After getting a chance to listen to Thomas Schmidt-Kowalski's Naxos set, which lived up to the hype (great stuff), it got me wondering if there are other living composers that compose music in a similar vein.
While someone like Arvo Pärt has his moments as does James Macmillian (for me at any rate), etc. I don't know that they fit the more "Romantic" focus of this forum, and are certainly not unsung.
I was just curious if anyone knew any other contemporary composers that you thought would fit.
Thanks!
Jennifer Higdon
Sergio Rendine
Alla Pavlova
for three...
I like the music of the Mexican composer Arturo Marquez (b.1950), whose Danzon No.2 (1994) for orchestra is getting a lot of exposure via the conductor Gustavo Dudamel. It's colorfully orchestrated and full of good tunes. The latin rhythms are fantastic. The same applies to his 'Conga del Nuevo Fuego' and the cello concerto 'Espejos en la arena' (Mirrors in the Sand) in three movements all based on dances: the son, the danzon, and the polka. The last has been recorded by Carlos Prieto, who commissioned it. There are at least 8 pieces in the Danzon series, some for chamber group, some for orchestra.
David
I don't know of anyone who is consciously avoiding all modernistic ugliness in music as Schmidt-Kowalski does. For him it's an article of faith...
I have read that the Irish Composer Tom Cullivan still composes in the Grand Romantic style, but i have yet to sample any of his wares.
Thal
Try the music of "Franz Xaver Frenzel"! Its a fictious person invented by composer Friedemann Katt. He composes in an old-fashioned style, but quite original.
Best,
Tobias
Some months back I received a privately recorded CD of a Symphony in Bb completed in 1960 by the Scottish born composer Robert Bruce who is now 94 and long since retired from teaching at Cardiff University in Wales. It is very much in the Romantic tradition.
Raff enthusiast Avrohom Leichtling was busily churning out symphonies when he was a member of the old Forum but I don't know what style he was composing in.
Rest assured that, when I write anything, it is in my favourite mid-nineteenth century Classico-Romantic style with sonata form outer movements! However, being a largely self taught amateur, I probably don't count.
Leichtling's modernist style wouldn't be particularly attractive to members of this forum. As for Frenzel/Katt, he composes in a baroque style - very nice, but not for this forum either!
Yes, Avrohom's music is has an individual voice, but it's not a 19th century one. I'm loathe to categorize it, but it's definitely 20th century.
I'll second febnyc's nomination of Alla Pavlova. A number of her symphonies have been recorded by Naxos and, although perhaps not as thoroughly 1900s as Schmidt-Kowalski's idiom, they are written in a very accessible and melodic style, which is nonetheless deeply felt.
Of course, there's a wide gap between the execrable nastiness of Boulez and the also somewhat artificial super-aestheticism of Schmidt-Kowalski. I love a good dissonant chord when applied with taste and moderation, and I don't mind being able to hear that a piece was composed after Scriabin. The problem arises when composing becomes a mathematical exercise (Stockhausen) or purposely tries to be as oblique as possible for the sole purpose of intellectual posturing (again, Boulez).
Of modern composers, I do find Pärt a tad too 'floaty' (as we in Holland tend to say), But particularly the chamber music of people like Vasks and Rautaavaara can be very alluring. The other end of the spectrum is made up by film composers. Some of them are very original: I definitely have a soft spot for Danny Elfman (for all his mannerism) and the latest efforts of Philip Glass have really impressed me (e.g., The Illusionist). If you want to go into full bombastic mode, Hans Zimmer is probably the man for you, but that's not really my thing.
Hi all
I can add one composer who, like Schmidt-Kowalski, avoided modernist ugliness and dreck and composed in a strictly tonal style. The American Richard Diciedue (born 1932). I have recordings of a violin concerto in d and a horn concerto in f, both works of the 1980s. Not earth-shattering music, but pleasing.
I imagine he was subjected to the same kind of nasty treatment Schmidt-Kowalski received from members of the academic elite. He seems to have been active as a composer in San Diego.
Problem: I have not got a clue what has happened to him - he may no longer be composing and perhaps not even be among the living.
regards
Peter
I got the Schmidt-Kowalski CDs earlier this week, but so far, I haven't been able to listen to more than one (4th Symphony and VC). It sounds like great stuff, but what with all the issues I've been facing (back to school, internship, need for some rather unaffordable dental work) I haven't been able to pay much attention to it. Remind me to thank Christian and Thomas when I get a chance.
