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Thread: Good, fresh, modern classical?

  1. #31
    VIP/Donor [VIP/Donor] astrotoy's Avatar
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    Quote Originally Posted by Simon Moon View Post
    I recommended Bates on the second page of this thread (post #18) and included a video of Anne Akiko Meyers performing his violin concerto.

    Great piece.
    Thanks. We heard the Bates Cello Concerto last year at a Berkeley Symphony concert. It was played by the young rising star cellist Joshua Roman, who was the first cellist of the Seattle Symphony when he was 22. Very accessible piece. Bates was at the performance. Both he and John Adams live in the SF Bay Area.

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  2. #32
    Many good suggestions here. I'm a big fan of ECM jazz as well as ECM classical (New Series). Here is an example of some amazing modern music from Arvo Part, the Estonian genius:

    https://www.youtube.com/watch?v=7vdgZAJVnes

    Enjoy! (please don't waste your time Gary)
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  3. #33
    I have been collecting modern classical records for sometime, not easy to come by. In addition to Part, here are some other modern musicians I recommend:

    Adams
    Cage
    Janacek
    Glass
    Gorecki

    Symphony 3 is a favorite:
    https://www.youtube.com/watch?v=Mcfy3UmnyDY
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  4. #34
    Member Sponsor [WBF Founding Member] Mike Lavigne's Avatar
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    Quote Originally Posted by astrotoy View Post
    Thanks. We heard the Bates Cello Concerto last year at a Berkeley Symphony concert. It was played by the young rising star cellist Joshua Roman, who was the first cellist of the Seattle Symphony when he was 22. Very accessible piece. Bates was at the performance. Both he and John Adams live in the SF Bay Area.

    Larry
    I saw Joshua Roman do Tavener's 'The Protecting Veil' about 8 years ago with a local Seattle Chamber Orchestra. he was really amazing.

    http://www.musicweb-international.co...nfonia1303.htm

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  5. #35
    Taverner is brilliant and The Protecting Veil is a great work... really substantial modern classical music... or is it post modern. I sometimes get my moderns mixed up.

    I also note with sadness the passing a few days ago of Johann Johansson at just 48 years. Some very moving tributes in the press around the world but no mention of the cause of death.

    His work was always elegiac and tinged with some sorrow. He also made movie music that wasn’t too popcorn. He had a talent for making meaningful and evocative music for films that didn’t just seem too overtly programmatic. Very sorry to hear of his going. His work is a proper legacy and just by chance I was playing his music Orphee on the day when a mate txt’d to mention he had heard he had passed.
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  6. #36
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    I recommend you give a listen to Phillip Glass - Double Concerto for Two Pianos and Orchestra. We heard it performed here in Dallas a few weeks back by Marielle and Katia Labeque. Glass wrote it for them. Only available through the iTunes Store. I bought it as well and it sounds ok. Iíve been a fan of the Lebeques (in love really but thatís another thread) for a long time.

  7. #37
    VIP/Donor [VIP/Donor] astrotoy's Avatar
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    The modern orchestral pieces that we have heard in the past few years all seem to have one of two things in common. Most have been commissioned by the orchestra that is performing the piece, often it is a joint commission with one or two other orchestras. This is also a trend we have seen with opera productions, where two or more opera companies are jointly sharing the cost of the production of an opera - not necessarily a new one. The second is that some of the major orchestras have engaged composers to be resident composers for some period of time (one or two years, maybe longer). At the recent three concert visit of the Chicago Symphony with Riccardo Muti to Berkeley, they played a piece "All These Lighted Things" by one of their two resident composers, Elizabeth Ogonek. She was present for the concert. (Their other resident composer is Samuel Adams). Not too many orchestras can afford to have a resident composer on their payroll.

    Before Beethoven, the standard model was that a composer was in the employ of a wealthy patron. Haydn is the most extreme example, with the Esterhazy family not only employing him, but hiring a fine orchestra for him to present his compositions to the court.

    There have been the occasional very wealthy composers who could essentially pay to have their compositions played. The Bay Area's Gordon Getty is a prime example. We have heard Getty's compositions played by different orchestras, and he has even had recordings done by record companies like Channel Classics. He has even had operas produced by major opera companies. I believe that not coincidentally, he and his wife continue to be major donors to classical music organizations.

    One interesting recording is the Leimer Fourth Piano Concerto, performed by the composer Kurt Leimer and the Vienna Philharmonic, recorded in 1958. It is Decca SXL2100, and is the rarest and most expensive of all Decca recordings. It also has a green label, instead of the standard black and white label. The reason for its rarity is that it was a private issue, never sold to the public. John Culshaw, famed Decca producer, tells the story:
    “The heir to one of the largest German car empires had developed a bent for composition and let it be known that he would pay handsomely,
    either in cash or cars, or both, if the Vienna Philharmonic would record one of his piano concertos.”
    (John Culshaw, “Putting the Record Straight” page 194).

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  8. #38
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  9. #39
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    Koyaanisqatsi, Philip Glass
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