Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10 5/3/83; site flairvax.UUCP Path: utzoo!watmath!clyde!floyd!harpo!decvax!decwrl!flairvax!ellis From: ellis@flairvax.UUCP (Michael Ellis) Newsgroups: net.music Subject: Re: 20th Century Music Message-ID: <332@flairvax.UUCP> Date: Fri, 17-Feb-84 07:33:23 EST Article-I.D.: flairvax.332 Posted: Fri Feb 17 07:33:23 1984 Date-Received: Sat, 18-Feb-84 04:21:11 EST Organization: Fairchild AI Lab, Palo Alto, CA Lines: 48 Another Bartok composition that should be heard by all fans of modern rhythm -- jazz folks as well as avantgarde rock types -- is the sonata for two pianos and percussion. Oddly enough, the `melody' line seems to be played by the two percussionists, who move around among a collection of drums, cymbals, xylophones, and diverse noise makers, while the pianists provide the rhythm! Though it is one of Bartok's most bizarre compositions, I found it to be one of his most accessible when I first heard Bartok 15 years ago. As to recordings, I'd avoid any titled CONCERTO for two pianos and percussion -- since the orchestra seems to disclarify the intensity of the work. There's an old (cheap) Turnabout recording that is quite good considering how awful Moss Music products can be. Also, Hungariton came out with a series of Bartok releases a while back, though I can't speak for them. I think there is a good modern release (maybe with Stephan Bishop-Kopakevic(?)). *=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=* Perhaps my favorite `modern' classical composition of the past 40 years is Olivier Messaien's Quartet for the End of Time. Composed in a WWII concentration camp after months of seeing grey walls, grey clothes, grey food, grey faces, this masterpiece received its inspiration when the composer (a Catholic mystic, into Revelations at the time) was transmuted at the sight of the Aurora Borealis. The composition climaxes when the angel descends to announce... "And there shall be time no longer" The odd composition of the quartet (clarinet, piano, strings -- I think) was the result of the performers available in the concentration camp. Fortunately, the odd sound of this ensemble beautifully captures the many characteristic sounds and feelings of Messaien -- birdsongs, mystical ecstasy, demonic pounding rhythms -- this piece has it all. Oddly enough, Tashi, who may have been invented to perform this work, give the least satisfying performance I've ever heard. My choice is an old Angel performance (~1968) with a group thrown together for the occasion. The cover had a broken swastika on the cover. If you want the details, write me and I'll dig thru my collection. -michael