.e. melody with accompaniment instead of independent contrapuntal lines creating the harmonic texture. So, with that in mind one might come to a basic difference between Baroque music and Classical period music.


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## Forster (Apr 22, 2021)

SanAntone said:


> This work by Telemann may not the most representational example since when I think of Baroque period music the first thing that comes to mind is counterpoint. [...]
> 
> What the Baroque period led to might also be instructive: a more homophonic style, i.e. melody with accompaniment instead of independent contrapuntal lines creating the harmonic texture. So, with that in mind one might come to a basic difference between Baroque music and Classical period music.


So, no counterpoint as it is a solo, yet it is recognisable as Baroque. I don't want to prolong this side issue, but it's part of my response to the work: it's baroque and less appealing to my ears, and I'm trying to work out what it is that marks it out as such. I still think it's the way the melody progresses by larger than usual intervals, with, for example phrases expressed in a higher register then repeated in the lower register. I can't use the right terminology, but the recorder rises by a significant interval, falls back, but not as far back as the starting point, then rises again, but higher still...etc.


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## SuperTonic (Jun 3, 2010)

The wide jumps in register are used to imply counterpoint in this case. When there is just one solo instrument that is only capable of playing on note at a time, as with the recorder, the composer will imply multiple voices by jumping around to different registers.


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## Art Rock (Nov 28, 2009)

* Martin, G. - Pepperland [from Yellow Submarine] (1968)*

Short and lightweight - it would not be out of place on one of the lovely Hyperion Light Classical Music compilations. It has a certain charm for sure, so thanks for sharing. It's new to me that the famous Beatles' producer George Martin also composed music - and I never listened to this particular soundtrack, because to my taste Yellow Submarine is one of the worst Beatles songs ever.


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## Art Rock (Nov 28, 2009)

According to my notes, Allegro con Brio, Pianozach and San Antone have posted their reactions to all five nominations. SuperTonic has done them all except Durufle I think. I will be adding my reactions to Durufle and Huang. There are still two weeks to complete the October challenge.

Unfortunately, it looks like we may have lost 1846 and thejewk, who both did not post at TC for the past 2-3 weeks.

Meanwhile, we can start the *November challenge *with the same set-up:


> The idea is that 4-6 people would nominate one work each of limited runtime (say max 20 minutes), that they like very much, and that they think many people here would not have heard yet. The nominated works should be available on YouTube so everyone can access them. These 4-6 people make a commitment to listen to all nominated works at least once in that month (so max 2 hours), and write a short review, stating at least whether the work was new to them and whether they liked it or not (more than that is welcome).


*Nominations are now open* - those taking part in the October challenge can join again. Do not post your selected works - I'll ask for them (PM) once we have our list of nominators.


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## Art Rock (Nov 28, 2009)

* Duruflé - Prélude, Recitatif, and Variations for Flute, Viola, and Piano (1928)*

The composer is of course not new to me (I think many people here will know his Requiem) - I actually have some additional choir works on CD, as well as his complete organ music. But his chamber music, which basically is just this piece, is new to me. It has a distinctive French sound to my ears, and the three instruments combine very well. The only minor quibble I have is the stop and go moment in the variations. All in all, a delightful piece, for me the discovery of these nominations - but I have the Huang concerto still to listen to.


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## thejewk (Sep 13, 2020)

I'm still here, just been a bit delayed due to health.

Pepperland - Very pleasant, but didn't make a lasting impression on me. I enjoy it while it is on, and have no desire to listen to it again. I am sure it would work well in the context of the film, but even though I spent a good chunk of my childhood obsessively listening to the Beatles (and I still listen to the with decent regularity) I've managed to not see any of their films for some reason. Maybe I should.

