21st century classical music

[San Antone]

 Luiz E. Castelões. Professor of Theory, Analysis, and Aural Skills (Universidade Federal de Juiz de Fora). Doctor of Musical Arts in Composition, Boston University; M.M., B.M. in Composition, Universidade do Rio de Janeiro. Studies with: T. Improta (jazz piano); L. Bustani, E. Caldi, M. A. de Mendonça (classical piano); J. Fineberg, T. Antoniou, R. Cornell, Lukas Foss, R. Tacuchian (composition); V. D. Leite, J. Buskirk (electroacoustic music); Thomas Peattie (musicology); and P. Ramaswamy (South Indian Carnatic music). He has won prizes, fellowships and scholarships from the following institutions: Fulbright, Boston University, Funarte (Brazilian Contemporary Music Biennial), CAPES, FAPERJ, CNPq, UNIRIO, PUC/RJ, and "Festival Primeiro Plano." He has worked as a teacher, score engraver, pianist, and supervisor for such institutions as Exemplarr Worldwide Limited, Boston University School of Music, Boston University Music Library, and Sofitel Rio Palace.

"Estudo Sirene" (v. 2012), para orquestra de cordas

[San Antone]

roland dahinden | composer – performer

My compositional work consists of three categories: concert works, sound installations and sound sculptures.

The concert works (with or without live electronic) were written with a view to concert performance, staged in a platform-auditorium scenario or similar. I conceived the idea of a "sound-space-process" (German: klangraumprozess), which makes use of the possibilities opened up by live electronics, in my search for a concert setting that emphasises the live character of a performance (and cannot be reproduced at home by the listener using a stereo panorama). In addition, some compositions that do not use live electronics were conceived. The concert works belong to the genre of chamber music, but the sound-space-processes lead to the unfolding of an orchestral sonority.

The sound installations were created for specific physical spaces and were conceived as verbal concepts. The installations are largely the result of collaborations with visual artists.

The sound sculpture develops as a meeting of the first two categories, where this meeting takes place with a shift in time and/or space. The observation that lies behind this idea is that the perceiver puts together a physical structure or object in the memory as a sum of side elevations (views) in perspective and, thus, that the recognition of a sculpture is an achievement of the memory. A concert work or a series of concert works are added to the sound installation. Thus, the audience do not hear the installation and the concert work simultaneously in the same space, but rather they have to weave together the sounds in the memory to form a sculpture.

http://www.youtube.com/v/4Qs5crT98Rg

[San Antone]

Michal Rataj

Spectral Shapes

Michal Rataj composes mainly electroacoustic and chamber or orchestral instrumental music.

[not edward]

I haven't heard the work you mention but there are some recordings of his music on Spotify.  This for example:

[asin]B000003GJ3[/asin]

I am listening to his String Quartet right now.

Though a good disc, I'd want to add the caveat that these are early pieces and to me sound like what Mason was at the time--a very talented student of Ligeti's. His later music has pushed off in directions further away from the mainstream (and often towards 'sound art', whatever that is).

[San Antone]

Though a good disc, I'd want to add the caveat that these are early pieces and to me sound like what Mason was at the time--a very talented student of Ligeti's. His later music has pushed off in directions further away from the mainstream (and often towards 'sound art', whatever that is).

Noted.  In reading about him I did discover that his newer work is more as you describe.   I found a couple of clips on Youtube. 

[San Antone]

His name already came up in this thread but I thought to post about him again:

Walter Zimmermann

(b. April 15, 1949, Schwabach, Mittelfranken).

German composer of stage, orchestral, chamber, choral, vocal, piano, and electro-acoustic works that have been successfully performed and recorded across Europe.

Prof. Zimmermann learned piano, violin and oboe at an early age and began composing at age twelve. He attended the Fürth Gymnasium, where he studied piano with Ernst Gröschel. From 1968-70, he was pianist in the Ars Nova ensemble in Nuremberg and studied composition with Werner Heider. From 1970-73, he studied with Mauricio Kagel (at the Kölner Kurse für Neue Musik) and at the Institute of Sonology in Utrecht (with O.E. Laske) and the Jaap Kunst Center of Ethnology in Amsterdam.

