Classical Music
- Malcolm Arnold – English Dances for Orchestra, op. 33
- Pierre Boulez – Polyphonie X
- John Cage – Imaginary Landscape No. 4
- Elliott Carter – String Quartet No. 1
- George Crumb – Prelude and Toccata for piano
- Mario Davidovsky – String Quartet No. 1
- Henri Dutilleux – Symphony No. 1
- George Enescu – String Quartet No. 2
- Morton Feldman – Structures
- Howard Ferguson – Piano Concerto in D
- Gerald Finzi – All This Night
- Lukas Foss – Piano Concerto No. 2
- Roberto Gerhard – Concerto for Piano and Orchestra
- Reinhold Glière – Concerto for Horn and Orchestra
- Vagn Holmboe – Symphony No. 8
- Gordon Jacob – Concerto for Flute and Strings
- György Ligeti – Concert românesc for Orchestra
- Peter Mennin – String Quartet No. 2
- Vincent Persichetti – Symphony No. 4 completed
- Allan Pettersson – Seven Sonatas for Two Violins
- Joseph Guy Ropartz – String Quartet No. 6 in F
- Edmund Rubbra – String Quartet No. 2 in E-flat Op. 73
- Mátyás Seiber – Concertino for Clarinet and String Orchestra
- Roger Sessions – String Quartet No. 2
- Dmitri Shostakovich – Twenty-Four Preludes and Fugues for Piano op. 87 finished
- Karlheinz Stockhausen – Kreuzspiel
- Eduard Tubin – Sonata for Alto Saxophone and Piano
- Heitor Villa-Lobos – Concerto for Guitar and Orchestra
Read more about this topic: 1951 In Music
Famous quotes related to classical music:
“Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
—W. T. Lhamon, U.S. educator, critic. ‘Material Differences,’ Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)
“The basic difference between classical music and jazz is that in the former the music is always greater than its performance—Beethoven’s Violin Concerto, for instance, is always greater than its performance—whereas the way jazz is performed is always more important than what is being performed.”
—André Previn (b. 1929)