21st century classical music

[Philo]

Nice.  Thanks for posting this one.

You're most welcome, and thank you for all of your wonderful postings in this thread. We're battling windmills.

[San Antone]

Basque composer Ramon Lazkano's Hilarriak (2003) for orchestra.

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

Ramon Lazkano (Donostia-San Sebastián, 1968) studied composition in San Sebastian, Paris and Montreal with Francisco Escudero, Alain Bancquart, Gérard Grisey and Gilles Tremblay; he was awarded a First Prize of Compositionat the Conservatoire National Supérieur de Musique of Paris in 1990 and received a DEA degree (PhD Evaluation Degree) in 20th Century Music and Musicology from the Ecole des Hautes Etudes en Sciences Sociales. His piano concerto Hitzaurre Bi earned him, at the age of 26, the Prince Pierre de Monaco Foundation Prize and shortly afterwards, in 1997, a jury chaired by Luciano Berio gave him the Leonard Bernstein Jerusalem Composition Prize for his Auhen Kantuak. In 2007 Ramon Lazkano was awarded the Georges Bizet Prize by the French Academy of Fine Arts; he was also a prizewinner of the Institute of Music and Drama Arts and the Colegio de España.

[TheGSMoeller]

I'm interested in other composers who might carry a similar sound style to Pascal Dusapin, perhaps some frequent flyers of this thread have some suggestions?  I'm obsessed with Dusapin's music, which I find very lyrical, and his orchestral music to be colorfully textured. His sound is very unique, to me at least, so there might not be any other composer that close in sound.
Thanks in advance!

[San Antone]

[This is post is not made in response to Greg's query ... ]

Mark André   

Mark Andre (born Marc André 10 May 1964 in Paris) is a French composer living in Germany.  Andre studied composition from 1987 to 1993 with Claude Ballif and Gérard Grisey at the Paris Conservatoire National Supérieur de Musique. In Paris, he also graduated from the École Normale Supérieure about the music of Ars subtilior (Le compossible musical de l'Ars subtilior). In 1995 he received a scholarship from the French Foreign Ministry, which enabled him to continue his studies of composition at the University of Music and Performing Arts Stuttgart with Helmut Lachenmann. In the Experimental Studio for Acoustic Art he studied electronic music with André Richard. In 1996, he was able to continue his studies in Stuttgart by a grant from the Akademie Schloss Solitude. Numerous other scholarships and residencies followed. Since then, Andre has been heard at the Donaueschingen Music Festival in 2007 qith his composition ... on ... III that his large Orchester triptych ... Auf ... , and was awarded the prize of the SWR Symphony Orchestra Baden-Baden and Freiburg, since this public attention has been drawn to his work even more. But even before Andre earner numerous major awards, so at the Darmstadt Summer Courses (Kranichsteiner Music Prize 1996).   

...auf... III

https://www.youtube.com/v/TiprS7_BtFw

[San Antone]

Natasha Barrett   

Website

Natasha Barrett (b. 1972, England) is a British composer and performer of electroacoustic art music. Her compositional aesthetics are derived from acousmatic issues, but in addition to acousmatic composition she composes for instruments and live electronics, sound installations, multi-media works and computer music improvisation. She currently lives in Norway. 

Natasha Barrett began working seriously with electroacoustic composition during a master's degree in analysis and electroacoustic composition, studying with Jonty Harrison at the University of Birmingham (UK). This study also gave her the opportunity to work with BEAST (Birmingham ElectroAcoustic Sound Theatre) which has greatly influenced her current work, and lead on to a doctoral degree in composition supervised by Denis Smalley, awarded in 1998 at City University (London, UK).  Both degrees were funded by the Humanities section of the British Academy.  In the same year, a grant from Norges forskningsråd (The Research Council of Norway) enabled her to work as a resident composer at NoTAM (Norsk nettverk for Teknologi, Akustikk og Musikk / Norwegian network for Technology, Acoustics and Music) in Oslo (Norway). 

Hardly any of her work on YouTube, but this link will take you to a page from her website with some audio clips of some recent works.