In 1974, Zimmermann began his stay in the USA, first in Hamilton, New York to study computer music, and then around the States to have conversations with 23 American composers (which were published in the book Desert Plants). In 1976, he recorded folk music in the Siva Oasis, in a ghetto in Pittsburgh, an Indian reservation in Montana, and in the Fürth hinterlands. In 1977, he opened his Beginner Studios in Cologne and gave regular concerts of new music until 1984. In 1992, he and Stefan Schädler organized the Anarchic Harmony Festival in Frankfurt to honor John Cage on his 80th birthday.

He has received numerous awards, including the Förderpreis from the city of Cologne (1980), First Prize at Ensemblia in Mönchengladbach (1981), a scholarship to stay at the Villa Massimo in Rome (1987), the distinguished Prix Italia for his Die Blinden (1988), and the Schneider-Schott Preis (1989).

He has taught composition at the Liège Conservatoire (1980-84) and in Karlsruhe (1990-92) and has been Professor für Komposition at the Hochschule der Künste in Berlin since 1993; he has also lectured at Darmstadt (1982, 1984) and at the Royal Conservatory in Den Haag (1988). He has written the books Desert Plants (1976), Insel Musik (1981) and Morton Feldman Essays (1985).

http://www.youtube.com/v/-XYuny08Zvc

[dyn]

rite now:
Alexander Khubeev - Carmina urbana
https://soundcloud.com/khubeev

there seems to be a sort of Russian... informal group thing... of composers emerging; this dude (Gaudeamus nominated, etc, etc) is probably one of the higher-profile ones

[San Antone]

Four Costa Rican Composers

Mario Alfagüell (b. 1948, San José). Costa Rican composer of mostly orchestral, chamber, choral, vocal, and piano works that have been performed in the Americas, Europe and elsewhere.

Prof. Alfagüell studied composition and piano at the Universidad Nacional de Costa Rica from 1966–76. He then had post-graduate studies in composition with Brian Ferneyhough and Klaus Huber at the Staatliche Hochschule für Musik in Freiburg im Breisgau from 1976–80.

https://www.youtube.com/v/I85ZAZxZmts

Eddie Mora Bermúdez (b. 1965, San José). Costa Rican composer of mostly orchestral and chamber works that have been performed in the Americas and Europe; he is also active as a violinist.

Prof. Mora studied composition with William Porras at the Universidad Nacional de Costa Rica in 1980–81, where he later studied composition with Benjamín Gutiérrez in 1997 and Luis Diego Herra in 2003–04. He also studied violin with Maya Glizarova and Olga Voitova at the Tchaikovsky Conservatory in Moscow from 1983–92 and had private composition lessons with Yuri Vorontsov in Moscow in 2000 and 2003 and in San José in 2001.

https://www.youtube.com/v/QdWmCkr66fo

Mauricio Pauly is a Costa Rican composer and electric bass player based in the UK. He is co-director and founder of the Distractfold Ensemble and of the Altavoz Composers. He performs with the Manchester-based trio, A Greater Horror and teaches at the Royal Northern College of Music.

https://www.youtube.com/v/AJLvy7RYlbk

Federico Reuben, born Costa Rica (1978) was trained as a pianist since the age of 9. He studied political science for two years at Universidad de Costa Rica, before leaving for the United States in 1999 to study composition with Lawrence Moss at the University of Maryland. In September 2002 he moved to The Netherlands to continue his studies at The Royal Conservatoire, The Hague. He earned a Bachelors (2003) and Masters (2006) degree in composition from this institution, where he studied with Louis Andriessen, Richard Ayres, Gilius van Bergeijk and Martijn Padding. Currently, he is pursuing a PhD in Music Composition and Technology at Brunel University's School of Arts, London, United Kingdom. His supervisors are Richard Barrett and Christopher Fox and his research focuses on Derivative Music and Plunderphonic strategies. He received courses and workshops tutored by composers including Steve Reich, Jonathan Harvey, Clarence Barlow, Marco Stroppa and Michael Jarrell. He also attended a one-year intensive course in Music Technology at The Institute of Sonology, The Netherlands.

