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 on: January 13, 2018, 12:07:42 am 
Started by Tetsugakusha75 - Last post by Tetsugakusha75
Richard Maxfield was a composer of instrumental, electro-acoustic, and electronic music. Born in Seattle, WA he began composing in high school. He later enrolled at Stanford University, but shortly transferred to U.C. Berkeley in 1947 to study with Roger Sessions, whose work he had developed a great admiration for. After graduating in 1951, Maxfield traveled to Europe, where he was introduced to Boulez, Stockhausen, Nono, and crucially electronic tape music for the first time. He composed instrumental scores in a Neo-Classical style, and then adopted 12-tone techniques, eventually studying at Princeton University with Milton Babbitt. Maxfield also studied with Krenek, Copland, Maderna, and Dallapiccola. It was the work of John Cage however, who Maxfield met in 1958, that had the biggest influence on the composer. Maxfield began to adopt Cage's technique of chance operations during composition, sometime selecting strips of tape from a bowl at random to splice together. However, unlike other composers who used chance when composing, Maxfield often later edited works according to his taste. Along with his mentee La Monte Young, Maxfield co-curated early Fluxus concerts in New York, and also presented his works at the Living Theatre, and other New York City loft performances (notably Yoko Ono's loft) beginning in the late 1950s. Outside of composing, Maxfield was significantly involved in music education. New Grove's Dictionary of Music calls him "the first teacher of electronic music techniques in the United States." Maxfield taught at the New School in New York City in 1959 (taking over a class taught by Cage) and later at San Francisco State in 1966 and 1967. Maxfield's life was cut tragically short on June 27, 1969, when the composer, then 42 years old, committed suicide by jumping out of a window at the Figueroa Hotel in Los Angeles.

The best introduction to his music - and a wonderful thing in itself - is this radio interview from 1960:

Piano sonata no. 2 (1948-1949)

"Structures" for wind ensemble (1951)

Symphony for string orchestra (1951), movement I

Variations for string quartet (1954)

Composition for violin and pianoforte (1955)

Sine music (a swarm of butterflies encountered over the ocean) (1958)

Cough music (1959)

Pastoral symphony (1959)

Amazing Grace (1960)

Fermentation (1960)

Night music (1960)

Peripateia (1959-1961)

Dromenon (1961)

Perspectives II for La Monte Young (1961)

Piano concert for David Tudor (1961)

Wind (1961)

Bacchanale (1963)

Electronic symphony (1964)

For Sonny Wilson (~1966)

 on: January 12, 2018, 11:41:36 pm 
Started by Tetsugakusha75 - Last post by Tetsugakusha75
Gottfried Müller was recognized as a very promising young composer during the Nazi era - which is exactly what after that era prevented his music from being recognized as much as it would have deserved. Born in Dresden, he taught at the conservatories of Leipzig (1942-1945) and Nuremberg (1961-1979), and when the first Wikipedia article was published about him it almost told nothing else about his music than that he wrote a cantata titled "Führerworte" in 1942. But during the long remainder of his life he no longer was a Nazi and composed very erudite, heartfelt and soft-spoken music in a conservatively modernistic idiom.

Concerto for large orchestra (1934)

Canzona in mirror counterpoint for string orchestra or string quartet (1944)

Sonata for oboe solo (1948)

Dürer symphony (1962)

Fantasy on the Lutheran hymn "From my heart I hold you dear, o Lord" for string quartet (1976)

Motet for nine voices "Vater unser (Our Father)" (1978)

Motet for five voices "In derselbigen Nacht (That night)" (1980s?)

Saxophone quartet (1984)

Clarinet quintet (1986)

Oboe quintet (1992)

Motet for four voices "O Licht (O Light)" (1993)

 on: January 11, 2018, 03:23:11 am 
Started by M. Yaskovsky - Last post by Dundonnell
Nice disk. Vanishing Midnight is really a wonderful romantic piece with impressionistic influences, worth hearing. The other two pieces are not on that level, actually redundant and not relevant.  Roll Eyes

I am delighted that you are obviously impressed by "Vanishing Midnight".

You may be less taken by the other pieces on the disc and that is of course a perfectly "proper" response. Once again however you persist in using the phrase "not relevant" (to which you now add the word "redundant").

If you have read the responses from other members to your previous posts you should be aware that the use of the phrase "not relevant" is inappropriate (or, more directly, nonsensical). Relevance by definition requires a relationship, ie relevance to what. In the context of early Martinu-the music he was writing before the influences of Stravinsky and of jazz brought about a change of musical direction-these early orchestral works, influenced by Strauss and Debussy, are exceptionally "relevant" (which is why Toccata decided to record them).

Repeatedly describing particular music as "not relevant" has irked other members, is annoying and-if continued out of some sense of amusement-is decidedly unfunny.

 on: January 11, 2018, 01:10:52 am 
Started by Toby Esterhase - Last post by Toby Esterhase
Is it on disc?

 on: January 10, 2018, 09:01:08 am 
Started by M. Yaskovsky - Last post by Expi
Nice disk. Vanishing Midnight is really a wonderful romantic piece with impressionistic influences, worth hearing. The other two pieces are not on that level, actually redundant and not relevant.  Roll Eyes

 on: January 10, 2018, 02:33:01 am 
Started by Dundonnell - Last post by Toby Esterhase

 on: January 09, 2018, 11:53:14 pm 
Started by dhibbard - Last post by Toby Esterhase
Dear Mr Hibbard
Oleg Eiges's cd was planned but later deleted.I've asked to the composer's son,there is Shaporin's Kulikovo field Oratorio Cd but it is an old and bad recording.IMHO Balasanian set is highly reccomended.

 on: January 09, 2018, 10:12:26 pm 
Started by dhibbard - Last post by dhibbard
So... I purchased a 3 CD box set of Sergey Balasanian's collected works.  A couple of interesting items... with the Symphony Orchestra of the All Union Radio (prob Radio Moscow Sym Orch?)  and the set says this is Vol 42.  which makes me wonder,  what is the rest of the series?   (Vol 1 - 41)   Anyone have any thoughts on this?

 on: January 09, 2018, 01:27:54 am 
Started by Toby Esterhase - Last post by Toby Esterhase

 on: January 08, 2018, 12:29:22 am 
Started by Toby Esterhase - Last post by Elroel
From the same label comes also

Lühl - l'Oeuvre pour deux pianos - les 3 Concertos

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