Contemporary Style

Phillip Glass - Einstein on the Beach (1975) Knee 5 Click here to listen Click here to watch Einstein on the Beach Nerd Stuff Einstein on the Beach is an opera composed by Phillip Glass and originally directed by theatrical producer Robert Wilson. The basic idea of the opera was to portray Einstein as an incredible historical figure. However, what made this portrayal unique and interesting was their decision to not have a distinct plot. Rather, they used recognizable symbols from Einstein's life throughout the opera to get the audience a sense of some theme. The music that the audience begins to associate with Einstein follows a circular formula (both additive and subtractive) that constantly is on the edge of resolution, but almost never resolves. The opera is structured in four acts. Before each act, and after the final there comes a Knee Play. The Knee portion of the title is referring to a human knee. The joint in the knee joins the two major portions of the leg. The ...

Alfred Schnittke - Concerto Grosso No. 1 (1990) Movement V. Rondo. Agitato  Click here to listen! Concerto Grosso No. 1 Nerd Stuff Concerto Grosso No. 1 represents two unique styles that were introduced to classical music in the 20th century. To begin, the entire piece was written in a Polystylistic style. Polystylism is a style where the composer builds the piece on a multitude of other existing, and oftentimes conflicting, styles. At the beginning of Movement V, the movement I linked at the top of the post, Schnittke is writing in a quasi-canonic, Vivaldian character. A canon is similar to a form that we have already discussed, a fugue. An idea is passed from one instrument to another; in this case from one solo violin to another. However, the cannon Schnittke created is not perfect, meaning not every idea is copied exactly right afterward. That is why I have labeled it is a quasi-canon and not a full canon. I labeled it as Vivaldian because it strongly invokes the style V...

Alan Hovhaness - Mysterious Mountian  (1955) Movement II. Double Fugue. Allegro Vivo. Click here to listen An Introduction In this blog I will be discussing different styles of classical composition that found their roots in the 20th century. At the beginning of each post, as I have done with this one, I will recommend a recording to listen to while reading. This recording will be an example of the style that I will be discussing throughout the post. Listening to music is essential for understanding how the style actually engages the audience, so I hope you are able to pull up the recording and listen along. Be warned! Some of these pieces will sound weird, unusual, and oftentimes off putting to the listener if you have never heard them before. If you stick with it, I promise a basic understanding of why the piece is written the way that it is will, at least, make it more understandable and less foreign to you. Each post will be arranged into two sections. The first will be a...