# Late 20th Century Orchestral Works: 1972-1999



## SanAntone

Alan Bush : Symphony n°4 'Lascaux' (1982-1983)






Alan Bush (1900-1995) : Symphony n°4 op 98 'Lascaux' (1982-1983) - Royal Scottish National Orchestra - Martin Yates, conductor - Sam Hutchings, piano
Paleolitic Cave Painting - c18000 BC - Lascaux (France)

***

Beautiful.


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## Prodromides

Uh oh ... you realize that members such as "Fabulin" can deposit soundtracks by John Williams into this thread?


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## starthrower

I'm listening to Herman Koppel's Concerto For Orchestra composed in 1977-78. It's not on YT but you can find it on Spotify on a DeCapo CD with his symphonies 6 & 7. https://www.naxos.com/catalogue/item.asp?item_code=8.224135

A fairly pleasant work that's easy on conservative ears. Recommended by an old friend.


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## arpeggio

I am a big fan of the symphonies of Maslanka. He passed away in 2017.


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## MrMeatScience

Two of my favourite orchestral works from this period, which is packed with great music.


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## Enthusiast

I'm wondering what the purpose of this thread is. What are we invited to post on? There is a huge and hugely varied amount of music written in the last 50 years that I like greatly. I'm not sure how to respond.


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## SanAntone

Enthusiast said:


> I'm wondering what the purpose of this thread is. What are we invited to post on? There is a huge and hugely varied amount of music written in the last 50 years that I like greatly. I'm not sure how to respond.


If you discover an orchestral work written since 1970 that you think is noteworthy, post a Youtube clip, and optionally, any comments you wish to add.


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## arpeggio

Would concert band works be acceptable? I know of many examples. For example Maslanka composed seven symphonies for band and was a composer who made his living solely on commissions. 

A significant sub-genre of classical music is concert band music. If one would include these works in the classical music universe, It seems that one would find that classical is in better shape than some think.


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## Enthusiast

SanAntone said:


> If you discover an orchestral work written since 1970 that you think is noteworthy, post a Youtube clip, and optionally, any comments you wish to add.


I got that, thanks, but the trouble is I can think of at least fifty and don't know how to choose between them. Imagine if the OP had asked us to post orchestral music written between 1800 and 1850 ..


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## SanAntone

arpeggio said:


> Would concert band works be acceptable? I know of many examples. For example Maslanka composed seven symphonies for band and was a composer who made his living solely on commissions.
> 
> A significant sub-genre of classical music is concert band music. If one would include these works in the classical music universe, It seems that one would find that classical is in better shape than some think.


There are no rules other than the works need to be written post-1970, and for an orchestral group, i.e. more than 20 musicians. So, your concert band works would qualify.



Enthusiast said:


> I got that, thanks, but the trouble is I can think of at least fifty and don't know how to choose between them. Imagine if the OP had asked us to post orchestral music written between 1800 and 1850 ..


You could post them all, just not on the same day.  Or you could simply ignore the thread.


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## SanAntone

Actually, if the mods would oblige, I'd like to change the thread to "Orchestral Works Written from 1970-1999" since I also started a thread for 21st Century Orchestral Works.

This also has the added benefit of narrowing down the period to 30 years.


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## Enthusiast

^ Thanks! That will be easier. But I would still have an awful lot to post for the 30 year period. I find it to have been a really rich period.


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## Art Rock

SanAntone said:


> Actually, if the mods would oblige, I'd like to change the thread to "Orchestral Works Written from 1970-1999" since I also started a thread for 21st Century Orchestral Works.
> 
> This also has the added benefit of narrowing down the period to 30 years.


Obliged................


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## SanAntone

Many thanks.


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## SanAntone

Enthusiast said:


> ^ Thanks! That will be easier. But I would still have an awful lot to post for the 30 year period. I find it to have been a really rich period.


Looking forward to your contributions - that's the whole point, introducing us to some fantastic music written fairly recently.


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## arpeggio

I would like to start out with reposting an overpowering performance of the US Navy Band of Maslanka's _Fourth Symphony_"


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## Josquin13

Joonas Kokkonen: Symphony No. 4 (1971):

Two performances:

--Symphony no. 4, conducted by Okko Kamu, Finnish Radio Symphony Orchestra: 



--Symphony No. 4, conducted by Sakari Oramo, Finnish Radio Symphony Orchestra: 




If anyone's interested in hearing Kokkonen's other three symphonies, which were composed in the 1960s, here are links:

Sakari Oramo, Finnish Radio Symphony Orchestra:

Symphonies 1 & 2: 



Symphonies 3: 




Alternative interpretation:

Symphony no. 3, conducted by Paavo Berglund, Finnish RSO (Berglund also recorded Nos. 1 & 4):


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## calvinpv

Gérard Grisey: *L'Icône paradoxale* ("The Paradoxical Icon"), for soprano, mezzo-soprano & large orchestra (1992-1994)

An underrated work by Grisey, probably one of my favorites by him with its rich orchestration. Here's Grisey's program note, translated from French:



> L'Icône paradoxale is a tribute to Piero della Francesca and his work La Madonna del Parto. The title is borrowed from an essay by Yves Bonnefoy. This work, the fruit of a great admiration for Piero della Francesca, was born from an amazed discovery of La Madonna del Parto in Monterchi, as well as the reading of Thomas Martone's analysis of it.
> 
> The mise en abîme of sounds that I have been practicing for several years is not unrelated to perspective as rediscovered by Renaissance painting and particularly Piero. Besides the name of Piero della Francesca, the text used is that, in Italian, of his Perspectiva pingendi. Quattrocento painting, and particularly that of Piero della Francesca, has always exerted such fascination on me that I have made many pilgrimages between Arezzo, Monterchi and Borgo San Sepolcro; but it was not until 1988, after reading a lecture by Thomas Martone on La Madonna del Parto, that I got the idea of composing a tribute to Piero della Francesca. However, this score was not started until 1991. Both Christian and pagan, ardent and peaceful, virgin and matriarchal goddess, archetype of birth and questioning, La Madonna del Parto can also be read like the matriochkas, that other matriarchal archetype.
> 
> To the violent gesture of the angels removing the curtain and the rounding of the damask canopy, responds the gesture of the fingers removing the dress and the rounding thereof. A space opens onto a space that opens up: infinity is suggested. Undoubtedly my fascination is only [for the notion of] projection, because my music for a long time also plays on the correspondences and the "mise en abîme" of radically different times (the time of the whales, the time of the men, the time of the birds ...)*. Here, the orchestra is spatialized into two sets of two groups: the large orchestra divided into low and high instruments, and a small ensemble divided into two symmetrical groups that envelop the human voices. For vocal material, I used the different signatures** of Piero della Francesca in Latin and in Italian whose sonographic analysis gave me a very rich material of consonants, and [I used] some extracts from his treatise on perspective, De Perspectiva pingendi. One of the first of its kind, this treatise, written in Italian from the 15th century to the end of Piero's life, conceals all the modesty of an artisanal and educational notebook. "... trace A then B, take a compass, measure AB and set twice the distance AB ..." This hardly resembles a treatise on aesthetics. Not the slightest poetic surge, not the slightest manifesto, or so little! Yet all Renaissance painting is in gestation in this jubilant humility. From this treatise, I also retained a few sentences which seemed to me closer to a musical subject: "chiari et uscuri secondo che i lumi le divariano ..." Finally, it will be understood that I could not resist to use that of the text which describes the musical structure at the moment when one perceives it***.
> 
> For temporal material, I used the proportions that underlie the composition of the fresco:
> 
> 3 - 5 - 8 - 12
> 
> Finally, the shape of L'Icone paradoxale traces two opposite evolutions analogous to two diagonals whose intersection would constitute the middle part of the piece. Four superimposed processes occupy the entire duration of L'Icone paradoxale, each evolving in its own time:
> 
> Time I, extremely compressed: the treble instruments of the large orchestra make the whole piece heard compressed in sixteen seconds, like a painting seen from afar and of which only a vague distribution of colors and shapes can be distinguished. This compression is read in progressive and repeated fragments.
> 
> Time II, linguistic: the two female voices and the small ensemble draw a slow evolution from vowel to consonants, from color to noisy sounds, from sound held to rhythms.
> 
> Time III, dilated: the bass instruments of the large orchestra articulate in slow motion the sound of the consonants contained in the different signatures of Piero della Francesca.
> 
> Time IV, extremely dilated: throughout the large orchestra, a slow spectral punctuation spreads out which, from the beginning to the end of L'Icone paradoxale, determines the different harmonic fields. When times II and III cross at the point of intersection of the diagonals, a continuous and periodic rotation invades all the available sound space. The score ends with a combination of times I, II and IV and a short coda summing up all the spectral material.
> 
> *These three "times" are metaphors for different time scales of the unfolding of the musical material. This work and and the work Le Temps et l'écume are Grisey's two most notable works dealing with different time scales.
> **In other words, Grisey analyzed the spectrogram of a person saying the name "Piero della Francesca" in Italian and in Latin.
> ***Meaning, the moment a certain musical structure appears, a corresponding textual passage that describes the structure will be sung


Performers: SWR Sinfonieorchester des Südwestrundfunks, Sylvain Cambreling, Catherine Dubosc, Lani Poulson

The thumbnail of this video is the painting by Piero della Francesca.