https://www.youtube.com/v/u_lp4QtPNMI

[San Antone]

Isabel Mundry

Born 1963 in Schlüchtern, Germany. Studied composition, music and art history, as well as philosophy, in Berlin and Frankfurt-am-Main. 1992 to 1994 resident in Paris, initially as scholarship holder of the Cité des Arts, later participating in a one year computer science and composition course at IRCAM. Isabel Mundry lived in Vienna from 1994 to 1996 as a freelance composer. She then taught at the Berliner Kirchenmusikschule and the Hochschule der Künste in Berlin. In 1996 she was appointed professor for music theory and composition at the Frankfurt University of Music and Performing Arts. Since 2003 she has held the post of professor for composition at the Zurich School of Music, Drama and Dance. During the academic year 2002/03 she was a fellow at the Institute for Advanced Studies in Berlin. Isabel Mundry has also lectured at the Darmstadt Vacation Courses for New Music (1989-2002) and also at the Akiyoshidai Festival in Japan (1997). She has given master classes at Copenhagen's Royal Academy of Music (2002) and in Tbilisi (2007).

Isabel Mundry has received numerous prizes, among them the Boris Blacher Prize for Composition, the Busoni Composition Prize, the Kranichsteiner Music Prize and the Siemens Award. Her musical theatre composition, "Ein Atemzug – die Odyssee", received the 2006 critics prize for the best world premiere. Isabel Mundry has been Composer in Residence at the Tong Yong Festival (Korea, 2001), the Lucerne Festival (2003) and the Mannheim National Theater (2004/05). During the 2007/08 season she will hold that position at the Saxon State Opera in Dresden. Her works are published by Breitkopf & Härtel.

~ Sandschleifen

http://www.youtube.com/v/6heizInekko

[San Antone]

Rebecca Saunders (b.1967)

Rebecca Saunders was born in London in 1967. She studied music,majoring in performance (violin) and composition, at EdinburghUniversity, and studying composition from1991-1994 with Wolfgang Rihmat the Karlsruhe Music College in Germany. From 1994-1997 she held thePremier Scholarship at the Edinburgh University for a PhD inComposition with Nigel Osborne.

She has received various composition prizes including the Ernst vonSiemens Förderpreis, the ARD and BMW AG musica viva Prize, the PaulHindemith Prize, the Royal Philharmonic Society Composition Award forChamber Music in 2008 and the GEMA Deutscher Musikautorenpreis forInstrumental Music 2010. In 2009 she became a member of the BerlinAcademy of Arts, and was the Capel-Compositeur at the StaatskapelleDresden for the 2009/2010 season. She was tutor at the DarmstadtFerienkurse in 2010.

Rebecca Saunders has expanded her spectrum of musical genre since 2003: chroma (2003-2010) divides up to twenty chamber groups and sound sources throughout the performing space. The characteristics of the architectural space define the formal juxtaposition of the various chamber music groups, whereby each solo or group is like a protagonist in a form of pure instrumental theatre. inside out, music for a choreographed installation, was her first work for the stage and was created in collaboration with Sasha Waltz in 2003.

Later works, such as Stirrings Still I and II, and most recently murmurs from 2009, are quiet and fragile collage compositions in which Saunders continues to address her fascination with the separation of the musicians in the performing space.

"Molly's Song 3 - Shades of Crimson [For three instruments]

[San Antone]

Christophe Bertrand

Christophe BERTRAND was born on 1981. After obtaining first prizes in piano and chamber music at the Strasbourg National Conservatory (C.N.R.) (where he studied with Laurent CABASSO, Michèle RENOUL, Armand ANGSTER), he performs and records with Ensemble Accroche Note ou l'Ensemble In Extremis (which he co-founded). With them, he collaborated with composers such as Ivan FEDELE, Pascal DUSAPIN, Michael JARRELL, Mark ANDRE, Wolfgang RIHM, etc.

