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Thread: Game (prelim 8/25): 2000 and beyond

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    Senior Member Art Rock's Avatar
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    Default Game (prelim 8/25): 2000 and beyond

    In this game, the 21st century is in the spotlight. We have nominated 300 compositions from the years 2000-2019, which will now be pitted against each other in twenty five preliminary rounds, five semi-finals and one final.

    Each prelim will see the top three compositions go on to the next round. The resulting 75 compositions will be distributed over 5 semi-finals (the 25 prelim winners will be distributed first to ensure that each semi-final has the same amount of prelim winners). The top four compositions of each semi-final will qualify for the final.

    Voting Rules:

    1. You may vote once daily (your calendar day).

    2. To vote, please:
    - copy/paste the previous post
    - remove the (+x) by the previous poster
    - add your votes and include your own (+x) after them
    - after posting, please check whether someone else has posted just before you
    - if so, adjust your post accordingly
    - please do not bold the compositions you vote for, please do not use different colours
    - if you want, you can bold the composition reaching the finish line (60)
    - please do not delete the reminder statement about halfway the compositions list

    3. When you vote, you will have 10 upward points to use as you wish except that no work may receive more than 3 points.

    4. The Half-Time Adjustment is not in effect.

    5. The round ends with the first composition to collect 60 points.

    At the end of the round, the top three compositions will move to the semi-finals (I'll use a tiebreaker if required - the last time there was a difference between the compositions involved). The winner of the round gets seeded in the semi-finals.

    I encourage everyone to post background information on any of the compositions in the currently played prelim, including YouTube links etc. - you can do this before the prelim starts or any time during the game. Please do not post negative comments on any composition.

    The full list of the 25 preliminary rounds can be found here. The current prelim will start in about 24 hours. Stay tuned to this channel.

    Line-up for this prelim is
    Andre - auf III... (2007)
    Carter - Horn Concerto (2006)
    Daugherty - Tales of Hemingway (2015)
    Dusapin - Seven Solos for Orchestra (2009)
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003)
    Higdon - Piano Trio (2003)
    Lachenmann - Grido (2001)
    Neuwirth - Le Encantadas (20115)
    Puts - Symphony no. 2 (2002)
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001)
    Steen-Andersen - Double Up (2010)
    Yoshimatsu - Symphony no. 5, op. 87 (2001)

    We're not voting yet! Feel free to post something about the current candidates.
    Allüberall und ewig blauen licht die Fernen! Ewig ... ewig ...

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    Senior Member Art Rock's Avatar
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    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001)

    Finland's Aulis Sallinen is one of the more conventional voices in these preliminaries. I consistently enjoy his works, and although his 8th symphony is not his best to my taste, it is well worth listening to.

    Allüberall und ewig blauen licht die Fernen! Ewig ... ewig ...

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    At the opposite end of the spectrum from Sallinen is Steen-Andersen, perhaps one of the most creative composers living today (and one of my personal favorites).

    At the core of Steen-Andersen's music is a desire to move away from music's inherent abstract nature and to try to "concretize" music as much as possible. For him, the abstract side of music is "all the elements that only pertain to intramusical matters -- that is, where music refers only to itself ... its opposite, the concrete, is understood as the tangible aspect or all that relates to the world outside the music". For example, if I play a C Major triad on the piano, a concrete aspect would be, say, that specific timbre of the chord that refers to an outside world object (the piano), while some abstract elements would be, say, the fact that the chord possesses a major third interval, a minor third, and a perfect fifth (an interval being an intramusical relationship). So by creating a concrete music that points only to the outside world and not inward towards itself, what we get in Steen-Andersen's music is a sort of onomatopoeic quality in that the music is literally trying to recreate the sounds you would get from striking an object, any object. Many composers today do this, but I think Steen-Andersen is far and away the most successful at it.

    Double Up, for orchestra and sampler, is a piece whose title refers to the risky strategy of doubling up on the stock market or at the casino; it can also refer to the doubling up on drinks at the bar. Thus, the sampler plays samples of sounds you would normally hear at the bar or at the casino, such as the sounds of a slot machine, drunken singing, and pouring of drinks (How these samples refer to doubling up in particular, I don't know, but the choice of samples is still quite effective). But the most interesting aspect of the piece is the orchestra imitating, or "doubling up", those very samples. Listen very closely and you can hear instruments playing alongside and melting into the samples. This piece is a great example of the onomatopoeia I mentioned above.

    The piece can be divided into two. The first half tries to tell a story through the samples (perhaps a story of winning big on the stock market? -- again I don't know); the second half organizes those samples into musical scales to form a musical "story", so to speak (forming scales with "concrete" sounds is explored more fully in his Run Time Error, which we'll see later in this game). The halves are divided by a speech from the sampler about doubling up.


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    Daugherty - Tales of Hemingway (2015)

    As so often these decades, composers create concertos without calling them that, instead preferring a descriptive name. Tales of Hemingway is a very interesting cello concerto (one of the best of this century for me), with all four movements inspired by Hemingway's writings. More info in the Wikipedia article (here).

    Allüberall und ewig blauen licht die Fernen! Ewig ... ewig ...

