It's a truism we're all familiar with: composers have always written music for the future, and while we write these words and you read them, new works are being written. Contemporary music is a risk for everyone: for concert organizers, publishers and, ultimately, for the composers themselves.
Nevertheless, what we call “contemporary music” also has its own tradition. An immense repertoire has arisen since 1945. Many works have taken on a decisive importance and can look back on a great number of performances. There are even new genres: works for large chamber ensemble (with double scoring and approx. 20 performers), for small chamber ensemble (with single scoring and up to approx. 10 instruments), for vocal ensemble with (up to 6-7) solo voices. Ensembles active over a longer period of time and with special instrumental formations have created, and are still creating, additional fields of repertoire through many commissioned works.
Incidentally: what we consider today as the complexity of contemporary music is nothing new. It can be traced back to every era. We are doing all we can to maintain an overview for you and for us!
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