This page covers both listening in class as well as assignments for listening outside of class.
|COMPOSITIONS||RECORDINGS||SCORES AND SUPPORTING MATERIALS|
|Debussy, Claude. Syrinx, L. 219. (1913)||Small is Beautiful: Short Pieces for Solo Flute. Manuela Wiesler, flute. BIS CD-869, 2000.||Paris, France: Editions Jobert, 1954. [View this score at IMSLP.]|
|Britten, Benjamin. “Narcissus.” From Six Metamorphoses after Ovid, Op. 49. (1951)||Britten/Saunders/Jackman: Music for Solo Oboe. Gordon Hunt, oboe. BIS CD-769.||London, UK: Hawkes & Son, 1952.|
|Varèse, Edgard. Density 21.5. (1936)||
Small is Beautiful: Short Pieces for Solo Flute. Manuela Wiesler, flute. BIS CD-869, 2000.
Alternate performance by John McMurtery (MP3 - 4.7 MB)
|New York, NY: G. Ricordi & Co., 1956.|
|Composition in two parts|
|Hakenberg, Stefan. Brücke mit Reiter. (2008 audio guide for exhibit at the Franz Marc Museum, Kochel am See, Germany.)||
Das Springende Pferd. Oliver Klenk and Hans Ernst, clarinets. Horncastle Verlag, 2008. ISBN: 9783938822210. (Courtesy of Horncastle Verlag. Used with permission.)
Score (PDF) (Courtesy of Stefan Hackenberg. Used with permission.)
Translations of German titles and text in the score (PDF)
|Songs (guest instructor: James Matheson)|
|Harbison, John. “Mirabai Songs.” (1982 - original version with piano accompaniment)||Music of John Harbison, Vol. 1. Georgine Resick, soprano; Warren Jones, piano. Bridge Records, 2006.|
|Salonen, Esa-Pekka. “Five Images After Sappho.” (1999)||LA Variations. Dawn Upshaw, soprano; London Sinfonietta. Sony, 2001.||[Composer notes](http://Use: https://web.archive.org/web/20151009020355/https://www.esapekkasalonen.com/compositions/five-images-after-sappho)|
|Schoenberg, Arnold. “The Book of the Hanging Gardens” Op. 15. (1908-1909)||Schoenberg: Pierrot Lunaire; The Book of the Hanging Gardens. Jan de Gaetani, voice; Gil Kalish, piano. Nonesuch, 1992.|
|Kim, Earl. “Where Grief Slumbers.” (1982)||The Girl with Orange Lips. Dawn Upshaw, voice. Nonesuch, 1991.|
|Schubert, Franz. “Der Doppelgänger.” No. 13 in Schwanengesang, D. 957 (1829)||Schubert: Die schöne Müllerin; Schwanengesang; Winterreise. Olaf Bär, baritone; Geoffrey Parsons, piano. EMI Classics, 2007.||
Schwanengesang, D.957. [View this score at IMSLP.]
|Kurtag, Gyorgy. “Kafka Fragments.”||Kafka-Fragments. Adrienne Csengery, soprano; Andras Keller, violin. Hungaroton, 1995.|
|Kraft, William. Divinations. (1995)||Divinations. Dean Anderson, percussion. Neuma NMA 93, 1996.||Van Nuys, CA: New Music West, 1995.|
|Stockhausen, Karlheinz. Zyklus, nr. 9 (for solo percussion). (1959)||Remedy. Morris Palter, percussion. Centuar CRC 2742, 2006.||London, UK: Universal Edition, 1961.|
|Varese, Edgard. Ionisation. (1929-1931)||Passeport pour le XXe siecle. Ensemble intercontemporain, Pierre Boulez. Auvidis Montaigne MO 780518, 1989/1994.||New York, NY: G. Ricordi & Co., 1938.|
|Webern, Anton. Six Bagatelles, Op. 9. (1924)||Webern: Werke fuer Streichquartett. Emerson String Quartet. Deutsche Grammophon, 1995.||Sechs Bagatellen für Streichquartett, Op. 9. Vienna, Germany: Universal Edition, 1952.|
|Stravinsky, Igor. Three Pieces for String Quartet. (1914)||Shadow Dances: Stravinsky Miniatures. Orpheus Chamber Orchestra. Deutsche Grammophon, 2000.||Trois Pieces pour quatuor a cordes. Minature score edition. London, UK: Boosey & Hawkes, 1983.|
I ask that you immerse yourself in the music of our time on your own. As with language acquisition, immersion is a key to understanding and competence. Outside listening should include both recordings (with scores) and live concerts, with a weekly journal assignment.