Based on the recommendations I used my Emusic credits to get a work by Higdon and Pavlova (Rendine is saved for later). The Pavlova symphonies I got were really good.
The film composers is an interesting study. In some cases, they may be more closely related in terms of some of the genres they choose to emulate, yet, I fear the works themselves are not viewed in the same light as if it were actually a Symphony/Concerto, etc.
One more follow-up -- how would you go about discovering a contemporary composer? Is it a matter of listening to samples, etc?
Robert Bruce's Symphony in B flat is a very fine piece - in a recognisably conservative mid-twentieth century idiom (it was completed in 1960) with clear connections through, say, Rubbra, back to Sibelius. It is quite long (39 minutes), but I found it an absorbing listen. The music is very well played by the Polish orchestra involved and as an overall production it's fully up to professional standards.
Incidentally,just out of interest,because it's not really appropriate here,I suppose;but what exactly do users of this message board really think of Birtwistle,Maxwell Davies,Lachenmann,et al? Do you all hate them? Myself,I find I used to try those sort of composers years ago & find myself saying to my mother, (long suffering),that was quite interesting;then after two or three spins,the cd would never see the inside of my cd player again...........believe me, I did try.
After that,it was back to Malcolm Arnold,Havergal Brian,Bax,Martinu,Dvorak or Khatchaturian,etc;tut,tut! (We're talking about the late 70's, 80's. Not many opportunities to hear Raff or Bantock,then!).
I wish someone would record Patric Standford's Fifth Symphony. I remember hearing it on R3,back in the mid 80's. I would love to hear it again,but the Beeb just keep these things languishing in their vaults. Mind you,I do wonder if anyone would sing the vocal parts as beautifully and ecstatically as Joan Rodgers. So a 'Testament' style remastering of the R3 broadcast might be the best option. A wonderfully lyrical and wacky piece which was apparently ripped to shreds by the critics at the time. It includes quotations from,if I remember correctly,Mozart's symphony No 40,and wackiest of all.Elgar's Pomp and Circumstance No1. As in the case of the late lamented Malcolm Arnold,it seems that you mix humour and serious music at your peril!
I also wish they would record the orchestral version of Derek Bourgeois's light weight but fun,'Wine Symphony.
(Hope they're both hale & hearty,incidentally,haven't got time to check at the moment!).
From time to time I add to my collection the odd CD of music by a contemporary composer of note - e.g. Davis Matthews (various of his symphonies on Dutton). I generally find that the level of dissonance and lack of clear rhythmic pacing are the real barriers to repeated listening, although I do find that composers (such as Matthews) who are trying to connect with the symphonic past have something to say. As for Birtwistle and other outright modernists, I gave up long ago when I decided that they just wrote ugly noise. Somehow, I don't think their music will last.
I honestly can't think of any living composer who's music I actively search out. I have some cds of living composers, but I can't say I wait for their next opus with any enthusiasm nor do I spend much time (if any) listening to their works a second time: Boulez, Essa Pekka Salonen, Jay Greenberg, Part. As much as I liked V Silvestrov's 5th symphony, the rest of his music I've heard leaves me indifferent at best. There is one composer whose recent work does interest me, and I think it holds real promise. He's 11 (!!) and understands orchestral color amazingly well. Do a Youtube search for Graham Cohen.
I dunno. I'm kind of interested in hearing more stuff by that guy Lee Actor. The Violin Concerto and 2nd Symphony are accessible, yet very contemporary sounding.
I don't buy much music by contemporary composers. Life is too short for an hour wasted on noxious, abrasive, unpleasant music.
However, I do find some of the more minimalist approaches to music accessible and worthwhile. Music like Tavener's "The Protecting Veil" (Isserlis) and "The Myrrh Bearer" (Rysanov), some of Kancelli's music (like "Styx") are certainly not anything like romantic era symphonies, but they offer a melodic foothold that most modern music seems to lack and are also far beyond typical New Age "atmosphere" recordings. I guess I find them mysterious and haunting, as if arising from some ancient place.
The only piece of music by Birtwistle I ever 'enjoyed' at all was 'Earthdances'. I played it a few times (I had the Collins cd single & it may still be in a box somewhere?),then that was it. I read that Jerry Garcia the 'Grateful Dead' bloke was exercising to it. Unfortunately,it didn't seem to do much for his health,as he died of a heart attack not long afterwards. Not that I am blaming HB,of course.