Nocturnal After John Dowland - I find this piece a real struggle. I have tried many times to keep focus on it, but I find myself drifting off in the looser segments and realise that I have missed big chunks of it. I admire the structure, and I think the theme is lovely, while also finding some of the deconstructions of the theme interesting, but as a whole piece taken as one it doesn't hold my attention. I think a part of the problem may be my overall dislike of the sound of a classical guitar, and the friction of the wound lower strings against the hand which is unpleasantly audible in most recordings of the instrument. I will, however, add this to my playlist and spend some more time with it. It feels like the sort of thing where persistence could pay dividends.

Ruo Chamber Concerto - I enjoyed this one. At times I was reminded of Ligeti's micropolyphony, but rather than clusters of massed instruments, the shifting sound happens between only one or two. I am not sure I appreciate the entire structure of piece just yet, and need to listen to it a lot more, but as a collection of smaller moments I like it a lot already. I will definitely add the composer to my list for further investigation.

Thanks everyone for the material.


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## Art Rock (Nov 28, 2009)

*Huang Ruo - Chamber Concerto No. 1 "Yueh Fei" (2000)*

Perhaps surprisingly, I had never heard of this composer, although I generally appreciate attempts like this to integrate East Asian sounds into a traditional classical music palette. This chamber concerto is quite an achievement for a composer in his mid twenties: an interesting collection of soundscapes that never became boring for me. Thanks for bringing this composer to my attention!


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## Bwv 1080 (Dec 31, 2018)

SuperTonic said:


> *Britten - Nocturnal after John Dowland for guitar (1963)*
> 
> Britten has always been a bit of blind spot for me I'm afraid, which is weird considering that he falls right into the my favorite period of time for classical music (mid-20th century). And I did initially have trouble staying focused on this work when I listed to it the first time through using the Youtube link provided. However I found another recording on Youtube that had the sheet music, and I found that I was able to stay focused better listening with the music. I went back and listened to the Julian Bream recording again and was able to follow along better with that one too.
> 
> ...


I love Nocturnal and continue to be disappointed seeking out other Britten for similar quality music


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## Art Rock (Nov 28, 2009)

Reminder - still looking for volunteers:


> Meanwhile, we can start the *November challenge *with the same set-up:
> 
> 
> > The idea is that 4-6 people would nominate one work each of limited runtime (say max 20 minutes), that they like very much, and that they think many people here would not have heard yet. The nominated works should be available on YouTube so everyone can access them. These 4-6 people make a commitment to listen to all nominated works at least once in that month (so max 2 hours), and write a short review, stating at least whether the work was new to them and whether they liked it or not (more than that is welcome).
> ...


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## SanAntone (May 10, 2020)

October was fun; I'll join again.


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## pianozach (May 21, 2018)

Fine, I'll do it again.

Now I have to come up with a "work each of limited runtime (say max 20 minutes), that they like very much, and that they think many people here would not have heard yet."


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## SuperTonic (Jun 3, 2010)

*Duruflé - Prélude, Recitatif, and Variations for Flute, Viola, and Piano (1928)*

The only Durufle work that I've ever heard before this was the Requiem, which I love. This work was quite different though, much more in the vein of Debussy or Ravel, though I did hear some of the lyricism that I associate with the Requiem in some parts of it. I really enjoyed hearing this piece and I'd like to explore more by this composer.

I really enjoyed the contrasting moods used throughout the work, but particularly in the introductory section. It starts with a brief intro from the piano alone and then the viola enters with a mournful melody, and then when the flute comes in the character of the piece changes and it becomes more cheerful.


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## Art Rock (Nov 28, 2009)

Final bump - if there is insufficient interest, we cancel.


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## SuperTonic (Jun 3, 2010)

I'm in for next month as well.


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## Allegro Con Brio (Jan 3, 2020)

I don't know enough "obscure" pieces to be interested in submitting a work again, but I will listen to the nominated works with eagerness and offer my thoughts on them.


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## pianozach (May 21, 2018)

Allegro Con Brio said:


> I don't know enough "obscure" pieces to be interested in submitting a work again, but I will listen to the nominated works with eagerness and offer my thoughts on them.


