May be? Sometime in the future? And what does "CD set from EP" mean? EP is the standard abbreviation for "Extended Play." Are you referring to some company? What company would that be?

Is any of this a reason not to re-up the material now? Because, you know, "may be" in some future is not now.

A.S. originally posted this, but the link no longer works. Could someone re-up?

Celebrating 125 years since birth of Estonian composer Heino Eller (1887-1979)
1. Symphony No. 1 In modo "Sinfonia in Modo Mixolydio" (1936)
2. Symphony No. 2 in E minor Unfinished (1948)
3. Symphony No. 3 in C minor (1961)       
   (Include announce)             
 
Toenu Kaljuste, conductor
Estonian National Symphony Orchestra

Live performance from Noblessner Foundry, Tallinn 1.Sep.2012
recorded from Estonia Raadio Klassika broadcast 

Boris Terentiev is listed on Classical Music Archive as living 1913-1979. Obviously, if those dates are correct, the symphony could not possibly have been composed in 1985.

There are 7 additional pieces by him available there, including a couple of chamber music pieces. However, I'm not a paying member of the site, so I cannot comment on their quality.

http://classical-music-online.net/en/composer/Terentiev/4906

Rachmaninoff
Grieg
Foote
Chausson

I'm sure we can all list some pieces of music that, as an individual, he considers dreadfully bad and worthy of consideration as the "worst" composition ever written.

But in the end, it is no different from the selection of the "best" work ever written. In the end, it is one person's opinion based on that person's personal preferences. It is entirely subjective.

In either case, "best" or "worst," here are no specifications, no measurable or normative standards, by which an objective selection can be made.

What it boils down to for anyone is "in my opinion, here is the piece of music I dislike more than any other." As for the Jenkins "Peacemakers" piece, I can imagine it putting me to sleep. But I once got up and walked out on a piece that was so irritating to me that I couldn't stand to sit there listening to it. I have also heard recordings of similarly ugly ( ** TO ME **) works that I had to turn off or destroy my stereo equipment. So, the Jenkins piece, dreadful as it is, would not be in my top 10.

Yes, I know this is a loaded question and has been discussed endlessly over the centuries by people much smarter than I am. Still, occasionally we are presented with a "sound thing" that raises the questions anew.

How do we really define music? What constitutes a musical experience? If Cage's 4'33" of silence is a musical composition, is an unending randomized sequence of notes music? If you enter that unending sequence at a different time that I do, and leave at a different time than I do, have we heard the same "composition"?

The Sounds of Wikipedia. I've had this going in the background as I've worked all evening. Is it music?

http://listen.hatnote.com/

Of course, if you click a "note" it opens the article, making it a unique sort of navigational tool. So it is practical. Does that change the answer?

Okay, I've created a new listing here at Art-Music Forum with a new link to the recording. I hope that will solve the issue.

Gian Carlo Menotti (1911-2007)

Apocalypse, symphonic poem for orchestra (1951)
I. Improperia
II. La citta celeste
III. Gli angeli militanti

New York Philharmonic
Thomas Schippers, conductor

14 March 1966

From radio broadcast

http://www.mediafire.com/download/9c2r21xwl3f2eu0/MenApSp.zip

I just checked this link and it appears to be working fine, as far as I can tell. Please try again. If the link is broken, I can re-up.

I just logged into my account (I have not logged in for a long time.) It says I have 50GB of storage possible. So far as I can tell, none of my files have been deleted.

I always Zip my files and use cryptic filenames. Maybe this helps protect them. I have never had a file deleted.

[knocking on wood]

The opening of this work reminded me of the opening of Creston's 2nd symphony.

Why do you think it was composed by an American?

I've added Schreker's Chamber Symphony to the collection.

I can't help but stick my nose into this discussion.

First, I'll pick up on a couple of comments and go from there. Indeed, as Caostotale notes, "The talent is certainly there. The only problem is that the individualism necessary for that talent to flourish is subjected to unprecedented degrees of socioeconomic and cultural 'leveling' that completely devalues their work." And the other has to do with the increasing marginalization of the symphony orchestra.

I think both of these points have merit, but I would put a sightly different spin on them, and they are interrelated.

How many concerts have you attended in recent years that have featured a new symphony by a living composer? I can speak only for my own experience, but for me, it has been close to none.

Orchestras used to commission symphonies from living composers and used to play symphonies by living composers (Copland, Hanson, RVW, etc). Now they commission only short works that can be wedged into a concert program that features two warhorses. It is rare to encounter any extended piece, even a concerto, by a living composer.

Why?

Well, I think three reasons.

1. Modernism. Critics and composers liked it, but audiences hate it  and stay away in droves. The insistence of playing modernist music in concert created among audiences a deep distrust in music by composers whose names they did not recognize. This led to ...
2. The shrunken core repertoire that orchestras play ad nauseum, which offers no platform for grand works by living composers. (With very rare exceptions.)
3. The continuation of this self-destructive cycle by playinmg only music by living composers that is heavily modernist or minimalist, rather than reinvigorating concert programming with music that the audience is unfamiliar with but is tryuly accessible for them.

So, the question is, where would a composer find a path to greatness today?

Or maybe the question should be, must we redefine "great" in order to accommodate the limitations of today's art music scene? Are we looking in the wrong place for great composers? Might they be, by necessity, directing their talent elsewhere?

Franz Schreker (1878-1934)

Chamber Symphony (1916)

Netherlands Radio Chamber Orchestra
Pierre Barthoholomee, conductor

Radio broadcast of a live performance
from the Concertgebouw, Amsterdam
on 28 November 1987

http://www.mediafire.com/?bwdaz5ewzzclfys