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## Vasks

John Adams "Harmonielehre" (1981)


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## SanAntone

calvinpv said:


> Gérard Grisey: *L'Icône paradoxale* ("The Paradoxical Icon"), for soprano, mezzo-soprano & large orchestra (1992-1994)
> 
> An underrated work by Grisey, probably one of my favorites by him with its rich orchestration.


Grisey has always been a favorite of mine, thanks for posting this work. He death at a relatively young age was tragic.

Also that channel, Art&Music, is one I check regularly for new clips.


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## leonsm




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## arpeggio

*Camphouse, Tell Us of the Night*

My second composer that I have frequently posted about, Mark Camphouse: _Watchman, Tell Us of the Night_:






I have met Camphouse on several occasions. I play with the City Band of Fairfax and we played the premier of one of his works: _Foundation_.

He told me that he considered himself a common practice tonality composer.

There are members who have discounted his music because:

1. Since he does not sound like Brahms, he can not be a common practice tonality composer.
2. I never heard of him.


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## SanAntone

arpeggio said:


> My second composer that I have frequently posted about, Mark Camphouse: _Watchman, Tell Us of the Night_:
> 
> 
> 
> 
> 
> 
> I have met Camphouse on several occasions. I ply with the City Band of Fairfax and we played the premier of one of his works: _Foundation_.
> 
> He told me that he considered himself a common practice tonality composer.
> 
> There members who have discounted his music because:
> 
> 1. Since he does not sound like Brahms, he can not be a common practice tonality composer.
> 2. I never heard of him.


I want to thank you posting these works for band, or wind ensemble. It is a kind of music that I have hardly listened to, I guess because I associated it with my own school band memories of march music.

Wonderful stuff!


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## Heck148

arpeggio said:


> Would concert band works be acceptable? I know of many examples. For example Maslanka composed seven symphonies for band and was a composer who made his living solely on commissions.
> 
> A significant sub-genre of classical music is concert band music. If one would include these works in the classical music universe, It seems that one would find that classical is in better shape than some think.


Corigliano-Sym #3 "Circus Maximus" for concert band....neat piece, big powerful, pretty wild!!
Definitely deserves mention....there is also a band version for his "Gazebo Dances"....another fine opus.


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## arpeggio

Heck148 said:


> Corigliano-Sym #3 "Circus Maximus" for concert band....neat piece, big powerful, pretty wild!!
> Definitely deserves mention....there is also a band version for his "Gazebo Dances"....another fine opus.


I have played that the _Gazebo Dances_ and he wrote an impossible bassoon lick in the first movement. It was is the low range starting on the low Bb. Maybe the left thumb of a real pro could handle it but none of mortals in our section could play it. The rest of the bassoon section played it up an octave. Since I was using my contra on another piece in the program I played it on my contra.

I had a unique experience with the _Third Symphony_. I attended a performance of it with Slatkin conducting the Marine Band. That is a work, because of its antiphonal nature, one has to experience in a live performance. There is great YouTube of it. If anyone is interested I could post it.


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## Heck148

arpeggio said:


> I have played that the _Gazebo Dances_ and he wrote an impossible bassoon lick in the first movement. It was is the low range starting on the low Bb. Maybe the left thumb of a real pro could handle it but none of mortals in our section could play it. The rest of the bassoon section played it up an octave. Since I was using my contra on another piece in the program I played it on my contra.
> 
> I had a unique experience with the _Third Symphony_. I attended a performance of it with Slatkin conducting the Marine Band. That is a work, because of its antiphonal nature, one has to experience in a live performance. There is great YouTube of it. If anyone is interested I could post it.


Oh, I'd like to see that lick in "Gazebo Dances"....I always thrived on the impossible....


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## arpeggio

Heck148 said:


> Oh, I'd like to see that lick in "Gazebo Dances"....I always thrived on the impossible....


My memory may be off but it is four sixteenth ending with quarter note. They are all tongued. Stating on a low Bb the notes are Bb C D C Bb. If you can recall the tempo is lively in the first movement.

Reminds me of that bassoon solo in Beethoven's _Fourth_. I still can not play it. I knew one guy who could double tongue it.


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## Heck148

arpeggio said:


> My memory may be off but it is four sixteenth ending with quarter note. They are all tongued. Stating on a low Bb the notes are Bb C D C Bb. If you can recall the tempo is lively in the first movement.