He began studying composition since 1996 with Ivan FEDELE at the C.N.R. de Strasbourg, and obtained in 2000 his composition diploma unanimously with honours. During that same year, the Musica Festival dedicated a concert to him, and he attended the Cursus annuel de composition et d'informatique musicale (2000-2001) at the IRCAM, where he worked among others with Philippe HUREL, Tristan MURAIL, Brian FERNEYHOUGH, et Jonathan HARVEY.

His compositions, conducted among others by Pierre BOULEZ, Jonathan NOTT, Hannu LINTU, Marc ALBRECHT, Pascal ROPHÉ, Guillaume BOURGOGNE, have been performed by prestigious ensembles and soloists :

Ensemble Intercontemporain, Orchestre Philharmonique de Radio-France, Quatuor Arditti, Accroche Note, Ensemble Court-Circuit, Orchestre Philharmonique de Strasbourg, Ensemble Aleph, Lucerne Festival Academy Orchestra, Ensemble Intégrales, Divertimento Ensemble, Ensemble Musicatreize, Quatuor Mandelring, Avanti!, entre autres ; Garth KNOX, Irvine ARDITTI, Hidéki NAGANO, Juliette HUREL, Jean-Marie COTTET, Jérôme COMTE, Claire-Marie LE GUAY, Marc COPPEY, Jan MICHIELS, Ilya GRINGOLTS, Sébastien VICHARD, Ferenc VIZI, etc.

http://www.youtube.com/v/Ldr9f0OLldE

Yet (2002)
20 musicians (10')
Commissioned by Ensemble Intercontemporain To Pascal DUSAPIN
World premiere : 29/09/2002 - Strasbourg, Musica Festival - Ensemble Intercontemporain ; dir : Jonathan Nott

[dyn]

Rebecca Saunders (b.1967)

Rebecca Saunders was born in London in 1967. She studied music,majoring in performance (violin) and composition, at EdinburghUniversity, and studying composition from1991-1994 with Wolfgang Rihmat the Karlsruhe Music College in Germany. From 1994-1997 she held thePremier Scholarship at the Edinburgh University for a PhD inComposition with Nigel Osborne.

She has received various composition prizes including the Ernst vonSiemens Förderpreis, the ARD and BMW AG musica viva Prize, the PaulHindemith Prize, the Royal Philharmonic Society Composition Award forChamber Music in 2008 and the GEMA Deutscher Musikautorenpreis forInstrumental Music 2010. In 2009 she became a member of the BerlinAcademy of Arts, and was the Capel-Compositeur at the StaatskapelleDresden for the 2009/2010 season. She was tutor at the DarmstadtFerienkurse in 2010.

Rebecca Saunders has expanded her spectrum of musical genre since 2003: chroma (2003-2010) divides up to twenty chamber groups and sound sources throughout the performing space. The characteristics of the architectural space define the formal juxtaposition of the various chamber music groups, whereby each solo or group is like a protagonist in a form of pure instrumental theatre. inside out, music for a choreographed installation, was her first work for the stage and was created in collaboration with Sasha Waltz in 2003.

Later works, such as Stirrings Still I and II, and most recently murmurs from 2009, are quiet and fragile collage compositions in which Saunders continues to address her fascination with the separation of the musicians in the performing space.

"Molly's Song 3 - Shades of Crimson [For three instruments]

i heart Rebecca Saunders. one of the most engaging voices of the post-Lachenmann tradition imo.

now: Salvatore Sciarrino - Come vengono prodotti gli incantesimi (http://avantgardeproject.conus.info/mirror/agp73/index.htm) although i don't know if it's 21st century. really good stuff though.