I do remember being quite impressed by Nicholas Maw's 'Odyssey',which seemed to draw on composers like Mahler & Richard Strauss in an accessible and interesting way. In my opinion,still one of the only (fairly) recent works worth listening to. Not that I have listened to it to much lately, I hasten to add. Of course,Maw passed away recently,so he doesn't really fit here. But he's pretty recent.
Incidentally,you only have to mention the words 'Robert Simpson' on the R3 message board,in a debate of this kind,and things can get quite nasty! There was one bloke (?) who seemed to 'froth at the mouth' (verbally) at the very mention of the name.
Norwegian composer Egil Hovland (born 1924) is composing in various styles, including good old romantic fashion. Unfortunately, not much is available on CD. But try out his Concerto for trombone and orchestra from 1972. It is recorded by the 2L label. JPC.de has some excerpts to listen to. Great fun!
Maw was a pretty conservative composer, certainly not to be compared with the noise-mongers like Birtwistle. Similarly, although Simpson's style is pretty uncompromising, at least his avowed intent is to write music connected with the past - i.e. proper symphonies!
I actually got into a disagreement on the R3 message board after I referred to the neglect of Simpson's symphonic output in the concert halls as a bit of a 'mystery'.
The Lachenmann supporter got very vindictive. I thought,'okay,I just stated an opinion,why get so catty about it'?.
Lachenmann = Ein Mann zum Lachen!
Lachnemann's a noise-monger. Simpson's a proper composer!
I recently heard and enjoyed "'Cello Dreaming,"a 1993 work by the Australian composer Peter Sculthorpe that might appeal to some members of this forum. The work was premiered at the Manchester Cello Festival. The materials are tonal (though not tuneful in a 19th-century way). To my ears the long-breathed aesthetic has a clear lineage from Sibelius through British pastoralism as it sounded between the wars. while still sounding original, connected to its land (think outback) and culture (think Dreamtime).
Stockhausen is another one. I remember seeing a programme about him once. I didn't take to him even as a person. I feel that Simpson was a man of conviction & agree with his views about atonal music;although,unlike my 'friend' on the R3 Message Board, I respect someone's right to enjoy it.
I was going to include Rautavaara's 'Cantus Articus',but,after looking the work up, realised it actually dates from 1972! And there I was thinking I was listening to something 'contemporary'! On the other hand,like Hovhaness's 'And God created Great Whales',isn't it just the wildlife soundtrack that makes the piece as good as it is,(or isn't ?). What about a piece of music for wolf and orchestra? Could be nice? Allot of enviromentalist types who don't normally listen to allot of classical music would probably buy it! Any other animal suggestions?!
Quote from: Pengelli on Friday 07 May 2010, 10:49
Any other animal suggestions?!
O yes. I've been staying in Indonesia for a long time. I've always enjoyed the concertos by crickets, frogs, gecko's, birds, and, not rarely screaming monkeys. Usually during the night, but in the rainy season also by day. These animals don't need an orchestra of strings, winds, timpani and so on. It's just magical music, if you love it.
All joking aside, the contemporary VC's by Lee Actor and Edgar Meyer are worth listening to, once a year, but for me the only real interesting contemporary composer is Thomas Schmidt-Kowalski. His tonal music in a purely romantic style is simply wonderful.
Or the good old British dawn chorus,sparrows excepted! All I seem to get where I live is the evocative sounds of the Council refuse van,although the odd blackbird & crow make it through. Natural musicians,eh? If only they knew!
I'm afraid I don't know the music of Kowalski,but I shall remedy this by looking him up now.
Someone on the message board (I think),mentioned Hugh Wood's Piano Concerto. I have a collins cd single of it,and it's better than some recent stuff I've heard. Even better again,Frederic Devreese's Piano Concerto No 2 which is like a cross between Prokofiev and Gershwin. Fantastic stuff. I've played it again and again,and can't understand for the life of me why it's not more well known. But then again,Dutch/ Belgian composers don't seem to have much luck,generaly speaking,even in their own country,it seems. The Marco Polo cd is definately one of their better efforts.
Incidentally,Devreese,b. 1929, only just scrapes in here because he's ,(as far as I know),still alive.
I also quite liked Rouse's 'Der gerettete Alberich';although possibly only because the percussionist, (I forget who),was so good.
