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This is a thread for discussion about the most unusual classical music pieces you have ever heard!

Xenakis: N'Shima. Just...listen to it. It's almost indescribably bizarre
Or do you mean 'unusual' in the sense of instrumentation, avant-gardist techniques, records set, etc.?

hahahaha! Single handily the most hilarious piece I've ever heard in my life. Wow...

I thought that Paganini from Carnaval was pretty good

I'm playing a peice for a concerto compotition in a couple of days called Fantasy on Japanese Wood Prints by Hovhaness which is increadably strange.

One has to take into account that Xenakis's approach to composition, that can be divided into three related categories: That uses Calculus an the theory of probabilities (1. Stochastic Music), that which is based on theory of games (2. Strategic Music), and that which employs mathematical logic and the theory of sets (3. Symbolic Music). So he utilizes all classes of sonic elements -- vocal, instrumental, concrete (microphone collected), electronic (synthesized), and digital (computer generated). When conventional instruments are the medium his usual procedure is to represent them mathematical operation graphically and then transcribe the graph into staff notation..(in this case trombone, voice, spoken voice, I'm assuming these are accurate given I have not seen the score to this) other wise I'd be able to tell you right off..) So you really have to look at the stand point of 20th Century Compositions, as whole you have to give in account that most of these composers are quite unique in a stance of material operations..

I am aware of that, but I still hold the opinion that N'Shima is an incredibly bizarre composition, in terms of what people normally listen for (that's the only way to judge something as 'normal' or 'strange') - which is not calculus, needless to say.

Needless to say, yes. You do hold that opinion to Judge or Discriminate such work, but I was actually pointing out what he uses as to forms or technical processes of 20th Century Composition. Is any one here, had any form of comprehensive training in 20th Century Composition Techniques? I'm kind-of lost what you meant by 'Not Calculus'? (If you were referring to what one hold to judging or discriminating, by yes its not Calculus) However the forms he uses is. I too find some of these 20th Composers really difficult to understand or comprehend.. Although, again needless to say these are just acquired tastes in Music. Once you under the Process of a piece (terms of Compositional Techniques, its easier for one to comprehend such simple premise)..

Dr. SRo

I quote from my reply to a similar message thread (Re: The Death Waltz):

If you want to see bizarre-looking scores from centuries ago -- that are meant to be real music and not merely notational jokes -- look up Telemann's Gulliver Suite (not available at IMSLP, unfortunately) or some of the extremely weird pieces (both notationally and musically) that comprised the Medieval style now called Ars Subtilior (most not here either, even more unfortunately).

Take a look at:
http://quantumlodge.org/ezra/?p=373

as well as:
http://en.wikipedia.org/wiki/Ars_subtilior

--Sixtus

Joseph Schwantner's "Sparrows" is a beautiful but in rather unusual piece in its diversity.

I would say Ives's Fourth of July from A New England Holiday Symphony is extremely unusual for the simultenous use of numerous American folk tunes at the climax of the movement.

Aram Khachaturian's "Sabre Dance" is definitely the most peculiar song I've heard.

And that is the most unusual choice for a 'most peculiar' piece I have ever heard. In all seriousness, I'd be very interested to hear your reasoning for why it's so strange.

Its obnoxious! But anyways, it sounds chaotic in a way.

From a purely aural viewpoint, works by Babbitt ("Philomel"), Davidovsky (Synchronisms), Subotnick ("Silver Apples to the Moon"), Boulez (Piano Sonatas), Xenakis (as already discussed), and even Crumb (Vox Balaenae) come to mind. To a listener accumstomed to the three B's, this music can be odd, ugly, or even terrifying. However, each of them has a deep and often extremely musical foundation which a careful listener can appreciate. Babbitt's Philomel is a perfect example - what better music could accompany such a savage story, and the way he concludes the piece seems to suggest her transformation into the bird with almost exquisite beauty (yes - I said beauty!). It takes patience and a cerain willingness to suspend disbelief, but I think all of these works deserve to and can be appreciated.