Low register fast tonguing...that can be tricky - Francaix Serenade for Chamber Orch - fast - 4 repeated, tongue low Bbs, going to Eb...this piece also has a marvelous solo that goes to high "F"...then repeats!!



> Reminds me of that bassoon solo in Beethoven's _Fourth_. I still can not play it. I knew one guy who could double tongue it.


I 2ble tongue LvB #4/IV....I use 2ble tongue for a lot of things - Berlioz - SF/V, Mozart 41/IV, Leonore #3, etc.


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## Enthusiast

I will try to post a few items over the next day or two. To start with Britten was at the end of his career in the 1970s(he died in '76) but wrote several works that are well established now, including the last two church parables, the last cello suite and this


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## Enthusiast

And then among the older generation - those who were in old age at the start of our period - there is also Tippett. Many of his important works were written in the 70s and 80s, including the last two symphonies, the last two quartets, Byzantium and this from 1978-9:






PS - I've just realised I should be focusing on orchestral music only ... and will comply from now on in only mentioning purely orchestral works!


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## mikeh375

^^absolutely Enthusiast.....

This from Schott...

_Like Beethoven's Pastoral Symphony or Debussy's La Mer, The Rose Lake is concerned with expressions of feeling rather than description. It is Michael Tippett's last orchestral work and is a shimmering, singing, ecstatic response in musical terms to the visual transformation that he had witnessed. His deep, lifelong relationship with the natural world and its luminous power finds a distilled essence in The Rose Lake._


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## Enthusiast

Which brings us to Lutoslawski. Favourite orchestral works from this period include two symphonies, Chain 1 and Chain 3, a concerto for oboe and harp and the piano concerto. Chain 2 (1984-5):


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## Art Rock

Takemitsu's viola concerto has been mentioned. Here is my favourite work by one of my favourite composers:

*Takemitsu - From Me Flows What You Call Time (percussion concerto, 1990)*


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## SanAntone

This is great - exactly what I had hoped for when I created this thread. All of my threads are meant to be "listening threads" the purpose is to introduce works to our community. I've already heard several works I had not the existence of before, and enjoyed them immensely.

Thanks to all contributors, and please - keep them coming!


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## SanAntone

Sticking with Takemitsu, here's a nice one:

Tōru Takemitsu: Nostalghia (1987)
for violin and string orchestra






Yuri Bashmet, violino
Moscow Soloists diretti da Roman Balashov.


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## Bwv 1080

This is an amazing piece - Grisey first writes a low trombone part then 'synthesizes' it with the rest of the orchestra by having them play the overtones of the instrument (hence the title)


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## mikeh375

SanAntone said:


> Sticking with Takemitsu, here's a nice one:
> 
> Tōru Takemitsu: Nostalghia (1987)
> for violin and string orchestra
> 
> 
> 
> 
> 
> 
> Yuri Bashmet, violino
> Moscow Soloists diretti da Roman Balashov.


Love that, so sumptuous. Takemitsu rocks.


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## calvinpv

Wolfgang Rihm: *Styx und Lethe*, for cello & orchestra (1997-1998)

Score here

Here's an English translation of the program note from its premier at the 1998 Donaueschingen Music Festival. I think the title and the program note perfectly capture the mood of the piece:



> Styx and Lethe. The title comes from the early stages of the composing process, when everything was about to turn out very differently. But it became something completely different. I left the title. Because: subliminal river forms should be and have become. Albeit different. And the "hated" river, the Styx, cannot be crossed on its own. Leaden, bottomless - maybe a lake? And Lethe, forgetfulness, is perhaps similar to music: it is a "mountain" [Gebirg], it holds [birgt] something. Truth? A-Lethe-ia? Music "forgets", clearly perceptible, in the moment beforehand. It is forgotten. You can feel that, sympathize. A nerve-subject (nerves like wire strings!) twitches and "annoys" [nervt] itself from the depths to the heights. There it sings. Like metal. Everything is energetic, maybe wilderness. Maybe another dark game? A monodrama? In the beginning it shouldn't be. It should flow muted, cool, chaste, "classic", on the edge of the audible. Why did everything turn out so differently? I don't know. Ask it yourself. There it comes.


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## calvinpv

Wolfgang Rihm: *Sotto voce "Notturno"*, for piano and small orchestra (1999)

And now for Rihm's softer, more delicate side ...