Actually,of all these works,it's the Devreese I would recommend,especialy for the Piano Concerto No 2. I think it should be a popular work. In fact,I think it's one of the best attempts ever by a serious composer to assimilate popular and classical music in the form of a concerto;and the best concerto of it's kind since Gershwin and Ravel. Tremendously exciting,and don't be put off by the fact that it's a Marco Polo production. The performances and recording are actually very good. In fact,the whole cd is good.
On the strength of those last two posts I've ordered the Devreese disc from Canada. The 3rd and 4th PCs also sound intriguing. His 1st won a prize (1949 Prijs-Town-Ostend). There are also a VC, a CC and a symphony in his oeuvre. He also composed two operas (one, for TV, also won a prize). Sounds like my kind of contemporary composer!
There is a detailed review on Classical net by Steve Schwartz of the Piano Concerto's cd which raves about the Concerto's and the pianist. It was actually reading this that made me buy it,although I listened to some bits on Amazon first.
There is also a far less enthusiastic review somewhere else,which I totally disagree with,of course. (I can't remember where at the moment).
While I would be the last person to say it's as good as Ravel,Gershwin or Prokofiev,another obvious influence,I should have mentioned,it certainly was a suprise;and allot better than some other works of this kind that I have heard.
The other Concerto's are equally interesting,but not as immeadiately approachable as the 2nd. Although,I personally enjoyed the whole cd. In fact,I think I wil buy No1,now,if I can!
NB :The pianist is fantastic.
Jiml: On the strength of you're post & the enthusiastic review on Musicweb,I have decided to push the boat right out & order the Cypres 2 cd set, of 'Gemini',and other works. So,let's hope I AM right.
Had a listen to the Concerto's 2-3, again & there seems to be a bit of Bartok thrown into the mix,as well.
Judging,by his biography,Frederic Devreese is a very contemporary eighty one years of his age, and hopefully stll hale & hearty. (My parents are currently Seventy eight).
I think I could risk playing my mum this one!!!!
"I think I could risk playing my mum this one!!!!"
My mom is 89, and she will definitely be hearing Devreese 2.
That's reassuring. I remember nearly making my mum jump out of her skin playing Jon Leif's 'Saga Symphony',in the spectacular BIS recording,some years ago. Periods of stillness,then,out of the blue,an almighty THWACK from the percussion department.
Another unepected and very loud Thwack was the one near the beginning of the Richard Strauss tone poem, 'Tod und Verklarung',in the Telarc recording under Previn. Those were back in the days when cd's from Telarc & Varese Sarabande used to carry fun warnings about how they coul damage your hi-fi system! They never did my equipment any harm,and I used to wonder if they were like those pop or rap cd's that carry stickers warning buyers that they contain explicit language & references to sex. Of course,they actually sell more copies that way!
Incidentally,has that ever been applied to classical cd's? I believe that there are some rather fruity sounding opera's around these days. Although whether,recordings of neglected composers like Cornelis Dopper,for example,would fly off the shelves if they were marketed with such labels would be open to question,and very probably the trades descriptions act!
At the risk of being branded a pedant, which I probably am, could we please use the phrase ," present day composers" instead of "contemporary composers". Haydn and Mozart were contemporary composers, as were J S Bach and G F Handel, meaning that they lived at the same time as each other. There, I've had my tuppence worth, in old English money of course) :)
Or maybe just a plain "current composers"?
Well it's easier to spell,now that Big Birds unavailable.
I'll nominate the Norwegian composer (b.1943) Kjell Flem. The Aurora label has a CD of his Piano Concerto and two orchestral works. The Concerto is a powerful piece and runs to almost 40 minutes. It's quite striking.
And....one more....
Thomas Svoboda (b.1939). His two Piano Concertos are very good, as is his Symphony No.1 - all of which have been recorded on CD.
Someone on this forum (or its predecessor) sang the praises of Svoboda to the skies. It was edurban or febnyc, I think. David can speak for himself. I'm not so sure febnyc checks us out anymore.
Quote from: Pengelli on Wednesday 05 May 2010, 22:21
Incidentally,just out of interest,because it's not really appropriate here,I suppose;but what exactly do users of this message board really think of Birtwistle,Maxwell Davies,Lachenmann,et al? Do you all hate them? Myself,I find I used to try those sort of composers years ago & find myself saying to my mother, (long suffering),that was quite interesting;then after two or three spins,the cd would never see the inside of my cd player again...........believe me, I did try.