[petrarch]

now: Salvatore Sciarrino - Come vengono prodotti gli incantesimi (http://avantgardeproject.conus.info/mirror/agp73/index.htm) although i don't know if it's 21st century. really good stuff though.

It is part of his Fabbrica degli incantesimi, a suite of works for solo flute he composed between 1977 and 1989. The recording on Col Legno with Roberto Fabbriciani is absolutely wonderful. It was the first set of recordings that really got me into Sciarrino.

[asin]B000024XMQ[/asin]

[dyn]

It is part of his Fabbrica degli incantesimi, a suite of works for solo flute he composed between 1977 and 1989. The recording on Col Legno with Roberto Fabbriciani is absolutely wonderful. It was the first set of recordings that really got me into Sciarrino.

[asin]B000024XMQ[/asin]

thanks 4 info.

i actually have a lot of those pieces from different recordings, didn't realise they were supposed to be a set

currently: Brice Pauset, Symphony No. 5 "Die Tänzerin"
or maybe it's Die Tänzerin "Symphony No. 5"
i didn't even know he wrote symphonies honestly

from the Donaueschinger Musiktage 2008 set on NEOS

[San Antone]

Montalbetti: "Orchesographie"

http://www.youtube.com/v/ABVVemrHzkU&feature=em-subs_digest

[dyn]

recently acquired 10 or 12 of the movements from Stockhausen's last cycle, Klang

made room on my ipod for listening for the airplane flight day after tomorrow

[Octave]

I'm interested in getting a hardcopy of of Richard Barrett's OPENING OF THE MOUTH (Australian Broadcasting Corp., reissued 2008), but I notice that the usual outlet I order from (delivery to USA) have the disc at ~$30.  Offhand, does anyone know a distributor with a lower price?  It doesn't even seem to be OOP.

[San Antone]

Robert A. Baker is a composer, pianist, researcher, conductor and teacher, and holds a Ph.D. and M.Mus. in composition (McGill, 2009 and 2004) where his principal teachers were John Rea and Jean Lesage, a B.Mus. in theory ( Toronto, 1993) and an A.R.C.T. in Piano Performance from the Royal Conservatory of Music (Toronto, 1993). Founder and director of Baltimore's NEWPRISM ensemble, Robert has taught various music courses at Salisbury and Towson Universities, and currently is on faculty at Anne Arundel Community College, MD.

Valence III for oboe, cello and percussion
Howard Niblock, oboe; Miyoko Grine-Fisher, cello; Alexy Rolfe, percussion

[San Antone]

Judah E. Adashi (b. 1975) has been honored with awards, grants and commissions from the American Academy of Arts and Letters, the ASCAP and BMI Foundations, Meet the Composer, the American Composers Forum and the Aspen Music Festival, as well as three residencies at the Yaddo artist colony.

The Harp Gives Forth Murmurous Music (2005)
Flute and Guitar

Dr. Adashi's principal composition teachers have been Nicholas Maw and John Harbison. He holds a bachelor's degree from Yale University, and master's and doctoral degrees from the Peabody Institute of the Johns Hopkins University.

[San Antone]

David Philip Hefti - String Quartet no.1 - Ph(r)asen

http://www.youtube.com/v/8_mObKdYnaQ

NEWS FROM THE NEOS SITE:

Hefti's compositional work takes its cue from external references: his 1st string quartet Ph(r)asen (2007) not only follows two outstanding examples of the genre – Robert Schumann's string quartet op. 41 no. 1 and Leos Janáceks 2nd string quartet ,,Intimate Letters" –, it puts selected text passages from the correspondence of the composers with their lovers to music. The texts noted in the score are, to be sure, not to be recited, but are supposed to inspire the performer. This double presence of old models, musical and semantic-biographical, makes the quartet into music about music. And it is meta-music in a further sense, too: its title questions the technical aspects of music-making on string instruments. In this case the term "Phasen" also means the distribution of the actions of the left and right hands, their shifting and uncoupling – a particular challenge for the performer!