Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is a frequent contributor to The New Yorker and has written the libretto for Elliott Carter's What Next? as well as three novels. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.

continues usefully to draw attention to a wide range of works and concepts

• PRELUDE; PARIS, 1945-8 - THE YOUNG BOULEZ - BOULEZ'S SECOND PIANO SONATA - OTHER STORIES - MUSIQUE CONCRETE - VARIATIONS: NONO; RHYTHMIC STRUCTURING - TOWARDS SILENCE - AROUND CAGE; THE MOMENT OF TOTAL SERIALISM 1: DARMSTADT 1949 AND DARMSTADT 1951 - INTERLUDE: THE PATRONS OF MODERNISM - THE MOMENT OF TOTAL SERIALISM 2: PARIS 1952 - THE HUMAN VOICE 1: NONO - ELECTRONIC MUSIC - THE HUMAN VOICE 2: BARRAQUE; SCHOENBERG - CARTER - BABBITT - HOME-MADE MUSIC - WOLPE - AFTER SILENCE; FROM POINTS TO GROUPS - SYSTEMS OF ORGANIZATION - LE MARTEAU SANS MAITRE - SOUND AND WORD - ...HOW TIME PASSES... - STATISTICS; CAGE - STOCKHAUSEN AND BOULEZ - BOULEZ AND BERIO - BARRAQUE - EXIT FROM THE LABYRINTH; STRAVINSKY - MESSIAEN - VARESE - SYMPHONISTS AND OTHERS; QUESTIONING VOICES: LIGETI, BUSSOTTI, KAGEL - STUMBLING STEPS: KURTAG - LISTENING EARS: CAGE, YOUNG, BABBITT - EXPLOITING THE MOMENT: STOCKHAUSEN - THE LAST CONCERT: NONO; THE DISTANT PAST - (THE IMAGINARY PAST) - THE DISTANT OR NOT SO DISTANT EAST - QUOTATION - META-MUSIC; OPERA AND 'OPERA' - MUSIC THEATRE - INSTRUMENTAL THEATRE; CARDEW - RZEWSKI - THE COMPOSER IN THE FACTORY; THE VIRTUOSO - VIRTUOSITY IN QUESTION - THE ELECTRIC MUSICIAN - IMPROVISATION; OCHESTRAS - COMPUTER MUSIC; NEW YORK MINIMALISM - MINIMALISM IN EUROPE - MELODY; PART - TAVENER AND GORECKI - (MESSIAEN) - USTVOLSKAYA; RIHM - SCHNITTKE, AND THE HECTIC PRESENT - GUBAIDULINA, AND THE VISIONARY FUTURE - SILVESTROV, AND THE REVERBERATING PAST - SYMPHONY? - FELDMAN AND LOSS - LACHENMANN AND REGAIN; CAGE, OR INNOCENCE - DENYER, OR OUTSIDERNESS - KURTAG, OR IMMEDIACY - HOLLIGER, OR EXTREMITY - SCIARRINO, OR INTIMACY; FERNEYHOUGH - FINNISSY - CHARGED SOLOS; CARTER AND THE POETS - XENAKIS AND THE ARDITTI QUARTET - NONO AND LISTENING - STOCKHAUSEN AND LICHT - BIRTWISTLE AND RITUAL - BERIO AND MEMORY - IRCAM AND BOULEZ; RADULESCU AND TENNEY - GRISEY - VIVIER; REICH - ANDRIESSEN; KAGEL ET AL. - DONATONI - BOLCOM AND ADAMS - LIGETI; ROOTLESS ROUTES: LIGETI - MEMORY'S MEMORIALS: BERIO AND KURTAG - REMADE MODES: ADAMS, ADES, BENJAMIN - PESSON'S PAST AND PAUSET'S - TRADITIONS' TRACKS: AROUND ZORN; ACT I: SCHNEEWITTCHEN - ENTR'ACTE: KURTAG'S BECKETT - ACT II: LUCI MIE TRADITRICI - ENTR'ACTE: BIRTWISTLE'S CELAN - ACT III: THREE SISTERS - ENTR'ACTE: KYBURZ'S NO-ONE - ACT IV: DAS MADCHEN MIT DEN SCHWEFELHOLZERN; GUBAIDULINA AND CHRIST - HAAS AND DARKNESS - HARVEY AND THE BUDDHA - GRISEY AND REBIRTH; RESOURCES; INDEX