I'll be choosing one that _seems_ "obscure" to _ME_, one that I find interesting, and appealing as well.

Or perhaps I'll go with something controversial, like another piece from a film score.


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## Art Rock (Nov 28, 2009)

*SanAntone, Pianozach, SuperTonic*: please submit your choice by PM. I will be the 4th if no-one else volunteers.


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## Bwv 1080 (Dec 31, 2018)

Art Rock said:


> *SanAntone, Pianozach, SuperTonic*: please submit your choice by PM. I will be the 4th if no-one else volunteers.


I will join if there is still a slot


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## Art Rock (Nov 28, 2009)

There is, you're in. Please PM me your choice.


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## Forster (Apr 22, 2021)

*Britten - Nocturnal after John Dowland for guitar (1963)*

Sorry, this did nothing for me. I kept waiting for it to burst to life, but it just seemed aimlessly episodic.

The original link to the Huang Ruo is now dead, but I found another.

*Yueh Fei: Chamber Concerto #1 by Huang Ro*

I liked this. After a slightly unpromising beginning, I was captivated by its space and dynamics. Not sure what it has to do with a medieval Chinese general though...?


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## Forster (Apr 22, 2021)

Art Rock said:


> There is, you're in. Please PM me your choice.


I'd like to offer something if you're looking for a fifth?


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## Art Rock (Nov 28, 2009)

Forster said:


> I'd like to offer something if you're looking for a fifth?


Sure, join the party!


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## Art Rock (Nov 28, 2009)

Here is our line-up for November:

Bwv 1080 - Wolpe: Piece in Two Parts for Six Players, for trumpet, clarinet, violin, cello, piano & harp






Forster - Roussel: Sinfonietta for String Orchestra op. 52






pianozach - Khatchaturian: Tocatta in E-flat minor for piano






San Antone - Schoeck: Sommernacht (1945)






SuperTonic - Atterberg: Suite no. 3 for violin, viola, and strings, op. 19/1






Have fun! As in the preceding month, the five nominators are supposed to listen to the other four works and write a (possibly short) reaction on them. Anyone else can jump in and say what they think of these works.


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## pianozach (May 21, 2018)

Interesting collection, with three of the five being works featuring a string orchestra.

1. trumpet, clarinet, violin, cello, piano & harp
2. string orchestra (for this performance; 1 Bs, 2 celli, and [I think] 2 violas and 8 violins [likely 4 Vln I and 4 Vln II])
3. piano
4. string orchestra
5. violin, viola and string orchestra

I've already done some sampling of all five, and have already leapt to some conclusions.


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## Art Rock (Nov 28, 2009)

*Wolpe: Piece in Two Parts for Six Players, for trumpet, clarinet, violin, cello, piano & harp*

New to me? Yes, I had heard of Wolpe, but never actually heard anything by Wolpe. This sextet has an interesting combination of instruments, but I'm not 100% sure they work well together. It does not help that the trumpet is probably my least favourite classical instrument and that I do not particularly like this style of percussive piano playing. That said, I still listened to the whole piece with interest. It's not a composition I would need on CD, but it was interesting to finally hear some Wolpe music.


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## SanAntone (May 10, 2020)

*Aram Khachaturian - Toccata*

Khachaturian is not composer I've ever been interested in. His music is just too predictable, or middle-of-the-road for me. So, I don't know what to say about this piano piece other than it seems to employ some gimmicks, e.g. the first part of rhythmic gymnastics. I wish more time had been spent with the following section of more contemplative music instead of returning to the earlier style.


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## SanAntone (May 10, 2020)

*Kurt Atterberg : Suite No. 3 for violin, viola and string orchestra*

Sorry, but this work did not do much for me; it could not hold my interest. To me it sounded pleasant and tuneful, but I need more, some kind of edge, in order to find a work interesting.


