December 14, 200817 yr Well, several of Feldman's concertos are fascinating and possess an unusual beauty I have rarely heard elsewhere. Don't have the scores but a good recording of a few. So far I love the flute cocerto. Juji- Varese has been mentioned aplenty in this discussion. I will say I am a bit lazy about in depth core study. Trying to change that habit!
December 17, 200817 yr Author And if you're interested in "non-standard", or even "weird" instrumentation, I'd recommend looking at some Kagel scores. Any specific scores?
December 21, 200817 yr Another great more modern example would be Jacob Druckman (although deceased in 1996), Prisms and Brangle are incredible. Recently I've had the chance to attend workshops and concerts by Michael Colgrass, who recently was in residence at my school. His tone poem "Winds Of Nagual" is the some of the most ingenius and charismatic orchestration Ive come across, being for wind ensemble which I've never been to big on in the first place.
January 12, 201016 yr Notations is a neat work. There's a video of Boulez rehearsing the piece on YouTube with a big mo-fo(!) orchestra. Pretty cool...!
January 12, 201016 yr Could we make a list of it? For example update the first post of this thread to reflect the propositions
January 12, 201016 yr Author Notations is a neat work. There's a video of Boulez rehearsing the piece on YouTube with a big mo-fo(!) orchestra. Pretty cool...! The Vienna Philharmonic. :) Here is Barenboim & the Chicago Symphony Orchestra: http://www.youtube.com/watch?v=4T0jb_ry9aU
February 1, 201016 yr I'd like to add Prokofiev's First Symphony as a great entree into understanding the fundamentals of orchestration and applying some 20th century ideas of harmony and orchestral color. AS many of you know already, it is a very neo-classical work (Prokofiev said it was written as if Hadyn came to the early 20th century and kept his essential style but absorbing some of the current trends). In addition, what makes this score extremely approachable and a good starting point: 1) Many editions have a C score - no need to work out transpositions for transposing instruments. 2) The orchestral forces are EXTREMELY well balanced especially the contrapuntal passages. 3) Excellent examples of antiphonal writing among the different choirs. 4) Creative orchestration - the opening of the 4th movement with the tympani and strings, the secondary subject of the SECOND movement where you have running 16ths in the strings (in this case you get a very heavy low filigreed sound as the contrabasses and cellos play in their strongest range while the violins and viola play in their lowest or mid range - very effective!) 5) Although the brass writing isn't anything revolutionary - it does a great job supporting climaxes and articulating important cadential points as well as occasional contrast of color. 6) Very good woodwind writing 7) Wide use of ranges create some odd balances that work - in that they support the melodic/harmonic material OR offer a slightly sardonic reinterpretation of the 1st Viennese school. Nothing seems terribly out of place (though the Gavotte does come across a bit strained in its leaping from very high to middle range tessituras to my ears). Now this Symphony is not the greatest masterpiece of the 20th century and Prokofiev's 5th is far bolder and just as successful work. But the Prokofiev 1st is a great 1st step to tackling meatier scores. If you choose the weightier scores best to take it in small sections ( for example the Berio, Messiaen and Stravinsky's Rite demand they be taken in small sections - after a general listen with a score). I also advocate listening once in awhile to orchestral "failures" - that is orchestral works you dislike and figure out why you dislike them through careful study of the orchestration.
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