After that,it was back to Malcolm Arnold,Havergal Brian,Bax,Martinu,Dvorak or Khatchaturian,etc;tut,tut! (We're talking about the late 70's, 80's. Not many opportunities to hear Raff or Bantock,then!).
I like some of what I've heard by them (Maxwell Davies' symphonies on brief acquaintance so far seem fascinating, so do some other works. Have heard a very little Lachenmann and think the same.) But then I adore the Second Vienna School and some descendents (Roger Sessions' music for example) which may well make me very much the outlier on this forum. (But then like Schoenberg (which is the proper spelling; he Americanized it) I also would not for a moment be without Brahms, both Brahms the progressive and Brahms the archaist who loved, studied and knew his collections of Scarlatti and of Renaissance double-chorus works.)
Eric
I'm open minded. I find trying that sort of nusic interesting. It's just I don't come back to it too much! As to Maxwell Davies; I think his symphonies are interesting to listen to. Indeed some of the later one's are quite approachable. In fact,almost melodious. (Although,not the sort of melodiousness that Malcolm Arnold admirers would recognise!). Come to think of it,Maxwell Davies,himself, is pretty unsung,these days, compared to the likes of Birtwistle or Lachenmann,to name just two. Especially his symphonies.
As to Sessions. I have a cd of some symphonies by him; but unlike Maxwell Davies it all seems like allot of plinkety plonk noises and general gloom.( I gather his music is a bit neglected these days.).
The string quintet by me old mate Alistair Hinton is worth a listen if you have a few spare days.
He was alive about 2 hours ago, so hopefully he is still kicking.
Thal
Maybe? Sounds intriguing,but unfortunately a little too expensive to justify the plunge! (He's curator of the Sorabji archive,isn't he?) Or what about the Opus Clavicembalisticum'? Incidentally,just out of interest. Has anyone on this message board actually listened to that work all the way through? (And lived to tell the story!).
I have listened to it and survived to tell the tale, but not in one sitting. It is too much for my early romantic miniturist earholes.
However, I have felt closer to death when trying to educate myself with some "New Complexity" composers such as Finnissy, Ferneyhough & Barrett. They create sounds like a terrorist attack on a Steinway factory.
My cat on an badly judged attempt to reach the goldfish bowl on top of my piano created a more pleasing sound.
Thal
I remember my sister telling us about a concert she went to. The bloke was sitting on the stage in front of a piano. She watched in astonishment as he pushed the piano through a wall. I think everone applauded then. Of course it wasn't an actual stone or brick wall,as he would have had to be Superman. Mind you,if it had been a stone or brick wall, I think even I would have applauded him.
Any suggestions here as to what the music might have been called,or who the composer was? (I know there was a genre known as 'music concrete',but this is ridiculous!)
I remember our cat being fascinated by the far out guitar sounds coming from my vinyl LP set of Jimmy Hendrix's 'Electric Ladyland'! They're both dead now,sadly!
Quote from: Pengelli on Tuesday 11 May 2010, 21:58
Any suggestions here as to what the music might have been called
I have a few suggestions as to what it should be called, but none as to what it was actually called.
The same goes for this.
http://www.youtube.com/watch?v=-LIw8ykSmGU (http://www.youtube.com/watch?v=-LIw8ykSmGU)
Thal
http://en.wikipedia.org/wiki/Musique_concr%C3%A8te (http://en.wikipedia.org/wiki/Musique_concr%C3%A8te)
I thought i had found the answer, but it appears not. ;D
Thal
One of my favorite true stories concerns a Performance Work of the 1970s that included a movement entitled "Interval," the score for which instructed the performers to find John Cage in the lobby and cut his necktie in half with their instrument (scissors). JC was not amused.
Quote from: chill319 on Tuesday 11 May 2010, 23:14
One of my favorite true stories concerns a Performance Work of the 1970s that included a movement entitled "Interval," the score for which instructed the performers to find John Cage in the lobby and cut his necktie in half with their instrument (scissors). JC was not amused.
Horizontally or vertically? ;D
Well, my new favorite is Nikolai Kapustin (born 1937). I had never heard of him until just recently. Then I ran across some videos on YouTube. I love his music, which incorporates jazz and blues style music into classical form. It is highly rhythmic, totally melodic, and a whole lot of fun to listen to.