[San Antone]

Ludger Brümmer ~ Speed (2006)

https://www.youtube.com/v/_ob6nf8-JWo

Diploma in psychology and sociology in 1983. Between 1983-1989 composition studies with Nicolaus A Huber (instrumental) and Dirk Reith (electroacoustic) at the Folkwang Hochschule Essen.  Commission and collaboration with choreographer Susanne Linke for the choreography "Ruhrort," followed by several international performances in America, Europe and Asia (Paris, Théâtre de Ville, Tel Aviv, Charleroi, Madrid, and some others).  Ballet music for the "Nederlands Dans Theater" with his orchestra piece "Riti Contour."  Work with solo dancers for choreographies for example "Le temps s'ouvre" with electroacoustic music.  Collaboration with Christian Moeller for Multimedia Expositions in Tokyos Spiral Hall.  International Performances f.e. at the INA, Paris or at ICMC's in San Jose, Tokyo, Banff, Thessaloniki.  Collaboration with the institute "InterArtes" with video artist Silke Braemer for the Video "Lizard Point".

Interview with our own "someguy".

[some guy]

Ludger is one of my favorite people.

I need to go see him again, soon.

And I want to get some recordings of recent works, too. I've gotten the perhaps erroneous (I hope erroneous) impression that since his elevation to directorship of the music department at ZKM (tsett, kah, emm), his production has tapered off.

[cjvinthechair]

A more productive than usual (for this musical idiot !) trawl through recent posts, with Currier, Dusapin, Thorvaldsdottir & Lazkano all being modern music I can learn from.
Thank you so much !

[San Antone]

Simon Steen-Andersen ~ In Spite Of, And Maybe Even Therefore (2007)

https://www.youtube.com/v/jnonO8ekh_s

The piece mainly consists of two musics that are both being build and destroyed at the same time.

The first process is a quasi unison music played fortissimo by the unamplified instruments in the back; closed piano, double bassoon, double bass/cello and percussion. The very beginning of this sequence is repeated over and over in a small loop, slowly getting longer and longer, revealing more and more of the sequence. At the same time this music is interrupted by breaks or inserts of the other music (played by the amplified flute, clarinet and horn). In the beginning it is only seldom interrupted and only for very short durations. Slowly the interruptions come more and more often and they get longer and longer. Just before the sequence is finally revealed in its whole, the intervals between the interruptions get shorter than the length of the sequence, and thus we never get to hear the complete sequence uninterrupted. Soon the interruptions take over and the sequence gets more and more fragmented and ends up being only short echoes of the beginning.

The second process is one of Beethoven's Piano Bagatels opus 126 played ultra pianissimo by the amplified flute, clarinet and horn sitting at tables in the front. To begin with they only play one chord at the time every now and then, but slowly the chords come closer. In the beginning one only realizes, that it is tonal music, and that the chords are getting closer and closer. At one point we realize that the chords will eventually get so close, that they will form a tonal music or chord progression. But each time a chord is played, a piece of one of the instruments is being dismantled, eventually making the chords harder and harder to play in tune. Exactly at the point where the chords finally come together, the instruments are completely taken apart, leaving only bits and pieces on the tables in front of the musicians. The musicians try very hard to play the Beethoven on the bits, but the original music almost disappears in the sound of picking up and putting down the pieces, and the noisy and out of tune alternative ways of playing the notes. After a while the tones disappear leaving only the sounds of the "choreography" needed to perform these notes. Out of this "musical ruin" the music attempts to build up new relations and new ways of creating continuity, but this attempted continuity is slowly being destroyed by freezes getting longer and longer.

[San Antone]

David Vélez ~ Desayuno (2007)

https://www.youtube.com/v/P4k4Vnufrpk

David VélezDavid Vélez (b. 1973 in Bogotá, Colombia) is a sound artist / composer.  He moved to NYC on 2002 and returned to Colombia on 2010.  Holds a MA in Fine Arts from the Universidad Nacional de Boogotá.  He started to publish his work on 2005 with his project Lezrod.  With the album 'Retorno a la nada' which was nominated for the Qwartz awards.  Since 2006

David has participated in a series of exhibitions and art festivals such as 'Arte Ocupa' -collective- (Santa María, Brazil 2013), 'Deriva y Catástrofe' (Rojo Galería, Bogotá 2013), 'Transversal sonora' -collective- (2012 Universidad Nacional Bogotá) 'Frequencias' (2012 Plazarte Gallery, Medellín), 'Cacería de Brujas' (2011, Bogotá), 'Densidades' (2011 Universidad de los Andes, Bogotá), Intermedios (2011 Universidad Nacional, Bogotá), Internacional Ruidística (2010 Valenzuela Klenner Gallery, Bogotá), Fine Diving (2008, NYC), Red Room (2008, Baltimore, Maryland), Rake Festival (2007, NYC) and Photophono (NYC, 2006).  David Vélez works as content manager, curator and publisher for Impulsive Habitat a label he cofounded on 2009 that focuses on the publication of phonographic and musique concrete works.  On 2011 David Vélez funded the journal The Field Reporter which is focused on the critic and review of phonographic and musique concrete based works.

