Open any book on music history at the year 1950 and you will read about young, daring composers and performers and boundless experimentation. However, the post-war years had more to offer than, for instance, the modernism of Bruno Maderna.
This is made apparent by the capricious witticisms of André Jolivet’s Rhapsodie à sept or by the septets of Igor Stravinsky and Kees van Baaren, in which twelve-tone serialism enters into a fresh alliance with neoclassical forms. The fifties were also the source of inspiration for Michael Daugherty’s Dead Elvis, a hip-jerking requiem for the ‘King of Rock ‘n Roll’.
Serenata N. 2
Rhapsodie à sept
Kees van Baaren
Piccola musica notturna