Classical Music
- Benjamin Britten – Suite for harp, op. 83
- Gavin Bryars – The Sinking of the Titanic
- Sylvano Bussotti – Rara Requiem
- Gian Paolo Chiti - Violin concerto
- George Crumb – Night of the Four Moons for alto, alto flute/piccolo, banjo, electric cello, and percussion; Madrigals, Books III (for soprano, harp, and percussion) and Books IV for soprano, flute/alto flute/piccolo, harp, double bass, and percussion
- Mario Davidovsky – Synchronisms No. 5 for percussion players and tape
- Peter Maxwell Davies – St Thomas Wake
- Vagn Holmboe – String Quartet no. 10, op. 102
- György Ligeti – Ramifications for 12 solo strings (1968–69)
- Francis Jackson – Sonata for Organ No. 1
- Miklós Rózsa – Concerto for Cello
- Dmitri Shostakovich – Symphony No. 14, Op. 135, for soprano, bass, string orchestra and percussion
- Karlheinz Stockhausen –
- Dr. K Sextett, for flute, bass clarinet, viola, cello, percussion (tubular chimes and vibraphone), and piano
- Fresco. for four orchestral groups
- Hymnen, Third Region, electronic music with orchestra
- Momente (third and final version)
- Stop (Paris version, for 19 players)
- Leif Thybo – Concerto for violin and orchestra
Read more about this topic: 1969 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)