[San Antone]

Georg Frederick Haas ~ String Quartet No.7 with electronics (2011)

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

"Georg Friedrich Haas (b. 1953) is an Austrian composer of spectral music.  Georg Friedrich Haas grew up in Tschagguns (Vorarlberg) and studied composition with Gösta Neuwirth (de), Iván Erőd, and piano with Doris Wolf at the Musikhochschule in Graz, the capital of the Austrian federal state of Styria.  Since 1978, he has been teaching at the Hochschule as an instructor, and since 1989 as an associate professor in counterpoint, contemporary composition techniques, analysis, and introduction to microtonal music.  Haas is a founding member of the Graz composers' collective Die andere Seite.  He composes in a cottage in Fischbach, Styria.

Haas' style recalls that of György Ligeti in its use of micropolyphony, microintervals and the exploitation of the overtone series; he is often characterized as a leading exponent of spectral music. His aesthetics is guided by the idea that music is able ""to articulate a human being's emotions and states of the soul in such a way that other human beings can embrace these emotions and states of the soul as their own"" (""Emotionen und seelische Zustände von Menschen so zu formulieren, daß sie auch von anderen Menschen als die ihren angenommen werden können"").  Thus Haas has disavowed the intellectualism of some strands of the modernist musical avantgarde (such as serialism and deconstructivism). The emotional atmosphere of many of his works is sombre.  Haas' operas have been criticized for giving away themes like suffering, illness and death to aesthetic voyeurism: ""the piece [Haas' opera Thomas (2013)] comes dangerously close to a kind of palliative care ward tourism.""  Im a similar vein, his orchestral works have been compared to film music: ""[Dark dreams for symphony orchestra] lets us think of a soundtrack ready-made for a suspense movie"" (""lässt aber auch an einen probaten Soundtrack zum Suspense-Streifen denken"")."

[torut]

Zeena Parkins is a harpist, an improviser and a composer.

Visible/Invisible for string quartet (2006)
movement 3 'The Necklace'
performed by the Eclipse Quartet
at Location One Roulette in New York, December 2005
https://www.youtube.com/v/edTT0-8WEFA

I like all the works in this album.
Rzewski, Tenney & Parkins: Music for String Quartet & Percussion
Eclipse Quartet, William Winant
[asin]B00CDVSXL2[/asin]

Whimwhams, for marimba and string quartet (1993) by Frederic Rzewski ... enjoyable, I like his "The People United Will Never Be Defeated"
Cognate Canons, for string quartet and percussion (1993) by James Tenney ... hypnotic, repetitive
s:c:a:t:t:e:r:i:n:g, for marimba, tom toms, snare, Lou Harrison bell instrument, chimes, various metal percussion and spinning samples (2011-2012) by Zeena Parkins ... there are many different styles and sounds "scattered" in this work

[San Antone]

Zeena Parkins is a harpist, an improviser and a composer.

Visible/Invisible for string quartet (2006)
movement 3 'The Necklace'
performed by the Eclipse Quartet
at Location One Roulette in New York, December 2005
https://www.youtube.com/v/edTT0-8WEFA

I like all the works in this album.
Rzewski, Tenney & Parkins: Music for String Quartet & Percussion
Eclipse Quartet, William Winant
[asin]B00CDVSXL2[/asin]

Whimwhams, for marimba and string quartet (1993) by Frederic Rzewski ... enjoyable, I like his "The People United Will Never Be Defeated"
Cognate Canons, for string quartet and percussion (1993) by James Tenney ... hypnotic, repetitive
s:c:a:t:t:e:r:i:n:g, for marimba, tom toms, snare, Lou Harrison bell instrument, chimes, various metal percussion and spinning samples (2011-2012) by Zeena Parkins ... there are many different styles and sounds "scattered" in this work

Interesting, I was just listening to her yesterday.  Great stuff.