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    ... auf ... III is the third in a trilogy of pieces by Andre with the title of "auf". "Auf" is a German preposition that apparently has a connotation of change, transition, or hitting a threshold, and it's these meanings that form the subject of the piece. Though parameters like pitch classes, rhythm, and unpitched noises are organized algorithmically at the onset of the composition process, Andre immediately disrupts such organization by creating "families of sound" that are distinct yet incorporated, overlaid, and inserted into one another (what these families of sound are specifically made of, Andre isn't clear; however, when listening to the piece, one can certainly hear frequently recurring blocks of sound such as a loud column of brass and percussion or the clacking of strings). The structure of the piece, then, is a narrative of changing or transitioning from one such family to the next. These transitions are also aided by a peculiar use of live electronics where the sounds coming out of one family are clothed in the timbre of another family as the latter decays and resonates throughout the auditorium.

    Also to note that the concept of transition -- and hence this piece -- has deep religious significance for Andre, as he believes that the resurrection of Christ "describes the most powerful and wondrous transition ever between differing states."

    Despite the relative lack of clarity from Andre on how this piece is built, ... auf ... III is still a great piece to listen to. There are two recordings of the piece. Here's the better of the two:


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    And if you liked the Andre piece, you'll certainly like Lachenmann's Grido (Lachenmann was one of Andre's teachers and is the progenitor of this style of music that they both share). To get the full experience, I'd suggest putting on some headphones and cranking up the volume high.

    Last edited by calvinpv; Dec-05-2019 at 05:29.

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    I'll second Art Rock's enthusiasm for the wonderful Daugherty "Tales of Hemingway". I have several other favorites in this round - Higdon's brief Piano Trio which consists of an ethereally beautiful first movement and a wildly energetic second, Puts' heartfelt and moving 2nd Symphony which is written in memory of the 9/11 tragedy, and Yoshimatsu's colorful, tuneful, and exciting 5th Symphony.

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    Andre - auf III... (2007) - 0
    Carter - Horn Concerto (2006) - 1 (+1)
    Daugherty - Tales of Hemingway (2015) - 3 (+3)
    Dusapin - Seven Solos for Orchestra (2009) - 0
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 1 (+1)

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 0
    Neuwirth - Le Encantadas (2015) - 0
    Puts - Symphony no. 2 (2002) - 0
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 3 (+3)
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 2 (+2)
    Allüberall und ewig blauen licht die Fernen! Ewig ... ewig ...

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    Andre - auf III... (2007) - 0
    Carter - Horn Concerto (2006) - 1
    Daugherty - Tales of Hemingway (2015) - 3
    Dusapin - Seven Solos for Orchestra (2009) - 0
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 4 (+3)

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 0
    Neuwirth - Le Encantadas (2015) - 0
    Puts - Symphony no. 2 (2002) - 3 (+3)
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 6 (+3)
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 3 (+1)

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    Andre - auf III... (2007) - 0
    Carter - Horn Concerto (2006) - 2 (+1)
    Daugherty - Tales of Hemingway (2015) - 6 (+3)
    Dusapin - Seven Solos for Orchestra (2009) - 0
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 5 (+1)

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 0
    Neuwirth - Le Encantadas (2015) - 0
    Puts - Symphony no. 2 (2002) - 5 (+2)
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 9 (+3)
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 3

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    Andre - auf III... (2007) - 0
    Carter - Horn Concerto (2006) - 4 (+2)
    Daugherty - Tales of Hemingway (2015) - 6
    Dusapin - Seven Solos for Orchestra (2009) - 3 (+3)
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 5

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 2 (+2)
    Neuwirth - Le Encantadas (2015) - 2 (+2)
    Puts - Symphony no. 2 (2002) - 5
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 9
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 3

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    Andre - auf III... (2007) - 3 (+3)
    Carter - Horn Concerto (2006) - 4
    Daugherty - Tales of Hemingway (2015) - 6
    Dusapin - Seven Solos for Orchestra (2009) - 6 (+3)
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 5

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 4 (+2)
    Neuwirth - Le Encantadas (2015) - 2
    Puts - Symphony no. 2 (2002) - 5
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 9
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 3

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    Andre - auf III... (2007) - 5 (+2)
    Carter - Horn Concerto (2006) - 4
    Daugherty - Tales of Hemingway (2015) - 6
    Dusapin - Seven Solos for Orchestra (2009) - 6
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 5

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 7 (+3)
    Neuwirth - Le Encantadas (2015) - 2
    Puts - Symphony no. 2 (2002) - 5
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 9
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 3

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    Andre - auf III... (2007) - 5
    Carter - Horn Concerto (2006) - 7 (+3)
    Daugherty - Tales of Hemingway (2015) - 6
    Dusapin - Seven Solos for Orchestra (2009) - 7 (+1)
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 7 (+2)

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 7
    Neuwirth - Le Encantadas (2015) - 2
    Puts - Symphony no. 2 (2002) - 5
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 10 (+1)
    Steen-Andersen - Double Up (2010) - 0
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 6 (+3)

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    Andre - auf III... (2007) - 7 (+2)
    Carter - Horn Concerto (2006) - 7
    Daugherty - Tales of Hemingway (2015) - 6
    Dusapin - Seven Solos for Orchestra (2009) - 7 (+1)
    Globokar - 'Les Otages / The Hostages' for Electronics & Orchestra (2003) - 0
    Higdon - Piano Trio (2003) - 7

    Gentle reminder: you have 10 points, no composition may receive more than 3 points.

    Lachenmann - Grido (2001) - 10 (+3)
    Neuwirth - Le Encantadas (2015) - 4 (+2)
    Puts - Symphony no. 2 (2002) - 5
    Sallinen - Symphony No. 8 'Autumnal Fragments' (2001) - 10
    Steen-Andersen - Double Up (2010) - 3 (+3)
    Yoshimatsu - Symphony no. 5, op. 87 (2001) - 6

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