To help you organize your developing familiarity with twentieth century music, I ask that you keep a journal of your listening, and hand it in to me once a week. Each journal submission should deal with at least two new works. Your writing should not exceed 1-2 pages per piece. Each entry should identify the composer, the work and its date, and it should record your impressions of the music. That’s all. This is not a tough assignment or a rigorous writing exercise; it is a means of organizing your immersion in twentieth-century music while you are in the process of writing it. In the course of your explorations you may find a score that particularly fascinates you and that you think will be interesting for the rest of the class. I encourage you to bring such scores and recordings to the seminar and share them.
Recordings and Scores
For an international perspective, check out the BBC Radio 3 Web site ‘Hear and Now.’ Concerts of contemporary music are broadcast every Saturday night (UK time) and remain on line for a week.
MIT Libraries maintains a collection of online music resources. Among these resources, many available only to the MIT user community, two are particularly recommended for our class:
You may also, of course, use the listening resources of the Lewis Music Library. Here you will frequently have the great advantage of also being able to find a score to follow. The following list is a starting point, but you need not limit yourself to it:
- John Adams, Shaker Loops, The Chairman Dances
- Milton Babbitt, Philomel
- Bela Bartok, String Quartet No. 4, Music for Strings, Percussion and Celesta
- Alban Berg, Violin Concerto, Lyric Suite
- Luciano Berio, Circles
- Pierre Boulez, Le marteau sans maitre, Sur incises
- Benjamin Britten, Les Illuminations, War Requiem
- John Cage, Credo in US, Sonatas and Interludes for Prepared Piano
- Elliott Carter, Double Concerto for Piano and Harpsichord, String Quartet # 1
- Aaron Copland, Appalachian Spring, Short Symphony (Symphony No. 2)
- Ruth Crawford Seeger, String Quartet
- George Crumb, Ancient Voices of Children
- Mario Davidovsky, Synchronisms No. 6
- Jacob Druckman, Prisms
- Lukas Foss, Echoi
- John Harbison, Flight Into Egypt, Symphony No. 2
- Charles Ives, 3 Places In New England
- György Ligeti, Atmospheres, Piano Études
- Keeril Makan, The Noise between Thoughts
- Donald Martino, Notturno
- Oliver Messiaen, Quartet for the End of Time
- Sir Peter Maxwell-Davies, 8 Songs for a Mad King
- Krzysztof Penderecki, Threnody for the Victims of Hiroshima
- Sergei Prokofiev, Violin Sonata no. 2, Lieutenant Kijé Suite
- Steve Reich, Music for 18 Musicians, Tehillim
- Elena Ruehr, Shimmer
- Arnold Schoenberg, Pierrot Lunaire, 5 Pieces for Orchestra, Op. 16, String Trio
- Joseph Schwantner, Music of Amber
- Roger Sessions, Concerto for Orchestra
- Dmitri Shostakovich, String Quartet No. 8
- Karlheinz Stockhausen, Mantra, Stimmung
- Igor Stravinsky, Le sacre du printemps, Symphony of Psalms, Requiem Canticles
- Edgard Varese, Octandre, Hyperprism
- Anton Webern, 5 Bagatelles for String Quartet, Symphony
- Stefan Wolpe, Piece for Trumpet and Seven Instruments
- Iannis Xenakis, Aroura
- Evan Ziporyn, Drill
In addition to your journal, you are required to attend a minimum of 3 concerts of contemporary music during the semester. Hand in a short concert report, similar to the journal, within about a week after the concert. Some particular concerts to look out for include:
Ditson Festival of Contemporary Music, September 18-21, 2008.
Boston Musica Viva, October 4 and November 14, 2008 @ Tsai Performance Center.
Firebird Ensemble, October 6, 2008 @ Longy School of Music.
Dinosaur Annex, October 14, 2008 @ First Church in Boston.