Paul Griffiths is an acclaimed writer on contemporary and classical music whose books include A Concise History of Western Music and The Penguin Companion to Classical Music. He is a frequent contributor to The New Yorker and has written the libretto for Elliott Carter's What Next? as well as three novels. In 2002, Griffiths was honored by the French government as a Chevalier de l'Ordre des Arts et des Lettres.

continues usefully to draw attention to a wide range of works and concepts

• PRELUDE; PARIS, 1945-8 - THE YOUNG BOULEZ - BOULEZ'S SECOND PIANO SONATA - OTHER STORIES - MUSIQUE CONCRETE - VARIATIONS: NONO; RHYTHMIC STRUCTURING - TOWARDS SILENCE - AROUND CAGE; THE MOMENT OF TOTAL SERIALISM 1: DARMSTADT 1949 AND DARMSTADT 1951 - INTERLUDE: THE PATRONS OF MODERNISM - THE MOMENT OF TOTAL SERIALISM 2: PARIS 1952 - THE HUMAN VOICE 1: NONO - ELECTRONIC MUSIC - THE HUMAN VOICE 2: BARRAQUE; SCHOENBERG - CARTER - BABBITT - HOME-MADE MUSIC - WOLPE - AFTER SILENCE; FROM POINTS TO GROUPS - SYSTEMS OF ORGANIZATION - LE MARTEAU SANS MAITRE - SOUND AND WORD - ...HOW TIME PASSES... - STATISTICS; CAGE - STOCKHAUSEN AND BOULEZ - BOULEZ AND BERIO - BARRAQUE - EXIT FROM THE LABYRINTH; STRAVINSKY - MESSIAEN - VARESE - SYMPHONISTS AND OTHERS; QUESTIONING VOICES: LIGETI, BUSSOTTI, KAGEL - STUMBLING STEPS: KURTAG - LISTENING EARS: CAGE, YOUNG, BABBITT - EXPLOITING THE MOMENT: STOCKHAUSEN - THE LAST CONCERT: NONO; THE DISTANT PAST - (THE IMAGINARY PAST) - THE DISTANT OR NOT SO DISTANT EAST - QUOTATION - META-MUSIC; OPERA AND 'OPERA' - MUSIC THEATRE - INSTRUMENTAL THEATRE; CARDEW - RZEWSKI - THE COMPOSER IN THE FACTORY; THE VIRTUOSO - VIRTUOSITY IN QUESTION - THE ELECTRIC MUSICIAN - IMPROVISATION; OCHESTRAS - COMPUTER MUSIC; NEW YORK MINIMALISM - MINIMALISM IN EUROPE - MELODY; PART - TAVENER AND GORECKI - (MESSIAEN) - USTVOLSKAYA; RIHM - SCHNITTKE, AND THE HECTIC PRESENT - GUBAIDULINA, AND THE VISIONARY FUTURE - SILVESTROV, AND THE REVERBERATING PAST - SYMPHONY? - FELDMAN AND LOSS - LACHENMANN AND REGAIN; CAGE, OR INNOCENCE - DENYER, OR OUTSIDERNESS - KURTAG, OR IMMEDIACY - HOLLIGER, OR EXTREMITY - SCIARRINO, OR INTIMACY; FERNEYHOUGH - FINNISSY - CHARGED SOLOS; CARTER AND THE POETS - XENAKIS AND THE ARDITTI QUARTET - NONO AND LISTENING - STOCKHAUSEN AND LICHT - BIRTWISTLE AND RITUAL - BERIO AND MEMORY - IRCAM AND BOULEZ; RADULESCU AND TENNEY - GRISEY - VIVIER; REICH - ANDRIESSEN; KAGEL ET AL. - DONATONI - BOLCOM AND ADAMS - LIGETI; ROOTLESS ROUTES: LIGETI - MEMORY'S MEMORIALS: BERIO AND KURTAG - REMADE MODES: ADAMS, ADES, BENJAMIN - PESSON'S PAST AND PAUSET'S - TRADITIONS' TRACKS: AROUND ZORN; ACT I: SCHNEEWITTCHEN - ENTR'ACTE: KURTAG'S BECKETT - ACT II: LUCI MIE TRADITRICI - ENTR'ACTE: BIRTWISTLE'S CELAN - ACT III: THREE SISTERS - ENTR'ACTE: KYBURZ'S NO-ONE - ACT IV: DAS MADCHEN MIT DEN SCHWEFELHOLZERN; GUBAIDULINA AND CHRIST - HAAS AND DARKNESS - HARVEY AND THE BUDDHA - GRISEY AND REBIRTH; RESOURCES; INDEX