You can find a number of videos on YouTube of Kaputsin playing his own music, but I'm especially fond of these two clips by classical pianist Shan-Shan Sun.
Concert Etude No. 8 - http://www.youtube.com/watch?v=92X-JlUMrxo (http://www.youtube.com/watch?v=92X-JlUMrxo)
Toccatina - http://www.youtube.com/watch?v=m1VbN3Nlrxk (http://www.youtube.com/watch?v=m1VbN3Nlrxk)
Thanks for turning me onto him, Dave. I wonder if he has composed any orchestral music? I'd love to hear a concerto or symphony in that idiom. It incorporates jazz styles more contemporary than used by Gershwin, as well as other the other elements you mentioned.
Kapustin has writen a number of concertos for various instruments. A violin concerto is on the drawing board. He also has written a Chamber Symphony & a Sinfonietta, but as far as I know, none of these works have made the recording catalogue yet.
Marcus.
QuoteThanks for turning me onto him, Dave. I wonder if he has composed any orchestral music? I'd love to hear a concerto or symphony in that idiom. It incorporates jazz styles more contemporary than used by Gershwin, as well as other the other elements you mentioned.
There is a recording of his 2nd piano concerto with Kapustin at the piano and Oleg Lundstrem leading the Oleg Lundstrem Jazz Orchestra. There are also recordings of several short orchestral works by the same ensemble (and is the same group found on the youtube videos). I think it is a bootleg.
http://www12.atpages.jp/pinkystake/cdartist/albums/kapustin2
But there are many fine recordings of his piano music (which is quite good) by Hamelin, Kapustin, Osborne and others. I especially recommend the 24 Preludes in Jazz Style, the Preludes and Fugues and his sonatas.
Quote from: thalbergmad on Tuesday 11 May 2010, 17:10
The string quintet by me old mate Alistair Hinton is worth a listen if you have a few spare days.
He was alive about 2 hours ago, so hopefully he is still kicking.
He thinks that he agrees (as far as he can tell) - and he seems to be sufficiently alive to wonder why "a few spare days" would be required in order to listen to a piece that plays for only 2 hours 50 minutes.
That said, he has been exquisitely "sung" in the recording of that work, actually...
Best,
Alistair
oops!
Quote from: ahinton on Saturday 22 May 2010, 22:54
Quote from: thalbergmad on Tuesday 11 May 2010, 17:10
The string quintet by me old mate Alistair Hinton is worth a listen if you have a few spare days.
He was alive about 2 hours ago, so hopefully he is still kicking.
He thinks that he agrees (as far as he can tell) - and he seems to be sufficiently alive to wonder why "a few spare days" would be required in order to listen to a piece that plays for only 2 hours 50 minutes.
That said, he has been exquisitely "sung" in the recording of that work, actually...
Best,
Alistair
Interesting! :) So what is your catalog of works like?
Quote from: monafam on Tuesday 25 May 2010, 23:45
Quote from: ahinton on Saturday 22 May 2010, 22:54
Quote from: thalbergmad on Tuesday 11 May 2010, 17:10
The string quintet by me old mate Alistair Hinton is worth a listen if you have a few spare days.
He was alive about 2 hours ago, so hopefully he is still kicking.
He thinks that he agrees (as far as he can tell) - and he seems to be sufficiently alive to wonder why "a few spare days" would be required in order to listen to a piece that plays for only 2 hours 50 minutes.
That said, he has been exquisitely "sung" in the recording of that work, actually...
Best,
Alistair
Interesting! :) So what is your catalog of works like?
You're welcome to visit http://www.sorabji-archive.co.uk/hinton/biography.php, on which page you'll find links to more information on this including a brochure detailing scores, recordings, etc..
Best,
Alistair
Thanks!
I listened to the Kapustin recordings. It was interesting and I found it enjoyable, but it's one of those cases where it sounds more like jazz to me. Does anyone know where the fine line between classical and jazz is crossed?
Quote from: monafam on Tuesday 08 June 2010, 22:53
Does anyone know where the fine line between classical and jazz is crossed?
Sometimes it's too blurry.
One way to look at it might be, if there's no improvisation, it's not jazz. But of course, classical can certainly have improvisation and be as far from jazz as it gets. So yeah./
Too blurry? You bet. Many years ago, in the 1960s, in the album "Music for Zen Meditation," well respected jazz clarinetist Tony Scott joined with a koto and a shakuhachi player (Shinichi Yuize and Hozan Yamamoto) to improvise in a traditional Japanese style. The album was marketed as jazz.