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## SanAntone (May 10, 2020)

*Stefan Wolpe: Piece in two parts for six Players* (1962)

This work is more to my taste, and I enjoyed it, I especially liked the instrumental combination. Wolpe stated that the instruments "do not have individual lines that are kept intact, no kind of linear solidity prevails" giving the music a pointillistic quality, reminiscent of the music of Anton Webern.

I found there to be some thematic unity and the work developed organically and seamlessly, making it easy for me to follow.

Hearing this work reminded me how much I enjoy Wolpe's music but I haven't spent any time with it for some time. That will change.


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## pianozach (May 21, 2018)

*Piece in Two Parts for Six Players, for trumpet, clarinet, violin, cello, piano & harp, C. 155 (1968) 
Steven Wolpe*

*Listen 1:*

I went ahead and listened to a few snippets in advance (actually, I did this with all of this month's Explorer works a couple of days ago) of all the submissions, much like a radio program director listening to songs for airplay suitability. So, like this: First 15 seconds, then 10 second snippets at 0:30, 1:00, 1:30, 2:00, 3:00, 4:00, etc.

I developed an instant dislike for the samples I heard for this work.

*Listen 2:*

I figured I'd just listen to *"Piece in Two Parts"* cold, attempting no reading up on it in advance, other than the composition year, 1968.

Viscerally, I felt anger, anxiety, humiliation, and my mind kept wandering off, occasionally ruminating on unhappy things, but that was probably just an attempt to get away from this hideous conglomeration of seemingly random notes. Yeah, I noticed some progression through the Piece, but I finally nodded off somewhere during it, probably a subconscious attempt to get away from it, much like someone reflexively backing away from a skunk, or an idling diesel truck. One could say I'd been transported to a different realm. Or you could say I simply shut down, like falling asleep to escape the pain of an illness or injury.

In fact, this reminded me of head cheese, a nasty slice of random pieces of meat held together by a loathsome gelatinous congealed goo.

I really wasn't expecting much going in to this Piece, but I went in anyway, and with an open mind. I listened for interesting tonalities, rhythms, doublings, progressions, and dramatics, and found, instead, a boring and uninteresting landscape littered with broken and useless flotsam.

*Listen 3:*

I went to the composer *Stefan Wolpe*'s words before attempting another listen, and found them unhelpful:

_"The structural order of pitches is such that certain notes or combinations of notes have a characteristic mode of behaviour. The patterns, shapes and aggregates of sound derived from this pitch-structure are associated with a constantly changing ensemble. The rapid unfolding of material is intensified by the rapid unfolding of the ensemble. Since the instruments do not have individual lines that are kept intact, no kind of linear solidity prevails.

"My concern for varying the speed of circulation within the total chromatic field sometimes brings about a situation in which there are many notes but few pitches. Thus the internal organization depends on various contrasts other than the obvious external ones of dynamics and timbre. Static and evolving elements are juxtaposed and combined; certain structures remain on a level of generalities - like phrases in common use - while others are extremely specific in their syntax and consequences."_

Ah. Got it. Music without line, without dynamics or timbre. But I question now where with this sort of approach that we have merely left the realm of music, and tumbled over into noise. It becomes almost nothing more than camping out in a construction zone.

The composer's words were unhelpful, so I looked online elsewhere. The first *FUN FACT* I discovered was that the work was debuted in 1962, not 1968, the year in which the score was published. Other descriptions of the work included phrases such as *"irrational rhythmic groups"*, *"an overall simplified rhythmic structure and tactus"*, *"uses a long tactus with a much wider range of pulsar subdivisions"*, *"pitch structures"*, and *"a unique and dynamic vocabulary of instrumental interaction and ensemble sonority"*.

This gobbledygook of worshipful phraseology strikes me as more of a con job than an actual advancement of musical evolution.

That said, I understand that he's an obscure, serious composer, and I'll attempt yet another listen, and I'll look for some sort of redemption of this work in my heart, mind, or soul.

So, the *4th listen*: Well . . . stuff happens. But it still feels like rummaging through a 10-family garage sale. And you start with the smaller piles and gradually work up to the larger piles.

