Contemporary composers who've made an impression on you

[some guy]

John, not sure what your thing is.

But let me as briefly as possible outline the situation as I see it.

A lot of people, James among them, want to apply the principle of greatness to new music. Since greatness is principally (I think solely) a matter of judgment over time, it's difficult to get any consensus about music that hasn't been around all that long. Bach, long enough. Beethoven, long enough. Brümmer, um, not long enough.

Not long enough for consensus; long enough for my own listening. I have consistently positive experiences with Brümmer. I have consistently positive experiences with Merzbow and Marchetti and eRikm, too.*

But James does not believe that individual experience has any validity. Well, maybe his own. But his posts constantly refer to consensus. Only board-certified works are worth listening to. Only board-certified works are worth talking about. But I only have my own two ears to listen with. These are not ears that James has any respect for, but so what? I'm not James. So the quality of my listening experiences depend in no wise on James' approbation. Or on the conclusions of consensus.

You are of course free to take James' requests for examples at face value. I can not. I have too long a history of his arrogant dismissals of anything I recommend to anyone for any reason. I also, more importantly, do not buy into James' simple, two-dimensional view of quality, with the variety of heterogeneous works (from different eras) collapsed into simple ranked ordered lists. I think the reality is much more complex, with more dimensions (at least one more). I see value as a function of experience and engagement, not as a property of pieces of music (or of works of art of any kind). So his requests for "great works" might seem simple and straightforward to you. To me they seem like traps. i'm being asked to buy into his world view and then to supply works that fit his criteria.

But I reject both the world view and the criteria. Simple as that.

*I also don't need consistently positive experiences. In fact, if you listen like I do, as function of exploration, then you are constantly hearing things that you don't like. Which is fine. I like to explore, I like to discover, I like to expand my own personal tastes. And if I can help anyone else expand similarly, I'm always glad to do that. I'm not going to do that by playing into anyone's desire for "greatness," however.

[Octave]

I was not under the impression that dyn was rabid-serious about the *1972 criterion; let's not get hung up on that.  I think that was suggested as a way of emphasizing work that was necessarily so new that part of the interest was in seeing an approach or even aesthetic come together.  Even my own initial suggestions (from very recent listening) are Old White Guys.

BTW, is it okay to mention non-instrumental "tape music" work in this thread?  If I turn back the clock a little, there are lots of composers who do this kind of work who I used to be crazy about, a couple of whom I'm going to be revisiting this coming weekend+.  Musique concrète and electronic music, but usually not coming from the world of rock or pop music.  I could suggest a number of things there, from the past ~10-15 years; though I don't think many of them use traditional instruments or notation at all.

[petrarch]

Musique concrète and electronic music, but usually not coming from the world of rock or pop music.  I could suggest a number of things there, from the past ~10-15 years; though I don't think many of them use traditional instruments or notation at all.

The thread is what you will... However, it could be worthwhile exploring other threads from this forum that cover some of that ground. A quick search revealed the following:

http://www.good-music-guide.com/community/index.php/topic,12343.0.html
http://www.good-music-guide.com/community/index.php/topic,17495.0.html
http://www.good-music-guide.com/community/index.php/topic,7587.0.html
http://www.good-music-guide.com/community/index.php/topic,21171.0.html

[Octave]

Cheers, petrarch

[some guy]

Thanks .. I didn't even bother reading some guy's last posts, I'm just too busy! At a quick glance I see no compositions listed etc .. A nice convenient list from someone who claims they're versed in it (like Mike) .. you think it wouldn't be much of a task at all, he'd have the know-how and ear to pick up on the really good stuff and present it, and it  would help steer us all curious people in the right direction perhaps - but unfortunately that simple request doesn't seem to be met! All his years of 'experience' gone to waste perhaps? But it's nothing new .. I've met many people who claim or act like they're authorities on something but aren't even close, maybe that's the case here too. Shame.

Not too busy to make snarky remarks about the posts you haven't read, though, eh? This reminds me of the music critic who put in a scathing review of a piece, all unaware that that piece had been pulled from the program.

Not that reading my posts would make any difference. James goes into the situation with his mind already made up.

Shame indeed!

