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Classical Music Discoveries
Classical Music Discoveries
Proudly Sponsored by La Musica International Chamber Music Festival, The Southwest Symphony Orchestra and Flowers.FM
631 Episodes
Most boys, at the age of 12, are more interested in sports, computers and video games in today's world. However, when Wolfgang Amadeus Mozart was 12 he aspired to greater things, like composing his first Mass, Mass in C minor heard in a previous broadcast, and also composing his first complete opera, "Bastien and Bastienne." "Bastien and Bastienne" is a one-act song-play or singspiel which is a sub-genre of opera. This comic opera was composed in 1768 and was allegedly commissioned by the Viennese physician Dr. Franz Mesmer. The premier took place in Mesmer's garden theater and was not performed again until 1890 in Berlin. You will notice that the overture uses the same opening theme as Beethoven's Symphony number 3. It is doubtful that Beethoven was familiar with this unpublished work. A more likely explanation is that both composers took the theme from another unknown source, possibly an Austrian or German piece of folk music. The opera opens in a pastoral village. The time is indeterminate. Bastienne, a shepherdess, fears that her "dearest friend", Bastien, has forsaken her for another pretty face, and decides to go into the pasture to be comforted by her flock of lambs. Before she can leave, however, she runs into Colas, the village soothsayer. Bastienne requests the help of his magical powers to help win back her Bastien. Colas knows all about the problem, and comforts her with the knowledge that Bastien has not abandoned her, rather, he's merely been distracted lately by 'the lady of the manor'. His advice is to act coldly towards Bastien, which will make him come running back. Bastien is heard approaching, so Bastienne hides herself. Bastien swaggers in, proclaiming how much he loves Bastienne. Colas informs him that Bastienne has a new lover. Bastien is shocked and asks the magician for help. Colas opens his book of spells and recites a nonsense aria filled with random syllables and Latin quotations. Colas declares the spell a success and that Bastienne is in love with Bastien once more. Bastienne, however, decides to keep up the game a bit longer and spurns Bastien with great vehemence. Bastien threatens suicide, which Bastienne merely shrugs off. Finally, the two decide that they have gone far enough and agree to reconcile. Colas joins them as they all sing a final trio in praise of the magician. This opera is performed by the CMD Philharmonic of Paris and is conducted by Dominique Beaulieu. This rarely heard opera is available now at ClassicalRecordings.co
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Free shipping on all orders of $10 or more at ClassicalRecordings.co for the entire month of February. The month of February is a major month for the producers of Classical Music Discoveries as Ken and Sandy celebrate their 42nd wedding anniversary. As part of their month-long celebration, ClassicalRecordings.co is now offering free shipping on all orders of $10 or more for the entire month of February. To receive your free shipping on your order, just use the code FREESHIP at checkout. Choose from hundreds of titles from Mozart, Tchaikovsky, Wagner, Verdi and labels like CMD Recordings, Parma Recordings, Sony Classical and much more. Again, use the code FREESHIP, no spaces, at checkout to receive free shipping on your CD orders of $10 or more at ClassicalRecordings.co today! http://www.ClassicalRecordings.co #podcast #classicalmusicdiscoveries #classicalrecordings
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Yuriy Bekker, violinist on Navona Records release TWENTIETH CENTURY DUOS, is joined by renowned pianist Andrew Armstrong in some of the most beautiful and rarely-performed works of the twentieth century by Jewish composers Erich Korngold and Aaron Copland. Bekker says of the album, “The idea for this project finally came to fruition with the help of the rare 1686 Ex-Nachez Stradivarius violin. This is the first sound recording of this violin and I believe these particular selections by Korngold and Copland highlight its most magical qualities.” Erich Korngold’s Much Ado About Nothing Suite (1921) for violin and piano, contains moments of dialog and synchrony between the leading violin and accompanying piano. Through interplay of the piano and violin, it is obvious that the two musicians are compatible chamber musicians as they combine forces and feed off of each other musically. Bekker breathes new life into the seldom heard but beautiful aria transcriptions from Korngold’s opera Die tote Stadt. The work originally premiered in 1920 and was a major hit. Following the premier, the Nazi regime banned the opera due to Korngold’s Jewish heritage. Over the entire duration of Aaron Copland’s Violin Sonata (1943), the three-movement structure breaks traditional nineteenth century precedents, making it a much more modern piece than the Korngold. The piano part is characterized by “planning,” a technique involving a series of parallel chords, which here, are made of stacked perfect fourths. Two Pieces was written by a young Copland and highlights his interest in American folk, blues, and jazz. The piece showcases Copland’s early influences, setting the foundation for his future compositions. Purchase this CD now at: http://www.classicalsavings.com/store/p175/Twentieth_Century_Duos.html TRACK LISTING Yuriy Bekker, violin Andrew Armstrong, piano Erich Wolfgang Korngold (1897 – 1957) MUCH ADO ABOUT NOTHING, SUITE FROM THE INCIDENTAL MUSIC, OP. 11 1 I. Maiden in the Bridal Chamber 2 II. March of the Watch (Dogberry and Verges) 3 III. Garden Scene 4 IV. Hornpipe 5 MARIETTA’S LIED FROM DIE TOTE STADT, OP. 12 6 TANZLIED DES PIERROT FROM DIE TOTE STADT, OP. 12 Aaron Copland (1900 – 1990) SONATA FOR VIOLIN AND PIANO 7 I. Andante semplice 8 II. Lento 9 III. Allegretto giusto TWO PIECES FOR VIOLIN AND PIANO 10 Nocturne 11 Ukulele Serenade