Intellectually I understand, in general, the overall genre of the piece, with scattered patterns, both note-wise and rhythmically, and how the patterns happen with increasing frequency, creating a gradually increasing thickness. I don't necessarily recognize them as they're repeated, but I know that they're there.

But all in all, I really am not fond of this piece.

I never need to hear this again. I'd rather listen to high school band students warming up. In fact, if this is music, I may now hate music. I was going to listen to all of the pieces, but I've temporarily lost my will to listen to *any* music *at all*. I'm going to keep the stereo off for awhile.

And just as the weathermen in Australia had to introduce a new color to illustrate temperatures over 130°F on their weather maps, I now find that my *Two Thumbs System* is inadequate to display how much I loathe this piece.

*Three Thumbs Down*.

*But here's the best part*: It inspired me to write a piece influenced by Wolpe's Sextet, my own

*Unexpectorate for Five Players, for flute, clarinet, bassoon, cello, and piano*,

not so much out of respect, but out of anguish.


__
https://soundcloud.com/pianozach%2Funexpectorate-for-five-players-for-flute-clarinet-bassoon-cello-and-piano


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## Bwv 1080 (Dec 31, 2018)

*Albert Roussel - Sinfonia for String Orch*

First movement was neoclassicism without the personality of Stravinsky or Prokofiev? Kept waiting in vain for something interesting to happen. The slow movement got better, with some nice chords, but then got kind of pedantic with the repeated note bit. Last movement was nice, 50s suburb soundtrack nice


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## Bwv 1080 (Dec 31, 2018)

* Khatchaturian: Tocatta in E-flat minor for piano*

Fun piece, but Bartok did this stuff better


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## SuperTonic (Jun 3, 2010)

*Wolpe: Piece in Two Parts for Six Players, for trumpet, clarinet, violin, cello, piano & harp*

Wolpe is one of many composers that I have been wanting to explore more thoroughly, so I was happy to see it included in this month's selections. I've spent quite a bit of time with the piece over the past few days over multiple listening sessions. I liked it on first hearing, and my appreciation only grew with more familiarity. I really enjoy the interplay of timbres from the diverse ensemble and the constantly changing textures of the music. And after a few listens I was able to start hearing how the motivic cells develop over time. Thank you Bwv 1080 for nominating this work. I look forward to exploring more of this composer's music in the future.


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## Bwv 1080 (Dec 31, 2018)

*Schoeck: Sommernacht (1945)*

Lovely piece, though would have guessed it was written in 1905, not 45. Had to google the composer, apparently best known for his songs.


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## SuperTonic (Jun 3, 2010)

*Roussel: Sinfonietta for String Orchestra op. 52*

I only know Roussel by name; I can't recall ever hearing any of his music before. It's possible I've listened to something for a game, but if so it didn't leave any memorable impression. So I approached this work with fresh ears.

The Sinfonietta is a lovely example of neo-classicalism, very much in line with Stravinsky and Les Six. Lot's of charming music, particularly in the outer movements. The slow inner movement was had a bit more "sturm und drang". He did a good job of building up tension through the use of dissonance. And then the 3rd movement starts with no break and it is such a memorable transition. The tension of the slow movement builds up and then it is immediately released with the lovely main theme from the 3rd movement. It brought a smile to my face the first time I heard it. Later in the 3rd movement you get a recap of the buildup and release of tension when the main theme is repeated.

I will mention that I did not particularly care for the performance of the work that was posted in this thread, so I sought out others on Youtube. My favorite was this one, which is a live performance from the NDR Elbphilharmonie Orchestra with Paavo Jaervi. It was a pretty aggressive performance, but I kind of liked it.
This one (Orchestre de chambre Jean-François Paillard) is a bit more refined and also very nice, but I think I prefer the more aggressive interpretation.


