Hard edged, brutal classical music
 

What's your favorite heavy stuff? no pop music, so Mozart and Vivaldi are out :laughing:

I'll start with the maverick, Edgard Varese:



This is a tense work with a lot of outbursts

Here's a very aggressive orchestral miniature, from the god of dissonance: Iannis Xenakis

The kind of Ligeti you don't normally see:

If you asked me who the God of Dissonance is I'd probably answer Penderecki

Penderecki is not really that percussive often, his works usually develop over a longer time span, though I guess the Symphony no 1 and Partita for harpsichord & chamber orchestra might count

A few weeks ago a spent the whole day listening to his stuff. He did all kinds of stuff. I knew he was prolific but I was still surprised.

This too:

HPSCHD is very cacophonous

He explored quite a lot throughout his career, from the early Bartok/Stravinsky influenced stuff, to the Darmstadt stuff, to Le Grand Macabre to the late polyrhythmic stuff, he's great

Certain moments in this early Webern masterpiece:

I especially like the music Elliott Carter wrote in the 40's.

And Berio Sequenza.

Not as spine crushing as the stuff you're talking about but still discordant. I like that vague sense of direction.

Elliott Carter's string quartets get quite piercing at times (often like Brian Ferneyhough), also his concertos (like the Double Concerto and the Concerto for orchestra)

I love the Berio Sequenzas :beer:

What's one of your favorites by Alban Berg?

Though Carter (like the serialists) often falls into the category of being too romantic, so it looses that edge.

Berg's not that heavy to me.

I love his chamber concerto and Lyric Suite. Wozzeck is great on occasions (but reminds me too much of zappa for some odd reason, lol)

Carter's Sonata for Cello and Piano is one of my very favorites.

Zorn likes to put his musicians in intense (often very mystical too) situations:

My namesake, not percussively heavy but intense (and ethereal) nevertheless:

I don't think that's a fair criticism of Carter. I assume you intentionally used a lowercase r romantic. I get that it's a bit off topic but I think you could just as easily say that the composers you're favoring use extreme dissonance as a crutch. That's certainly NOT my opinion. I'm just pointing out they Carter fills a very important place in the 20th C. Different composers brought different elements to the table. Carter's music is dissonant and lyrical and definitely very important.

No, I just mean in the context of this thread. He's usually too romantically lyrical for me, to be "hard edged". I certainly like his music a lot, don't get me wrong. I don't doubt his importance either

I get you. Yeah I knew I was flying off topic.

I know Carter got a lot of love, especially when he turned 100 but I still feel like he's under appreciated. I'm pretty sure you know more about him than I do so I shouldn't be lecturing. He's my dude lol.

DON'T **** WITH ELLIOTT CARTER!!!

The perfect blend of aggressive Vareseian percussion, Messiaen-esque organ and Japanese music!

Yes, he is underappreciated in general, spread the love/word! :beer:

Apart from most of those already mentioned,
I'd add Hermann Nitsch, Gloria Coates,
Yannis Kyriakides, Jean-Claude Eloy,
Ana-Maria Avram, Iancu Dumitrescu,
Giacinto Scelsi, Costin Miereanu,
Hanne Darboven, Martin Davorin Jagodic,
Horațiu Rădulescu, Jani Christou,
James Tenney, Claude Vivier, Roland Kayn,
Gérard Grisey, Olga Neuwirth, Beat Furrer,
Salvatore Sciarrino, Helmut Lachenmann,
Wolfgang Rihm, Isabel Mundry, Peter Ablinger,
Matthias Pintscher, Hanspeter Kyburz,
and a whole bunch more that get
played around the house here.

Dude if I lose my job and home please house me. I won't say a word. I'll clean your place. And I'll definitely let you choose the music!

The New York Philharmonic released that together with music from ELLIOTT CARTER!!!

:laughing: You don't have to do anything so drastic once I get my "rodcast" going again this summer. I can set up a playlist just for you.

Yeah but I'm saying like if I can't pay my rent- yo.

Cause as I said initially:

Stockhausen is usually more on the esoteric, spacey side but Gruppen is an example of a piece with a lot of aggressive and percussive outbursts in a very controlled (but seemingly contrary) environment:

Can I move in too? :D

Depends on which part of his history. Some of his mid-period could be considered "esoteric, spacey", I suppose.

:laughing: Oh, just wait...

Generally speaking, there where major hints of it in Carre but here and there before Licht, it vaguely started with Mikrophonie I, if I'm not mistaken.

Of course I'm using those more colloquial terms for a sort of, mysticism and cosmology, I guess

You should check out jesus the carpenter.

Very interesting avantgarde music!!

Would this count?

Church