I donít imagine Ďcontemporaryí classical is popular among these parts, so I havenít brought him up before, but Iíve known of him for a good three years and canít help but ask at this point. There are a lot of strikes one could count against him, and I wouldnít argue with them, but the power of his (granted, bleak as ####) vision and its visceral effects on me lead me to regard him very highly. (Bold opinion, I know, but from what Iíve heard of both he destroys Penderecki.) I have zero familiarity with the vernacular of discussing classical music, though, so I wonít embarrass myself, except to say that in the nine months since my breakup, Zimmermannís Requiem for a Young Poet has served the role which Blood on the Tracks would for a sane person.
(My experience is with the bleak-as-#### late period stuff, so thatís what Iím talking about, but if you have opinions on earlier works I welcome them too.)