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How many here listens contemporary classical music
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Mascodagama View Drop Down
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Originally posted by Mortte Mortte wrote:

Originally posted by Mascodagama Mascodagama wrote:

In regard to the actually-contemporary (i.e. alive, working) I don't know many composers but I enjoy Giya Kancheli, Kaija Saariaho, Thomas Adès and Erkki-Sven Tüür.

Tüür, incidentally, is the only “respectable” composer I know of who used to be in a prog band.

EDIT: Just discovered that Kancheli actually died last year
Have to say, that Saariaho is one of those composers whose music I have never understood. Maybe you can recommend me some of her easiest stuff?
Not sure if I would claim to understand her, but I find quite a lot of enjoyment in some of her things. Mainly the shorter pieces which I find are easier to absorb. Try these:
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I like Tabula Rasa by Arvo Pärt
PROGMATIC
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Originally posted by Mascodagama Mascodagama wrote:

Originally posted by Mortte Mortte wrote:

Originally posted by Mascodagama Mascodagama wrote:

In regard to the actually-contemporary (i.e. alive, working) I don't know many composers but I enjoy Giya Kancheli, Kaija Saariaho, Thomas Adès and Erkki-Sven Tüür.

Tüür, incidentally, is the only “respectable” composer I know of who used to be in a prog band.

EDIT: Just discovered that Kancheli actually died last year
Have to say, that Saariaho is one of those composers whose music I have never understood. Maybe you can recommend me some of her easiest stuff?
Not sure if I would claim to understand her, but I find quite a lot of enjoyment in some of her things. Mainly the shorter pieces which I find are easier to absorb. Try these:




Thanx, I will try them tomorrow!
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Originally posted by progmatic progmatic wrote:

I like Tabula Rasa by Arvo Pärt
Love that really much too!
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In fact, I regard this as one of the greatest pieces of music ever written, and it is not a joke:
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Another big favourite is John Cage's Concerto for Prepared Piano and Chamber Orchestra.
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George Maciunas Piano Piece #13 is that the performers nail every piano key (Sonic Youth did a cover of it). It´s quite bad to the pianos, they´re invalid after that. But anyway John Cage is great too!
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Not as familiar with contemporary classical as I'd like.   I do love mid-20th century classical though, e.g. Schoenberg.
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Points: 4922 		Post Options Post Options   Thanks (0) Thanks(0)   Quote I prophesy disaster Quote  Post ReplyReply Direct Link To This Post Posted: April 11 2020 at 15:46
Originally posted by The Anders The Anders wrote:

In fact, I regard this as one of the greatest pieces of music ever written, and it is not a joke:
 
 
You may not consider it a joke but I still laugh because a few months ago I said it was one of the most pretentious things ever produced.
 
 
 


Edited by I prophesy disaster - April 11 2020 at 15:49
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^ I guess one could argue that it could only truely work the first time it was performed. People would then expect to hear the pianist playing something, and then he doesn't, thus leaving the audience members to notice the other sounds present, such as people's breathing, sounds from outside the concert hall, and so on. In the video above, people know what they are going to hear, unless they have never heard about the piece. Still, the beauty of the silence is fascinating.
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^ all the piece posits is the impossibility of silence. Cage was inspired by what he experienced at Harvard while in an aneochoic chamber where he expected to hear silence but could still hear his own nervous system and blood circulation. As a conceptual work you'd have to say it succeeds brilliantly (although I could live without the Zen hippy w.a.n.k. provenance) For me, Cage (like Warhol) is invariably more interesting to read about and discuss than to listen to/look at.


Edited by ExittheLemming - April 11 2020 at 22:55
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Originally posted by The Anders The Anders wrote:

^ I guess one could argue that it could only truely work the first time it was performed. People would then expect to hear the pianist playing something, and then he doesn't, thus leaving the audience members to notice the other sounds present, such as people's breathing, sounds from outside the concert hall, and so on. In the video above, people know what they are going to hear, unless they have never heard about the piece. Still, the beauty of the silence is fascinating.
Lennon made his version of this. And Soundgarden from Lennon´s (there is little amp noise in it).
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I always tell my brother (for whom John Cage in general and 4'33'' in particular represents the pinnacle of pretentious w**kery) that he can't possibly hate 4'33'': "Go to a performance of it, and if you don't like what you're hearing, just pull out a speaker and blast your favourite AC/DC song or whatever, and then, according to the composer, that will be the composition!" LOL
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Originally posted by progmatic progmatic wrote:

I like Tabula Rasa by Arvo Pärt

Hi,

Goodness ... lots of stuff on ECM by him ... great stuff too!
Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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Originally posted by Mascodagama Mascodagama wrote:

Originally posted by Mortte Mortte wrote:

Originally posted by Mascodagama Mascodagama wrote:

In regard to the actually-contemporary (i.e. alive, working) I don't know many composers but I enjoy Giya Kancheli, Kaija Saariaho, Thomas Adès and Erkki-Sven Tüür.