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## SuperTonic (Jun 3, 2010)

*Khatchaturian: Tocatta in E-flat minor for piano*

I can't say that I ever hearing anything other than orchestral music from Khachaturian, so I was interested in hearing this piece. I thought the toccata sections were a bit repetitive, and I would have liked maybe a little bit more variety. Overall I liked the piece, but I don't know if I have any interest in coming back to it again in the future.


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## SanAntone (May 10, 2020)

*Roussel: Sinfonietta for String Orchestra op. 52*

This work reminded me much of the music of Hindemith, i.e. it has gestures, textures, and rhythmic pulse - but the music just moves along, without making a distinct impression. I never got a handle on where the music was going. Once the second section began, things improved somewhat. But then it went back to the same kind of music as it began with.

Roussel has never really resonated with me, which is a bit strange since I almost always like French composers of his period.


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## pianozach (May 21, 2018)

*Roussel: Sinfonietta for String Orchestra op. 52*

Pleasant, with some wonderful sonorities. I wouldn't have minded a full orchestra, with WW, brass, and pc., but whatever. The video bothered me in that the conductor was often doing no more than beating time, and excessively at that.

*1-1/2 thumbs up*


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## Art Rock (Nov 28, 2009)

*Khatchaturian: Toccata in E-flat minor for piano
*

The composer is not new to me (actually, it turns out I have nine CD's of his orchestral works). However, I never explored his piano works - mainly because I'm less keen on solo piano music in general with a few exceptions. I must say I found this piece far more interesting than I had expected, particularly the second half, although I found the ending a bit abrupt. Still, glad to have heard it - good choice!


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## Art Rock (Nov 28, 2009)

*Atterberg: Suite no. 3 for violin, viola, and strings, op. 19/1
*

The composer is certainly not new to me (I have CD's of his nine symphonies, concertos and chamber music), but this particular work I had never heard. It is a rather early work (1917) in a style that for me sounds a bit like the English pastoral school of that period at moments (in particular during the first seven minutes), only to switch to a more dance like atmosphere later on (not completely unlike some of Grieg's works). It worked for me, and although not indispensable, it is a work that I would like to have in my CD collection. Thanks for bringing it to my attention!


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## Forster (Apr 22, 2021)

Art Rock said:


> Here is our line-up for November [etc]


First response:

I've listened to all four once through (excluding the Roussel which was my nominated work). None were known to me, and Kachaturian was the only composer whose work I'd heard before (_Spartacus, Gayane, Sabre Dance_).

Three of the works struck me as 'conventional' and are easy to listen to (Atterberg, Kachaturian, Schoeck). All three had some appeal for me. The Wolpe either _requires _further listening (to adjust my conventional ears) or abandoning as I found its free form unattractive.But I'm going to listen to all four again anyway.


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## Art Rock (Nov 28, 2009)

*Roussel: Sinfonietta for String Orchestra op. 52
*
New to me? Not the composer - Among my first 100 CD's or so around 1987, there were two Erato discs with his four symphonies. As time went one, I got a few more of this French composer, whose work in general I like, but without a work that really makes me excited. His Sinfonietta however is new to me - but fits right in with the others. Enjoyable, but without any urge to return to it.

Also a reminder to those who signed up for the November challenge: you have 10 days left to listen to the pieces and post a reaction if you have not done so yet.


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## SuperTonic (Jun 3, 2010)

*Schoeck: Sommernacht (1945)*

I have a soft spot for pieces for string orchestra. I love that rich sonority that the ensemble is capable of producing. So this piece was right up my alley, and it didn't disappoint. But I also enjoyed the contrasting sections that featured solo instruments with a sparser accompaniment as well. This was a good introduction to this composer, who is completely new to me. I look forward to exploring Schoek's work in the future.