> "Art is a tricky thing, and those who've gotten involved with it can't just get on with things in peace afterwards," writes Wolfgang Rihm in the commentary to Sotto voce, his "nocturne for piano and small orchestra".
> 
> It is in a similar vein that W. A. Mozart wrote to his father from Munich in 1777: "I need only set foot in the theatre and hear voices-and oh, I'm already quite beside myself with excitement."
> 
> Mozart and Rihm? It wouldn't be the first time that the two of them have been mentioned in the same breath. One typically associates Rihm with the free interaction of sounds, sounds that often grow rank like plants; early on in his career (1975), Rihm has quite deliberately positioned his music within the tradition of Bruckner, Mahler and Hartmann. Mozart, on the other hand, became known as (among other things) a virtuosic musical rhetorician who was prone to develop his music in a quasi-argumentative fashion. But might there perhaps indeed be ties between the two, ties of which one can only speak Sotto voce (that is to say, in hushed tones)? Singling out euphoria as the sole connecting element would be simply too cheap. Euphoria, after all, is experienced by any composer who succeeds in putting his finger on that which cannot be expressed by words alone…
> 
> When Daniel Barenboim invited Wolfgang Rihm to "invent a piece into" his Mozart programs with the Berlin Philharmonic, Rihm first turned to the orchestra's specific sound for inspiration. "How often had I heard him (Barenboim), and afterwards those incomparable instrumented pianissimi always stuck with me and just wouldn't let me go. So I wrote a little nocturne-concerto in which I invested this piano-experience with contemplations on the possible or impossible invention of artistic beauty in the present."
> 
> Rihm's intention was to have everything develop out of itself in the most natural way possible: "Nothing more and nothing less. Of course, I try to do that in other pieces, as well. But here it acquired an increasingly unprotected quality-at least I felt this while writing it-as well as something very open: something obvious, but in such a way as to once again become cryptic. Perhaps I was on to Mozart's trail?" Sotto voce is essentially a performance indication, and a seldom-used one, at that; when it does occur, it is usually in chamber music. As long as we're talking about Mozart: his String Quartet in D Major (K 575) contains a Sotto voce indication. The theme of the slow movement of Beethoven's Eroica is also marked Sotto voce. Brahms used Sotto voce in the fourth movements of his 2nd and 3rd Symphonies, as well as in the first movement of his 1st Symphony.
> 
> From the very beginning, Rihm conjures up a Sotto voce atmosphere that is all his own. One could say that he blots out his predecessor's footprints by adding a harp to a Mozart-style orchestral formation and letting the work begin in a "very quiet, lyrically flowing" manner. A cloud of sound from the solo violins floats in the upper regions and is lit up-"as if by a pointing device", as Klaus Kropfinger puts it-by the flageolets in the harp and a piano-sforzato in the piano part. This cloud of sound, derived from layers of seventh chords, amounts to something like the aggregate state of the composition.
> 
> Said cloud returns several times, albeit in modified form. This has to do with the intermittent, surge-like development of the piece, which occasionally grows so dense that a one-measure fortissimo cadence seems like an unsurpassable climax -- until once again, the pianissimo cloud of sound "floats" back in as an arpeggio played by the piano.
> 
> As is so often the case in Rihm's music, these compositional outbursts are virtuosically integrated into a give-and-take between the various fields of sound, so that even in the face of all the expressive energy one still feels that, here, the denser moments are not akin to sparks flying outward, but much rather like an inward glow


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## Vasks

Corigliano was mentioned viawind ensemble pieces but here's his 1989-90 symphonic masterpiece


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## Enthusiast

Lots of works by Carter for this period including several that I'd call favourites. This is the clarinet concerto:






And then the Dutilleux Tree of Dreams, a violin concerto:


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## Art Rock

Love or hate his third symphony (I adore it), but now for something completely different:

*Górecki - Concerto for Harpsichord and String Orchestra (1980)*


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## Gargamel

*Elliott Carter* (1908-2012)
*Symphonia: sum fluxae pretium spei. Omg this is so gorgeous and catchy, even Ned Rorem would retract his tirades against Carter. If you love Dutilleux's Metaboles then you'll love this even more.
*Violin Concerto. Elliott Carter is sort of like a bad trip if you don't understand a piece. Luckily the violin concerto, like much music from his late period, is relatively simple and punctuated in its presentation so that you always have a good sense of where you are.

*Hilding Rosenberg* (1892-1985)
*Symphony No. 8. Possibly his only orchestral work written from this time period. The choir version is suspenseful yet inconsolable.

*Roger Sessions* (1896-1985)
*Symphony No. 9. Starts off as quite Stravinskyan, then morphs into one of the most fluent and lyrical works by any american composer. Dennis Russell Davies' version is the one to go with. The other performance on youtube (Prausnitz) is just very noisy and too hurried.

*Andrew Imbrie* (1921-2007)
*Symphony No. 3. Very lyrical, and wonderful orchestration. (Imbrie saw Mahler as one of his models for orchestration.)
*Requiem. The style might seem a bit generic, second viennese school -tinged aesthetics, but it's got some very purdy arias.