[San Antone]

Diana (Simpson) Salazar ~ Papyrus

Soundcloud clip

Diana Salazar is a Scottish-born and London-based composer and sound artist. Her compositional output ranges from acousmatic work to music for instruments with live electronics, laptop improvisation and cross-disciplinary collaborations. Her works have been performed throughout the UK and internationally, across Europe and North, Central and South America, with broadcasts on Swedish National Radio, Radio France, and BBC Radio 3. Selected works have been released on the Studio PANaroma, Discparc, SCRIME, Drift Station and Elektramusic labels. From 2009 to 2013 she was a Lecturer, then Senior Lecturer in Music and Music Technology at Kingston University, London. In September 2013 she joined the Department of Creative Practice and Enterprise at City University London as a Lecturer in Music.

Her website

[Philo]

DJ Sniff: Solo
https://www.youtube.com/watch?v=BORd08p_1C0

[torut]

I went through this once, and hearing some of the tracks again. (I bought it at Google store for cheap.) Not all of them were composed in 21th century. (Should this belong to 1950-2000 thread?)

The NYFA Collection: 25 Years of New York New Music
[asin]B003X859J8[/asin]

From Editorial Review on Amazon:

In 1983, the New York State Council on the Arts established fellowships in 16 arts disciplines, including ones for Music Composition and Sound administered by the New York Foundation for the Arts (NYFA). To celebrate 25 years of fellows (there have been more than 200 to date), this five-CD collection features 52 of them, mostly performing new compositions heard here for the first time.

There are so many different types of music here: electronics, percussion, installation, jazz, orchestral, songs, string quartets, etc. from avant-garde to accessible.

All the notes are available here:
Disc 1
Disk 2
Disk 3
Disk 4
Disk 5

Music from Bridge Music by Joseph Bertolozzi (mentioned in this post Re: Contemporary composers who've made an impression on you by sanantonio) is included in Disc 1. This was nice because I wanted to hear it but didn't have courage to buy the whole disc  . It is like rather not-so-abnormal percussion music than expected, but the sound is wild. According to the note, it is now "a permanent installation where listeners can go onto the Mid Hudson Bridge itself and hear the music."

This is just one of them, and the other music are so different that I kept listening to tracks, thinking what is next?

[San Antone]

I went through this once, and hearing some of the tracks again. (I bought it at Google store for cheap.) Not all of them were composed in 21th century. (Should this belong to 1950-2000 thread?)

The NYFA Collection: 25 Years of New York New Music
[asin]B003X859J8[/asin]

From Editorial Review on Amazon:
There are so many different types of music here: electronics, percussion, installation, jazz, orchestral, songs, string quartets, etc. from avant-garde to accessible.

All the notes are available here:
Disc 1
Disk 2
Disk 3
Disk 4
Disk 5

Music from Bridge Music by Joseph Bertolozzi (mentioned in this post Re: Contemporary composers who've made an impression on you by sanantonio) is included in Disc 1. This was nice because I wanted to hear it but didn't have courage to buy the whole disc  . It is like rather not-so-abnormal percussion music than expected, but the sound is wild. According to the note, it is now "a permanent installation where listeners can go onto the Mid Hudson Bridge itself and hear the music."

This is just one of them, and the other music are so different that I kept listening to tracks, thinking what is next?

This is a good set. 

[torut]

Yes, and also I got this another collection of American music on your recommendation. Thank you. I felt this has more serious and contemplating atmosphere overall. This is very good and I enjoyed it.

AMERICAN MASTERS FOR THE 21ST
SOCIETY FOR NEW MUSIC

[asin]B0006UYOWY[/asin]

This 5-CD collection is excellent.

[some guy]

sanantonio, are you choosing people according to whether I'm friends with them or not?

You have certainly been posting music by a lot of friends of mine recently. Weird.

Anyway, Diana. What a brilliant and talented musician. Love her stuff.

How about some Emmanuelle Gibello, too? Did you do some of her stuff, already? (

http://www.youtube.com/watch?v=ocl1N29Shm8

[San Antone]

sanantonio, are you choosing people according to whether I'm friends with them or not?

You have certainly been posting music by a lot of friends of mine recently. Weird.

Some of it is coincidence (arising from YouTube's "if you like this then you might like this" kind of linking), but also because the lists of composers you have suggested on GMG were entered into my (now rather) large Excel sheet of composers I have discovered and/or heard about from someone (some guy in this instance ).   I pick a name at random to listen to and possibly post about and just happened to pick some of your names.

Thanks for the suggestions; almost without exception I have found experiencing their music to be very much worthwhile.