[Cato]

Karl Henning and Luke Ottevanger have made quite an impression on me throughout the years here at GMG, and so has Paul Nauert, although I have only heard his one composition Episodes and Elegies.

Lera Auerbach, mentioned earlier, has a work called Icarus which impressed me.

[some guy]

Hey kids! I have an idea. Might be too radical. But let's try it.

How about if we post some contemporary composers who've made an impression on you.

I have done so already, in the very first post after the OP.

Several others have done so as well. Neither Johnll nor James however. They have simply raved on and on about how one of their colleagues has raved on and on instead of giving them what they want, something that the colleague in question has carefully explained* why he cannot give them what they want.

He can give dyn what dyn has asked for. Can do and has already done so.

*I mean "raved on and on" of course!

[dyn]

increasingly feeling like i might have come to the wrong place...

cheers anyway lads

[bhodges]

increasingly feeling like i might have come to the wrong place...

cheers anyway lads

No, no - you're in the right place. Please ignore the bickering; you asked a perfectly reasonable question, and a number of us haven't given you any composers (you know, holidays and all). Here are a few who have impressed me tremendously:

Klaus Lang (b. 1971) - Minimal, Cagean, mostly quiet work that's quite compelling with the right performers
Hannah Lash (b. 1981) - Haven't heard much of her work yet, but a few pieces have caught me immediately
Eli Keszler (b. c. 1985?) - Keszler designs enormous structures from piano wire, then combines their groaning, creaking sounds with his own high-energy drumming and other instruments
Missy Mazzoli (b. 1980) - One of my favorite titles: Still Life with Avalanche (and it's an excellent piece, too)
Clemens Gadenstätter (b. 1966) - Have heard several works, including his new quartet (played by the JACK Quartet) and...very striking

--Bruce

[San Antone]

Your recommendation of Clemens Gadenstätter reminded me of the Donaueschinger Musiktage series of recordings.  Some of his music appears on the 2001 recording.  These CDs offer many new composers and feature some of their most important works.

[some guy]

Sorry Brewski. My fault.

Anyway, I agree with sanantonio that the Donaueschinger Musiktage series is a treasure chest of new music.

2007, vol. 3 has Mark Andre's ÖaufÖ III, Helmut Oehring's GOYA I - Yo lo vi, and Enno Poppe's Keilschrift. I think I'll give that a spin after finishing this post. I've become very engaged by Mark Andre's post-Lachenmann sound world. There are some fine Youtube videos of his works, too. I'm listening to Un fini I right now. If this is how harps are being played in heaven right now, then sign me up!!

2002 has the first Oehring I ever heard. And it was quite impressive (as per the OP ). ER.eine She (from 5ünf/Haare-Opfer). Amazon.com shows two listings for this three CD set, one for 48 and change, one for 57 and change. 48's OK for three CDs. And they're packed with sonic goodness. Julio Estrada, Alan Hilario, Chaya Czernowin and many more.

Anyway, thanks for your list, Brewski. I've only heard of two of them, so some new adventures for me. Thanks.

[dyn]

fair enough, i'll give it a go

I was not under the impression that dyn was rabid-serious about the *1972 criterion; let's not get hung up on that.  I think that was suggested as a way of emphasizing work that was necessarily so new that part of the interest was in seeing an approach or even aesthetic come together.  Even my own initial suggestions (from very recent listening) are Old White Guys.

in fairness, there were a couple of people i hoped to exclude with a *1972 category, due to being too well known already to "make an impression" on the music world more than they already have.... >.> (Pintscher, Adès, etc) but i guess this works fine as a more general contemporary music thread as well. i haven't any authority over it after all.

BTW, is it okay to mention non-instrumental "tape music" work in this thread?  If I turn back the clock a little, there are lots of composers who do this kind of work who I used to be crazy about, a couple of whom I'm going to be revisiting this coming weekend+.  Musique concrète and electronic music, but usually not coming from the world of rock or pop music.  I could suggest a number of things there, from the past ~10-15 years; though I don't think many of them use traditional instruments or notation at all.

electroacoustic is fine by me. in fact i've been listening to quite a bit of it lately.

today i've been listening to some music by Ben Isaacs with the speakers turned up all the way, which is a poor substitute for actually seeing/hearing one of his pieces live. (there are recordings on his website, which are not much more than a taste, and scores, which help even less.) i think Isaacs would benefit from introduction to the bass clef—music that's very high up has just become somewhat of a cliché, and the actual sound of his music as a result isn't what has made the impression on me* :$—but it's still quite striking work that kicks lachenmann's "performative" tradition up a notch or two.