*James Dillon* (1950-)
*Nine Rivers - I can't find this online, but I remember it having some of the most novel orchestration I've heard, although my understanding of Dillon's music, like Rihm's, is somewhat lacking.

*Joonas Kokkonen* (1921-1996)
*Symphony No. 4. Someone already mentioned this. I find this one rhythmically very amusing, it made me laugh the first times when I heard it. (Be warned, Sakari Oramo's version is... not good. It's way too slow to be funny.)
*Requiem. Here, however, is hands down his greatest work. Unless you would like to digest a two-hour opera in a foreign language.

*Einojuhani Rautavaara* (1928-2016)
There's too many favorites to begin listing. I'm not a fan of the orchestral suites he made of the operas; Rautavaara was such a wonderful writer for the voice, so I find in hearing the same melodies without voice, there's something lacking. Honestly I'm a bit ambivalent about some music, such as the Manhattan Trilogy which I think was criticized by Vladimir Askenazy.

*Milton Babbitt* (1916-2011)
*Piano Concerto No. 2 - This work just crams everything you can possibly imagine into one whole, including jazzy swing, 12-tone austerity, musicals riffs, overripe romanticism, Chopin..... The James Levine / Robert Taub version is heartbreakingly emotional, much more so than the recent Conor Hanick recording. There are two Taub/Levine file versions floating around; the other one of them is too muddy to be enjoyable.

*Brian Ferneyhough* (1943-)
*La terre est un homme. Essentially sandbox with melodies as many as there are grains - it's fun just get lost in it and wonder if there's a way out.
*Carceri d'Invenzione I. A work which even a traditionalist audience can get some pleasure from, as the instruments are assigned very clear-cut roles and the bass is more distinct than in many later Ferneyhough works.

*George Lloyd* (1913-1998)
*Symphony No. 11. I felt the need to include someone more "traditionalist", and here's a late symphony that represents some of the catchy side of this composer's earlier days. There is so much potential in this symphony, but the Albany Symphony Orchestra's performance is a bit lazy. (or is it just me?)

Someone please suggest spanish/portugese/latin-american works. After Ginastera and Chavez, there isn't much I'm familiar with.


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## Prodromides

Gargamel said:


> Someone please suggest spanish/portugese/latin-american works. After Ginastera and Chavez, there isn't much I'm familiar with.


I'll be that someone:
https://www.claves.ch/products/l-de-pablo-danzas-secretas-frondoso-misterio










Luis de Pablo ("Danzas Secretas")
Cristobal Halffter ("Versus")
Jose Luis Turina ("Pentimento")
Tomas Marco ("Bastilles")
Alfredo Aracil (dos glosas)
Jorge Fernandez Guerra (los ojos verdes)
Albert Llanas (clarinet concerto)










+
Emmanuel Nunes ("Quodlibet"; Machina Mundi) http://mic.pt/dispatcher?where=4&what=2&show=4&grupo_id=4377&lang=EN


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## arpeggio

Gargamel said:


> *Elliott Carter* (1908-2012)
> *Symphonia: sum fluxae pretium spei. Omg this is so gorgeous and catchy, even Ned Rorem would retract his tirades against Carter. If you love Dutilleux's Metaboles then you'll love this even more.
> *Violin Concerto. Elliott Carter is sort of like a bad trip if you don't understand a piece. Luckily the violin concerto, like much music from his late period, is relatively simple and punctual in its presentation so that you always have a good sense of where you are.
> 
> *Hilding Rosenberg* (1892-1985)
> *Symphony No. 8. Possibly his only orchestral work written from this time period. The choir version is suspenseful yet inconsolable.
> 
> *Roger Sessions* (1896-1985)
> *Symphony No. 9. Starts off as quite Stravinskyan, then morphs into one of the most fluent and lyrical works by any american composer.
> 
> *Andrew Imbrie* (1921-2007)
> *Symphony No. 3. Very lyrical, and wonderful orchestration. (Imbrie saw Mahler as one of his models for orchestration.)
> *Requiem. The style might seem a bit generic, second viennese school -tinged aesthetics, but it's got some very purdy arias.
> 
> *James Dillon* (1950-)
> *Nine Rivers - I can't find this online, but I remember it having some of the most novel orchestration I've heard, although my understanding of Dillon's music, like Rihm's, is somewhat lacking.
> 
> *Joonas Kokkonen* (1921-1996)
> *Symphony No. 4. Someone already mentioned this. I find this one rhythmically very amusing, it made me laugh the first times when I heard it.
> *Requiem. Here is, however, is hands down his greatest work. Unless you would like to digest a two-hour opera in a foreign language.
> 
> *Einojuhani Rautavaara* (1928-2016)
> There's too many favorites to begin listing. I'm not a fan of the orchestral suites he made of the operas; Rautavaara was such a wonderful writer for the voice, so I find in hearing the same melodies without voice, there's something lacking. Honestly I'm a bit ambivalent about some music, such as the Manhattan Trilogy which I think was criticized by Vladimir Askenazy.
> 
> *Milton Babbitt* (1916-2011)
> *Piano Concerto No. 2 - This work just crams everything you can possibly imagine into one whole, including jazzy swing, 12-tone austerity, musicals riffs, overripe romanticism, Chopin..... The James Levine / Robert Taub version is heartbreakingly emotional, much more so than the recent Conor Hanick recording. There are two Taub/Levine file versions floating around; the other one of them is too muddy to be enjoyable.
> 
> *Brian Ferneyhough* (1943-)
> *La terre est un homme. Essentially sandbox with melodies as many as there are grains - it's fun just get lost in it and wonder if there's a way out.
> *Carceri d'Invenzione I. A work which even a traditionalist audience can get some pleasure from, as the instruments are assigned very clear-cut roles and the bass is more distinct than in many later Ferneyhough works.
> 
> *George Lloyd* (1913-1998)
> *Symphony No. 11 I felt the need to include someone more "traditionalist", and here's a late symphony that represents some of the catchy side of this composer's earlier days. The performances of Lloyd's symphonies are a bit lazy, or is it just me?
> 
> Someone please suggest spanish/portugese/latin-american works. After Ginastera and Chavez, there isn't much I'm familiar with.


This what I love of about modern music. The various .sound worlds that one can explore


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## arpeggio

Gargamel said:


> Someone please suggest spanish/portugese/latin-american works. After Ginastera and Chavez, there isn't much I'm familiar with.


Danial Catan: Mexican
Leonardo Balada: Catalan
Joly Braga Santos: Portugese
Leo Brouwer: Cuban


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## Prodromides

arpeggio said:


> Leo Brouwer: Cuban


Yeah, I shouldn't have forgotten him.


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## SanAntone

*Osvaldo Golijov* (Argentina) wrote _Oceana_ in 1996. A cantata for soloist, boys choir, chorus, electric guitars, and reduced orchestra (strings, flutes, and percussion).






A wonderful piece.


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## SanAntone

Bruno Maderna: Aura (1972)






NDR Symphonieorchester Hamburg diretta da Bruno Maderna (live in Hamburg, 1973).


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## Enthusiast

^ There's one I don't need to post now. I'd also add his oboe concertos, Quadrivium and more!

But how about Birtwistle's Earth Dances of 1986?






There are many other Birtwistle pieces I would include including Antiphonies (a piano concerto) from 1992 and this (a sort of tuba concerto from 1994):


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## SanAntone

*crumb | a haunted landscape | 1984*


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## Haydn70

_Adiós _by Cuban-American composer Aurelio de la Vega. Composed in 1977 on commission from Zubin Mehta and the Los Angeles Philharmonic for Mehta's final season as Music Director of that orchestra. This was the second piece by de la Vega commissioned by Mehta and the L.A. Phil, the first being _Intrata_.


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## Haydn70

Gargamel said:


> Someone please suggest spanish/portugese/latin-american works. After Ginastera and Chavez, there isn't much I'm familiar with.


I posted _Adiós _ by Cuban-American composer Aurelio de la Vega ^^^. Here is his _Intrata _from 1972, the first commission he received from Zubin Mehta and the Los Angeles Philharmonic:


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## Heck148

arpeggio said:


> I have played that the _Gazebo Dances_


It's interesting how Corigliano "borrows" from himself - the Tarantella -final mvt of Gazebo Dances - is also the same tune he uses for the Tarantella in his Symphony #1...of course, the tune is much more developed in the symphony, as it represents the terrible progressive dementia of the AIDS victim....still, it's the same tune, played by clarinet


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## Enthusiast

It is hard to date Boulez works as he kept developing them further but much of his greatest music was written during this period. Try this....


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## SanAntone

Enthusiast said:


> It is hard to date Boulez works as he kept developing them further but much of his greatest music was written during this period. Try this....


Love it. _Sur incises_ is among my three favorite works by Boulez - the instrumentation I find especially interesting: written for three pianos, three harps, and three percussion parts. However, not an orchestral work.


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## Vasks

I'm a fan of the Finnish composer Magnus Lindberg. Here's one:


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## Enthusiast

SanAntone said:


> Love it. _Sur incises_ is among my three favorite works by Boulez - the instrumentation I find especially interesting: written for three pianos, three harps, and three percussion parts. However, not an orchestral work.