Joshua Rifkin's creative arrangements in "The Baroque Beatles" from the same period were not so marketed. Which of the two absolutely required an ability to read music? Rifkin's, of course.
Hi all
Does anyone know if Richard Hayman is still composing?
Whatever, I am curious (but not intensely) about possible recordings of some of his most 'progressive' 20th century compositions:
Dali - scored for large orchestra, with the sole instruction to 'ascend chromatically in slow pulse'
It is not here - a light and sound work performed in Morse Code
Buff her blind - for musical toys and electronic instruments
Roll - the composer rolling along a street covered with bells as a sign of Hindu devotion.
On a more serious note, I am interested in getting the best DVD version of the Glass opera Satyagraha. Honest advice welcome - I like the work. Opinions re his violin concerto would also be helpful.
regards
Peter
For those interested in Robert Simpson, his Hyperion set of 11 symphonys and variations on a Nielsen theme are a cutout available at Berkshire Record outlet for US$35.
Jerry
I'd like to recommend a fellow New Jerseyite-turned-Bostonian: John Harbison. He's fairly well-known in the United States, at least; one of his works, The Flight into Egypt, won the Pulitzer Prize about 20 years ago, and he's had an opera, The Great Gatsby, commissioned and produced by the Metropolitan Opera. All of his music is extremely accessible, to both the mind and the heart, and there are many recordings. The best place to start with him might be with one of his larger works: the ballet Ulysses recorded by the Boston Modern Orchestra Project: http://www.bmop.org/cd_detail.aspxcid=21.html (http://www.bmop.org/cd_detail.aspxcid=21.html).
On a recent visit to Boston my wife and I heard Harbison's First Symphony played by the Boston Symphony under James Levine. We were pleasantly surprised by both its vigour and its accessibility. A work of stature, we thought.
Quote from: Mark Thomas on Saturday 22 January 2011, 22:25
On a recent visit to Boston my wife and I heard Harbison's First Symphony played by the Boston Symphony under James Levine. We were pleasantly surprised by both its vigour and its accessibility. A work of stature, we thought.
I've heard his 2nd and his 4th symphonies, I think.
I do prefer his teacher's music - Roger Sessions - as I've mentioned I guess- but the 2nd symphony I haven't heard in awhile - I should get back to the library and check the recording on Decca for inbuilding use - the 4th (2003) was interesting and fairly enjoyable. I'm fairly sure the 3rd has been recorded (a websearch confirms this- Albany Records cond. by David Alan Miller, and also another recording on Oehms classics conducted by James Levine). (The 4th was an off-air I think; there's a fifth (2007) I haven't heard - nor have I heard the first or third yet- and I don't know if there's been a sixth yet.)
(actually, it seems sym.1 was recorded also, by Seiji Ozawa / Boston Sym. back in 1985...) hrm. ... neat. 2nd performances are rare enough- 2nd recordings, rarer...
James Levine and the Boston Symphony have been performing all of Harbison's symphonies this season as a prelude to the premiere of his Sixth Symphony, which they commissioned. I heard the premiere of the First Symphony 25 years ago - it's what started me on my serious admiration of Harbison's music.
I've tried, on and off, to develop a taste for Roger Sessions' music - the Symphony premiered a lot of his music as well - but so far have been unsuccessful. It's been a few years since my last attempt, though, so perhaps I'll give it another shot.
Harbison's first four symphonies, the violin, piano, oboe, and viola concertos, the ballet, and a large assortment of chamber works, songs, and solo instrument works are currently available on CD and some as MP3 download at Amazon (and probably elsewhere as well).
I've never heard anything by him. Sounds like an interesting composer to explore. I've been pleased with the Schmidt-Kowalski CDs, but I've not been happy with my purchases of Adams, so I'm cautious about living composers I haven't heard.
And I'm still trying to rebuild my collection after the crash of my music hard drive last year. What a disaster that was. 400 GB of music. Some of you have been very kind as I work on this. I'm still buying here and there of course to fill gaps, but I think I'll never find some of my most treasured items again. (And I now have a backup drive, so this will never happen again.)
Harbison's music is accessible but still of its time, unlike Schmidt-Kowalski's compositions which, whilst I enjoy them very much and am grateful that they're around, are utterly anachronistic and not even of the last century, never mind this one. I'm not saying that's a bad thing, but I am cautioning against comparisons.
