That Michael Matthews link didn't work for me. I shall make further investigations though - this is a composer I hadn't come across at all before your mention of him!
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I first heard, then met, JT in February 1969, via a series of three Southbank concerts entitled "The Contemporary Pianist", put on by that great undersung hero of new music, Victor Schoenfield. At a later series of four concerts was one at Wigmore Hall, entitled "The Sound of Music", in which JT seamlessly wove together snippets of works from the history of piano music. Thus did he introduce me to several works that were previously unknown to me, not least Schubert's D. 960 Sonata, the opening of the slow movement leading straight into that of the first movement of Beethoven's Op. 57. I owe John a great debt for what he has done for me, musically and otherwise, over the decades.Originally posted by gurnemanz View PostComment
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David Hackbridge Johnson - Symphony No 13 (2017) https://www.youtube.com/playlist?lis...L360qYoxf_EdyE
David Matthews - Symphony No 8 (2014) https://youtu.be/XgqMKCTuC3o
Steve Elcock - Choses renversees par le temps ou la destruction (2013) https://youtu.be/HiQe9XW7B-0
John Kinsella - Symphony No 10 (2010) http://www.musicweb-international.co...s_TOCC0242.htm
Peter Maxwell Davies - Symphony No 10 (2013) https://www.amazon.co.uk/Sir-Peter-M.../dp/B010GJTWNA
Krzysztof Meyer - String Quartet No 13 (2010) https://www.amazon.co.uk/Meyer-Compl.../dp/B009TBNWBU“Music is the best means we have of digesting time." — Igor StravinskyComment
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Good shout on the Meyer, that will go into my pick of the decade list.Originally posted by Edgy 2 View Post
DHJ is unknown to me and I fancy a look.
I don't get on with PMD's 10th symphony - I am trying!Comment
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Not sure that I get PMD 10 but it's on my list because I cant stop listening to it.Originally posted by Beef Oven! View Post“Music is the best means we have of digesting time." — Igor StravinskyComment
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I'm not much of a fan of most PMD's symphonies... I did like the first movement of no.10, but subsequently as soon as the chorus enters it loses me, and from than on I find it very hard to concentrate on. The concept of the work appeals to me greatly, and I wish I could appreciate its realisation more than I do.Comment
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When I first listened to it, I was gripped by the music until the chorus enters, then it lost me. I return to it from time to time, but little changes for me. I really enjoy the rest of his symphonies, though.Originally posted by Richard Barrett View PostComment
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I first became acquainted with John Tilbury's work through a recital he gave at the "old" Arnolfini Gallery in Bristol, where they would put on "interesting" concerts around the beginning of the 1970s, attended by audiences who would sit on square cushions placed around the floor. On that occasion he interspersed a miscellany of pieces with discussions about them with the audience. One of the pieces was one of the Shostakovitch preludes and fugues - the fugue being a slow one. Afterwards he asked the audience, made up I would have guessed from previous questions and comments of music students, what they thought was one of the more prominent aspects of the music? Several seconds of silence ensued, so boldly going where no musically iliterate enthusiast hath ever gone before, I piped up with "Well, it's all modal". "Exactly!" answered Tilbury. Precisely what the significance of the piece being modal as opposed to being written using the diatonic system was, was then lost to me in my astonishment at having come up with the right answer! Something similar happened when PMD gave a piano recital at the venue around the same time, and it demonstrated to me that there were some composers who were more than willing to talk about and elucidate on their music - something which has generously been confirmed by contributions from Richard Barrett in particular on this forum.Originally posted by Bryn View PostComment
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Must say, I don’t know that Meyer Quartet, definitely one I’ll seek out.Originally posted by Edgy 2 View PostI will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.Comment
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By the way, were you at his performance of For Bunita Marcus the other day?Originally posted by Bryn View PostComment
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Sure thing. I'll send you a rough and ready recording made with my Tascam DR-100mk3's integral mics. Being Cafe OTO there are a fair few 'noises off'.Originally posted by Richard Barrett View PostComment
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Thanks! I'm also interested in the collaboration with Harry Gilonis of course. Coincidentally I'm planning a composition that sets some of the poems from that same cycle.Originally posted by Bryn View PostComment
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I will also send a recording of today's Borough New Music Lunchtime Concert. Most of the event was taken up with Fred Rzewski's Chains and Spots (intermingled), but the first item, by Will Handysides (b. 1993), was the World Premiere of Introduction to the Opening of the Mouth (2018). Apparently, he has been fascinated by the Egyptian Book of the Dead for many years. He was quite unaware of your Opening of the Mouth. I advised him to seek it out.Originally posted by Richard Barrett View PostLast edited by Bryn; 09-01-19, 12:40.Comment
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Honestly have never thought to categorise in that way but I guess....
Roland Kayn - A Little Electronic Milky Way of Sound
Chaya Czernowin - At the Fringe of Our Gaze
Éliane Radigue - Occam series
Evan Johnson - L'art de toucher le clavecin 2 & 3, Indolentiae ars
James Weeks - TIDE
Liza Lim - Extinction Events and Dawn Chorus
Rebecca Saunders - Stasis, Fletch, Unbreathed
Simon Steen-Andersen - String Quartet No.2
Heinz Holliger - String Quartet No.2, Machaut-Transkriptionen
And I'm not an extremely picky listener, but do nonetheless have a least favourite work of the decade
Helmut Lachenmann - Marche fatale (orchestral version)Comment
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That is pretty awful, I agree. Although it's quite amusing to see Lachenmannites tying themselves in knots to justify it.Originally posted by kea View PostComment
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