Top 10 favorite contemporary classical works since World War II

Started by James, September 28, 2013, 11:53:09 AM

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jochanaan

Favorite 10?  Can't limit it that much.  But perhaps my favorite form developed in the 20th century is the "concerto for orchestra."  Of course the most famous one is by Bela Bartok, but there are also concertos for orchestra by Kodaly, Hovhaness, Lutoslawski and Elliott Carter.  All are among my favorites.  (Actually, come to think of it, Hovhaness wrote several Concertos for Orchestra but I'm only familiar with one of them, No. 6.)
Imagination + discipline = creativity

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

springrite

Quote from: jochanaan on January 29, 2015, 07:21:24 AM
Favorite 10?  Can't limit it that much.  But perhaps my favorite form developed in the 20th century is the "concerto for orchestra."  Of course the most famous one is by Bela Bartok, but there are also concertos for orchestra by Kodaly, Hovhaness, Lutoslawski and Elliott Carter.  All are among my favorites.  (Actually, come to think of it, Hovhaness wrote several Concertos for Orchestra but I'm only familiar with one of them, No. 6.)
In this case one has to mention the set of CfO by Petrassi!!!
Do what I must do, and let what must happen happen.

jochanaan

Quote from: springrite on January 29, 2015, 07:26:58 AM
In this case one has to mention the set of CfO by Petrassi!!!
Ooooh, I'm not familiar with those! :)
Imagination + discipline = creativity

springrite

Do what I must do, and let what must happen happen.

jochanaan

Imagination + discipline = creativity

springrite

Quote from: jochanaan on January 29, 2015, 08:30:30 AM
Hovhaness composed at least eight, but I doubt he intended them to be an actual set.

Indeed, but Petrassi's is like the Art of the Fugue of CfO!
Do what I must do, and let what must happen happen.

Dax



EigenUser

Quote from: EigenUser on January 27, 2015, 07:26:26 AM
Actually, let's remove Rothko Chapel (not that I don't love it, but just to make room -- plus it gets enough love already) and put in Takemitsu's Dream/Window. Seeing Takemitsu on your list reminded me.

In approximate order:
Ligeti Clocks and Clouds
Ligeti Piano Concerto
Messiaen Des Canyons aux Etoiles
Ligeti San Francisco Polyphony
Ades Asyla
Feldman Piano and String Quartet
Takemitsu Dream/Window
Feldman Coptic Light
Boulez Notations for Orchestra (orchestrated version is post-1970)
Reich Music for 18 Musicians

If I were to add yet another I would say to remove Ligeti's San Francisco Polyphony and add Steven Mackey's Ars Moriendi to the bottom of the list, but I'm not so sure about that. I rarely listen to it (a very sad piece). So, never mind.

While narrow as far as composers go (three Ligeti and two Feldman), I think it is pretty diverse in terms of what the music sounds like and actual style. It encompasses (here we go!) post-serialism (Boulez), post-impressionism (Takemitsu), proto-minimalism (Feldman), mock-minimalism (Ligeti C&C), hardcore-minimalism (Reich), post-minimalism-fusion (Ades), birdsongism (Messiaen), and whatever-the-hell-I-want-to-do-ism (Ligeti PC).
I realized that this list is a disaster. I forgot to include Ohana's In Dark and Blue (a 1990-ish cello concerto). ???

Remove Ligeti SF Polyphony (ugh, I do love that piece!).

In approximate order (updated -- Takemitsu's Dream/Window has been an (unhealthy?) obsession this past week):
Ligeti Clocks and Clouds
Ligeti Piano Concerto
Takemitsu Dream/Window
Messiaen Des Canyons aux Etoiles
Feldman Coptic Light
Ades Asyla
Ohana Cello Concerto 'In Dark and Blue'
Feldman Piano and String Quartet
Boulez Notations for Orchestra (orchestrated version is post-1970)
Reich Music for 18 Musicians

Ligeti and Feldman appear twice. Makes sense since they are both in my top ten favorite composers of all-time.
Beethoven's Op. 133 -- A fugue so bad that even Beethoven himself called it "Grosse".