The best way to find out, Dave, is to search out samples on Amazon, CD Universe or some other distributor and see if the music is to your taste before purchasing.
I have just received a CD containing Syphonies 2 and 3 by Australian composer Philip Bracanin. So far, I have only given it one cursory listen, but I find the music quite solidly Romantic. I was especially impressed with the final movement of his 2nd "Choral" symphony.
If Marcus is still around, maybe he can tell us a bit about this composer. I'm certainly going to have to give this CD another, closer listen (and read the booklet).
Brief biography here (http://www.australianmusiccentre.com.au/artist/bracanin-philip) , probably more elsewhere...
I believe Alexander Prior is a composer to watch. He is still under 20. His Velesslavitsa for piano, two violins, cello and orchestra is exelent and the orchestration which I assume he did himself is extremely well crafted. His sound is not particularly individual but the more I listen to this work the more I see in it.
Just received a CD of Yves Castagnet's Messe "Salve Regina", which I was moved to purchase after hearing this movement on youtube: http://www.youtube.com/watch?v=QZABdMkZRzM
This young composer (choir organist @ Notre-Dame de Paris) has written a stunning work here - some mild dissonances but in all a very powerful and romantic work. Keep an eye on this young fellow - I hope to hear more from him!
I regret to inform you that my father, Robert Bruce, who wrote Symphony in B Flat, passed away yesterday 13/08/2012 at 1545. He just missed his 97th birthday (born 17/08/2012).
I am an infrequent visitor to this site but can be contacted on ajlbruce@gmail.com. I still have copies of his symphony.
Our most sincere commiserations to you on the loss of your father. A grand old man indeed.
Sincere condolences indeed.
While I don't necessarily go for everything the following living composers do (either because they veer out of my interest zone, or have simply churned out something uninspired), I am at least faithful enough to review whatever new releases they conjure. None of them write consistently in a recognisably romantic style (quite obviously in some cases):
Mikis Theodorakis (1925)
Erik Lotichius (1929)
Philip Glass (1937)
Ross Edwards (1942)
Wim Mertens (1953)
There's also a bunch of young Icelandic composers like Johann Johannsson, Ólafur Arnalds and Daníel Bjarnason who work accessibly in both traditional forms/instruments and in contemporary electronic music. I can direct interested parties to useful examples via pvt message.
Amongst composers better known for film work, arranging or other musical genres:
Claus Ogerman (1930)
Richard Rodney Bennett (1936)
Abel Korzeniowski (1972)
Michel Legrand (1932)
Eleni Karaindrou (1939) (principally for films of Theo Angelopoulos, on ECM)
Philippe Rombi (1968)
Alberto Iglesias (principally for films of Almodovar)
Richard Einhorn (1952)
QuoteI regret to inform you that my father, Robert Bruce, who wrote Symphony in B Flat, passed away yesterday 13/08/2012 at 1545. He just missed his 97th birthday (born 17/08/2012).
My condolences as well. The Symphony is a fine work.
QuoteNone of them write consistently in a recognisably romantic style
Then I doubt whether they belong here I'm afraid, Mike, any more than do composers of electronic music.
Quote from: Mark Thomas on Tuesday 14 August 2012, 17:37
QuoteNone of them write consistently in a recognisably romantic style
Then I doubt whether they belong here I'm afraid, Mike, any more than do composers of electronic music.
So a composer must ALWAYS write in a romantic style to be mentioned here? I know the focus of the group has narrowed, but this is perhaps OTT.
That is now the focus of the site, yes. OTT? Nope! We take in everything from early Beethoven to Korngold - that's a pretty generous time-frame.
Quote from: Alan Howe on Tuesday 14 August 2012, 20:14
That is now the focus of the site, yes. OTT? Nope! We take in everything from early Beethoven to Korngold - that's a pretty generous time-frame.
So this entire thread is off topic? The definition of
romantic posted says " Some composers did not actively compose until well after the traditional period and yet wrote, and still write, in a recognisably romantic idiom: examples
being Marx, Korngold, Atterberg, Furtwängler, many composers of film music and today's Schmidt-Kowski. "
The topic was brought back into use in order to report the sad death of composer Robert Bruce this morning. It was your good self, Mike, who continued to post on this thread - which survives from before the revised focus of UC. Let's leave things there.