Tüür, incidentally, is the only “respectable” composer I know of who used to be in a prog band.

EDIT: Just discovered that Kancheli actually died last year
Have to say, that Saariaho is one of those composers whose music I have never understood. Maybe you can recommend me some of her easiest stuff?
Not sure if I would claim to understand her, but I find quite a lot of enjoyment in some of her things. Mainly the shorter pieces which I find are easier to absorb. Try these:




Just listened almost those both through (almost, I just couldn´t wholly) and they´re sounding exactly same as the earlier ones I heard from her. Have to say Saariaho leaves me cold. To me it seems her music´s only meaning is to scary listener and make him feel bad. There is horror in many of my favorite artists music (for example Pink Floyd, Magma, Faust etc.) but if there is nothing else that just leave me cold. Only little bit interesting part is the end of the second piece where that female voice starts to whispering, but that´s not really enough to woke my interest. But of course who enjoys her music, that´s totally ok to me.
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Originally posted by Mortte Mortte wrote:

Just listened almost those both through (almost, I just couldn´t wholly) and they´re sounding exactly same as the earlier ones I heard from her. Have to say Saariaho leaves me cold. To me it seems her music´s only meaning is to scary listener and make him feel bad. There is horror in many of my favorite artists music (for example Pink Floyd, Magma, Faust etc.) but if there is nothing else that just leave me cold. Only little bit interesting part is the end of the second piece where that female voice starts to whispering, but that´s not really enough to woke my interest. But of course who enjoys her music, that´s totally ok to me.
Fair enough...there's a point where sometimes one has to conclude that something just isn't going to click. I don't find only horror in Saariaho at all - in those pieces I can hear the birdsong, albeit as one might hear it as a bird - vital assertions about territory and survival. And I can feel a linkage to Messiaen there. But all this is completely subjective, of course.

Do you know Tüür at all?  This is my favourite from what I know of his work:


Also features a percussion solo from Evelyn Glennie that absolutely rocks.


Edited by Mascodagama - April 12 2020 at 13:46
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I spend a fairly good amount of time listening to a wide span of classical music (Mahler and Bruckner rather obsessively).

Some of my favourites in the contemporary sphere: John Luther Adams (different guy from John Adams; this one's much more about environmental landscapes); Morton Feldman; Giya Kancheli; Arvo Pärt; Einojuhani Rautavaara; Dobrinka Tabakova; Peteris Vasks.

Was lucky enough to see Terry Riley perform live with his son just before the Event shut everything down. It was a remarkable evening of entirely improvised music that you'd be hard put to categorise or even believe was improvised since it felt so composed.

   
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The damage that we do just goes on and on and on but not long enough.

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/\ Also love Saariaho and Tüür
The damage that we do is just so powerfully strong we call it love

The damage that we do just goes on and on and on but not long enough.

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Originally posted by The Anders The Anders wrote:

^ I guess one could argue that it could only truely work the first time it was performed. People would then expect to hear the pianist playing something, and then he doesn't, thus leaving the audience members to notice the other sounds present, such as people's breathing, sounds from outside the concert hall, and so on. In the video above, people know what they are going to hear, unless they have never heard about the piece. Still, the beauty of the silence is fascinating.

I once attended a seminar on the avantgarde movement and Ligeti was one of the co-lecturers. That was when I was still in Hamburg and he was at Hamburg's high school of music, but that one was for the general public. Anyway, in this seminar he performed 4'33" (obviously at the time well known and introduced, but anyway, you hear what you hear), and he told us that he had once used the same idea when invited for a presentation on "The Future of Music". He had stolen it from Cage, but at the time that was very contemporary and hardly known, so Ligeti's "presentation" evoked a big scandal; some audience shouted at each other about whether Ligeti was German and this was therefore "German arrogance", some others (Germans) felt insulted and knew he wasn't. He said it was big fun. After only 2 minutes they took him off the stage. Quite a success if you want. (The guy was a fun speaker, apart from being a supreme composer. RIP!) 




Edited by Lewian - April 12 2020 at 14:58
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Originally posted by Lewian Lewian wrote:

I once attended a seminar on the avantgarde movement and Ligeti was one of the co-lecturers. That was when I was still in Hamburg and he was at Hamburg's high school of music, but that one was for the general public. Anyway, in this seminar he performed 4'33" (obviously at the time well known and introduced, but anyway, you hear what you hear), and he told us that he had once used the same idea when invited for a presentation on "The Future of Music". He had stolen it from Cage, but at the time that was very contemporary and hardly known, so Ligeti's "presentation" evoked a big scandal; some audience shouted at each other about whether Ligeti was German and this was therefore "German arrogance", some others (Germans) felt insulted and knew he wasn't. He said it was big fun. After only 2 minutes they took him off the stage. Quite a success if you want. (The guy was a fun speaker, apart from being a supreme composer. RIP!) 


Yeah I guess you could call it a success. But if anything could be considered arrogant, it would have to be audience members making stereotypes based on someone's supposed nationality, just because of what they hear.
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