OK, then. Let's go for this ..


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## brucknerian1874

Kalevi Aho Symphony No. 10






Actually anything from No. 2 to No. 11 fits the parameters.


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## brucknerian1874

Heard this for the first time the other day...





Rochberg 5


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## SanAntone

*Tüür: Symphony No. 3* - 1st Movement (1997)
Russell Davies · Radio Symphonieorchester Wien






I find Erkki-Sven Tüür an interesting composer, here's some background info from Wikipedia:

Tüür (Estonian pronunciation: [tyːr]) was born in Kärdla on the Estonian island of Hiiumaa. He studied flute and percussion at the Tallinn Music School from 1976 to 1980 and composition with Jaan Rääts at the Tallinn Academy of Music and privately with Lepo Sumera from 1980 to 1984. From 1979 to 1984 he headed the rock group *In Spe*, which quickly became one of the most popular in Estonia.

Tüür left In Spe to concentrate on composition, and with the advent of perestroika soon found an audience in the west. The Helsinki Philharmonic, the Hilliard Ensemble, the Stockholm Saxophone Quartet and the City of Birmingham Symphony Orchestra are among those who have commissioned works from him. He was awarded the Cultural Prize of Estonia in 1991 and 1996 and the Baltic Assembly Prize for Literature, the Arts and Science in 1998.


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## SanAntone

*Horia Şurianu* : _Au-delà de l'estuaire_ (Beyond the estuary). 
Piece for orchestra (1988)






Orchestra de Cameră Radio (Bucharest National Radio Chamber Orchestra), conducted by Ludovic Bács


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## tortkis

Avet Terterian: Symphony No. 6 (1981), for Chamber Orchestra, Chamber Choir and nine phonograms with recording of groups of full symphony orchestra, choirs, harpsichords and large bells
USSR Ministry of Cultur Chamber Choir, Valeri Polyansky; Bolshoi Theatre Orchestra Soloists Ensemble, Alexandr Lazarev





Avet Terterian (1929-1994) was an Armenian composer. His symphonies are mostly quiet, repetitive, with occasional bursts. What I have heard are really fascinating.


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## SanAntone

*Xavier Montsalvatge: Simfonia de Rèquiem* (1985)






I. Introitus. Andante moderato -- Poco più sostenuto -- Tempo I (Andante moderato)
II. Kyrie. Andante doloroso [03:17]
III. Dies irae. Allegretto con brio -- Poco meno mosso -- Moderato ritenuto -- Tempo I (Allegretto con brio) [07:00]
IV. Agnus Dei. Adagietto [10:47]
V. Lux æterna. Andante moderato [14:21]
VI. Libera me, Domine. Moderato solenne, molto tenuto [18:51]

Ruby Hughes, soprano
BBC Philharmonic diretta da Juanjo Mena.

*Xavier Montsalvatge* was a Spanish composer and music critic. He was one of the most influential music figures in Catalan music during the latter half of the 20th century.


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## SanAntone

_WORDS OF THE SEA_ (1995) *Augusta Read Thomas *(1964 -)

I. ...words of the sea...
II. ...the ever-hooded, tragic-gestured sea...
III. ...beyond the genius of the sea...
IV. ...mountainous atmospheres of sky and sea... (Homage to Debussy)

PROGRAM NOTE
The four movements of Words of the Sea for orchestra are diverse and distinct, each undertaking to deal with the evocations prompted by a particular poetic phrase by poet Wallace Stevens. Despite their variety and distinctiveness, in fleeting whispers or proclamations, the four movements/scenes/poetic phrases reminisce about and relate to one another, resulting in a labyrinth of deeply interdependent connections.

The work is written to feature many of the Chicago Symphony Orchestra principal players through a series of brief solos as well as by intricate orchestration which results in distinct concertino groups momentarily rising to the foreground. The composition is dedicated with admiration and gratitude to Pierre Boulez and the Chicago Symphony Orchestra who presented the world premiere, and world premiere commercial recording, in 1996.

Wallace Stevens poem prompted and nurtured this music by alluring Thomas to see and imagine the sound of “words of the sea”, to appreciate an ocean's “ever-hooded tragic-gestured” nature, to imagine vast “mountainous atmospheres of sky and sea” and to contemplate what may be “beyond the genius of the sea”.

Thomas said, “I yearn to reflect in my own singing/composing the ways that listening has changed me. I write music that craves a listener - whomever that listener may be - and I am concerned with speaking honestly. What I say musically is prompted by a spirit of generosity.” (*composer website*)


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