* a positive impression, anyway...

[Karl Henning]

Karl Henning and Luke Ottevanger have made quite an impression on me throughout the years here at GMG, and so has Paul Nauert, although I have only heard his one composition Episodes and Elegies.

On behalf of us all: We living composers thank you!

[San Antone]

On behalf of us all: We living composers thank you!

Because of a confluence of events, mostly related to drudgy activities associated with doing some renovations to our home, I have dusted off my keyboard and installed Finale on a spare laptop and setup a little area.   The plan is to get back to doing what I generously refer to as composing.  Your posts of writing some each day is a fine example to emulate.

Tally-ho!

[Karl Henning]

I am honored, sir!

[dyn]

steven stucky reminded me of another young composer, this one working in Britain

if you're not interested in composers who are content to work in the shadows of their influences he may not be for you, but i've always been impressed by the craft & ear of Mark Simpson. most of what i've heard has been at concerts although i think you can download his Last Night of the Proms piece sparks, which sits comfortably within the Knussen/Benjamin/Adès british "mainstream", parallel triads and all, but nonetheless manages to sound fresh & interesting (imo anyway). and who knows, maybe he'll pull a Jonathan Cole one of these days >.>

[Johnll]

I enjoyed the Mazzoli piece. It is recorded by Eighth Blackbird and if you are a MOGette, like me, use the search term "meanwhile".  I cannot find any evidence that the Gadenstätter SQ exists – even on his web site. Perhaps the grey cells are just not clickin.
I will put in a good word for Jorg Widmann (b 1973) a German composer and clarinetist. His music does not break any new ground but I feel he has a voice and is real. I like his Elegie on the album of the same name (ECM),  Oktett on the recording Works For Ensemble (Neos), and a 20 minute violin romp ,Hommage to Piganini,  played by Sinn Yang (Oehms). All on mog and probably other streamers.

[Karl Henning]

. . . His music does not break any new ground but I feel he has a voice and is real.

That latter is, after all, more important.

In fact, the cynical contrarian might argue that the fellow who breaks new ground is getting away with something — he may in fact have no voice, but just benefits from the fact that no one has been in that corner of the musical world before.

[San Antone]

I enjoyed the Mazzoli piece. It is recorded by Eighth Blackbird and if you are a MOGette, like me, use the search term "meanwhile".  I cannot find any evidence that the Gadenstätter SQ exists – even on his web site. Perhaps the grey cells are just not clickin.
I will put in a good word for Jorg Widmann (b 1973) a German composer and clarinetist. His music does not break any new ground but I feel he has a voice and is real. I like his Elegie on the album of the same name (ECM),  Oktett on the recording Works For Ensemble (Neos), and a 20 minute violin romp ,Hommage to Piganini,  played by Sinn Yang (Oehms). All on mog and probably other streamers.

I am glad you mentioned Widmann, his work has impressed me too.  He is an accomplished clarinetist and was a student of Wolfgang Rihm, who has written some works for him.

[San Antone]

That latter is, after all, more important.

In fact, the cynical contrarian might argue that the fellow who breaks new ground is getting away with something — he may in fact have no voice, but just benefits from the fact that no one has been in that corner of the musical world before.

This boast of "breaking new ground" I think of as a red herring.  It is important for a composer to have a voice, an individuality that separates his work from others and offers something personal - but this can happen from within a common style and need not appear as a obvious departure from what has been done before.

I've been reading this book

[asin]1580463797[/asin]

The third question has to do with a composer's "style".  George Crumb is of the belief that all composers of competence have a style, which is both their own individual voice but also as having been imprinted by the past.  He considers it ridiculous to claim that any composer can reinvent himself for each piece and never "repeat" himself.  At a very basic level all composers have an essence which remains present in each work, even if hidden from all but the most perceptive listeners.