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## SuperTonic (Jun 3, 2010)

*Atterberg: Suite no. 3 for violin, viola, and strings, op. 19/1*

I've been on a bit of an Atterberg kick lately. My initial exposure to his music a few years ago didn't impress me much to be honest. I thought the music was pleasant but ultimately not that interesting. However, he seems to be a popular selection in the games that I lake to participate in on this site, so I recently decided to give him another chance. And this time I was absolutely captivated by his music, and I've spent quite a bit of time exploring his output. This piece is one of my favorites of his that I have heard so far. As I mentioned in my post on the Schoek piece, I really enjoy the string orchestra sonority, and this piece just hit all the right notes for me, metaphorically speaking.


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## pianozach (May 21, 2018)

*Aram Khachaturian - Toccata in E-flat minor for piano (1932)*

My submission, and a work I've played myself. I enjoy my own performance, but this version performed by Ruben Yessayan isn't awful.

Funny thing about this piece is that although it's flashy and bombastic, it's actually not all that difficult to play (well, at least from MY perspective).

The longer I live, the more I love the middle andante section.

*Two Thumbs Up*


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## Art Rock (Nov 28, 2009)

Bumping in case there are more people wanting to comment on this month's selections.

The next month (if there is interest) will be January, as participation tends to decrease in the holidays season.


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## Art Rock (Nov 28, 2009)

*Schoeck: Sommernacht (1945)*

I saved this for last, because a few weeks ago I played all my nine Schoeck CD's within a week or so, and that's a bit of an overdose for a composer who is interesting, but not first rank. He may be best known for his songs and song cycles, but I found the most pleasing pieces in those nine CD's were his violin concerto and the two string quartets.

Sommernacht is a new piece for me. Luscious, late romantic music, a bit Straussian at times in style but without his brilliance. The short intermezzo around the 8 minutes mark is a welcome change of pace, as is the playful sequence around 11 minutes - and I quite like the subdued ending. All in all, a good selection, a piece I enjoyed and could see myself listening to again.

For me it is tied for 'best' in this month's selection, together with the Atterberg.


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## pianozach (May 21, 2018)

*Othmar Schoeck: Sommernacht (1945)
*
This was extraordinarily enjoyable. Put me in a good mood.

Beautiful sonorities from the strings. Even though some of seemed melancholy, it was a happy melancholy somehow.

I think I've found a new favorite composer.

*Two thumbs up*.


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## pianozach (May 21, 2018)

*Kurt Atterberg : Suite No. 3 for violin, viola and string orchestra Op. 19/1 (1917 rev. 1921)
*
I could swear that this piece and the previous one by *Schoeck* were composed by the same person.

Beautiful orchestration. Simply gorgeous.

*Two Thumbs Up*


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## SanAntone (May 10, 2020)

pianozach said:


> *Othmar Schoeck: Sommernacht (1945)
> *
> This was extraordinarily enjoyable. Put me in a good mood.
> 
> ...


I am so happy that someone fell in love with this work by *Schoeck*, who is definitely one of my favorite composers. If you wish to continue with him I"d suggest either _Elegie_, Op. 36 or _Notturno_, Op. 47, both are song cycles; lieder is his forté. I would have chosen one of these for this month but they were over 20 minutes.


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## Art Rock (Nov 28, 2009)

If you have not tried him yet, I'd recommend Franz Schreker as well.


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## SanAntone (May 10, 2020)

Art Rock said:


> If you have not tried him yet, I'd recommend Franz Schreker as well.


Yep; he's another composer I've got among my faves.


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## Art Rock (Nov 28, 2009)

We'll continue this until there is no interest. The January challenge is approaching.

The idea is that 4-6 people would nominate one work each of limited runtime (say max 20 minutes), that they like very much, and that they think many people here would not have heard yet. The nominated works should be available on YouTube so everyone can access them. These 4-6 people make a commitment to listen to all nominated works at least once in that month (so max 2 hours), and write a short review, stating at least whether the work was new to them and whether they liked it or not (more than that is welcome).

Nominations are now open - those taking part in the previous challenges can join again. *Do not post your selected works - I'll ask for them (PM) once we have our list of nominators*.


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