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>Richard Zvonar wrote: > >>Oliver Messiaen > >"Quatuor" is a powerful piece, particularly when one considers its >origin. His musical language is unique, and his influence on >post-WWII music profound (he was a teacher of both Boulez and >Stockhausen). > Messiaen is really important to me as well. There was a discussion yesterday about the early serialists, about how their techniques were interesting but the music not, I don't agree with this, I love Webern in particular, but those who feel that way may want to check out Messiaen. While he often gets pegged as the "bird song composer", transcribing bird songs was only one of the many techniques he used. Analyzing the Quartet for the End of Time reveals a lot of interesting uses of tone rows, rhythmic rows, rhythmic palindromes. etc. What's most interesting is that his music never comes of as dry or academic. Ted Killian's list includes a lot of other composers that I love as well, but I'd like to include Satie and Ligeti as well. Check out a Ligeti score sometime, he produces mass sound effects similar to Penderecki, but with standard musical notation, with many many interlocking parts in a style he calls micropolyphony. Fascinating stuff. -- ------------------------------------------------------------------------- Dave Trenkel New and Improv Music http://www.newandimprov.com improv@peak.org Now Available: Minus: Dark Lit "This is music all-consuming in its beauty and power" -Jake TenPas OSU Daily Barometer -------------------------------------------------------------------------