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Tristan und Isolde is rightly regarded as a turning point in music history; its opening chord sequence points to the atonalism and extended tonalities of the 20th century.

Throughout his career Mr. Hoiby proudly rejected popular musical currents — from atonalism to minimalism to postmodernism, placing himself instead in the tradition of his idols: Barber, Strauss, Mahler and especially Schubert.

Mr. Lees’s work defied tidy pigeonholing, in part because he shunned musical styles, like atonalism and minimalism, that were practically de rigueur among 20th-century composers.