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Navona’s latest compilation release, BETWEEN THE ECHOES, showcases selected recent chamber works, expressing the common theme of recollections and interpretations of past experiences. Moving across the spectrums of moods and dramatics, each piece brings a harmonic resolution to its soulful journey. This album joins multiple personalities in a collection of propulsive musical expression. For some pieces on the album, musical tradition is a source of inspiration. Burwasser’s colorful woodwind quintet Whirlwind imbues a familiar instrument group and classical forms with imaginative, lyrical melodies, culminating in a distinctly Haydn-esque finale. In his dramatic and spontaneous Florébius for violin and piano, Crossman weaves new interactions between Schumann’s favorite characters, the introverted Eusebius and the extroverted Florestan—“one within the other, one lurking behind the other, each ready to take center-stage.” Elsewhere, tradition is gleefully thrown to the wind—such as with Lee’s stunning Farewell… for string quartet, with its ever-shifting rhythms, timbres, and moods. In an intensely personal musical display, Raillard’s melancholic Sinking Islands for solo guitar uses interconnecting minimalist figures to meditate on mortality. DeVasto’s lush trio His Branches Run Over The Wall for violin, cello, and piano is inspired by the biblical account of the dream interpreter Joseph, conjuring an entangled web of melodies and harmonies to create a “musical dreamscape”—one of several new and familiar sound worlds to be found on the album. Purchase now at: http://www.classicalsavings.com/store/p297/Between_the_Echoes.html TRACK LISTING WHIRLWIND Daniel Burwasser Arcadian Winds | Vanessa Holroyd, flute; Mark Miller, clarinet; Jane Harrison, oboe; Laura Carter, french Horn; Janet Underhill, bassoon 1 I. Quarter note = 84 2 II. Quarter note = 70 3 III. Dotted quarter note = 100 FLORÉBIUS Allan Crossman Eusebius Duo | Monika Gruber, violin; Hillary Nordwell, piano 4 Romance 5 Novelette 6 HIS BRANCHES RUN OVER THE WALL David DeVasto Sam Stapleton, violin; Emmalee Hunnicutt, cello; Seong-Sil Kim, piano 7 FAREWELL… FOR STRING QUARTET Michael Lee Vit Muzik, violin; Igor Kopyt, violin; Dominika Mužíková, viola; Petr Nouzovský, cello SINKING ISLANDS Georges Raillard David William Ross, guitar 8 I. 9 II. 10 III.
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Welcome to the 40th edition of La Musica Chamber Music Hour sponsored by La Musica International Chamber Music Festival in Sarasota Florida. In this month’s broadcast we will be pleased to hear: “Piano Quartet in G minor, K. 478” by Mozart “Sonata a Quattro No. 5 in E-flat” by Rossini And the broadcast concludes with “Verklarte Nacht or Transfigured Night, Op. 4” by Schoenberg Musicians are: Federico Agostini, Michela Martin, Isabelle Faust, Curtis Macomber - violins Cynthia Phelps, Bruno Giuranna, Katherine Murdock - violas Alain Meunier, Angela Lee, Frans Helmerson - cellos Franco Petracchi - bass And Derek Han - piano For more information regarding La Musica International Chamber Music Festival, please visit their website at LaMusicaFestival.org We wish to thank the staff and musicians of La Musica for making this broadcast possible.
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Cataloging the symphonies of Wolfgang Amadeus Mozart is not an easy task and can be quite confusing. Please remember while romantic and modern composers carefully numbered their symphonies, Mozart, did not. Thus, each one of Mozart’s 50-plus symphonies were just known as a symphony and nothing more. This adds greatly to the confusion and detective work needed to place Mozart’s compositions in the correct order. Case in point: Symphony in B-flat Major which was composed in 1768 in Salzburg, should have been numbered Symphony Number 8. However, for many years, the symphony was thought to be numbered Symphony Number 55. This symphony was known to Ludwig Ritter von Kochel as an incipit entry in the Breitkopf and Hartel catalog, which was regularly updated by Leopold Mozart and was assumed as correct. After all, the entries were registered by Leopold himself and who could doubt such a first-hand witness entry into the catalog? However, though the years, we have come to learn that not all of Leopold’s entries can be trusted. The case of the Lambach symphonies in our previous broadcast comes to mind. Over 100 years after the symphony was composed, upon a close observation of the autographed work in the Berlin State Library, it was noticed that Amadeus signed the copy with the title of Cavalier. Knowing the personality of Wolfgang this might not seem too surprising. However, in November of 1769, young Mozart was made the Concertmaster to the Archbishop of Salzburg and was given the official church title of Cavalier. Thus, Cavalier was NOT an attitude, but an official church title. Thus, Symphony Number 55 was composed, more than likely, in early 1768 and was not one of his later symphonies as testified by Leopold Mozart. Now, this brings up another problem. The title of Symphony Number 8 is already taken. So, do you renumber ALL of Mozart’s symphonies, which would create even more confusion? No, the decision was made not to number this symphony at all, but to give it the title of Symphony in B-flat Major. This is a 4-movement symphony and is scored for 2 oboes, 2 horns and strings, which is also the norm for an early Mozart symphony. Symphony Number 8 in D Major, is dated December 13, 1768 and was composed in Vienna. At the time the Mozart family was due to have returned to Salzburg, but Leopold Mozart writes of the delay “we could not bring our affairs to a conclusion earlier, even though I endeavored strenuously to do so.” Which is modern terms means: We were trying to get money due us from someone, before we left for Salzburg. Which is a case every musician understands all too well. This autographed symphony also resides in the Berlin State Library. This symphony is in 4-movements and is scored for 2 oboes, 2 horns, 2 trumpets, timpani and strings. Since the inclusion of trumpets and timpani are very unusual for an early work by Wolfgang we can assume this symphony was composed for an unknown ceremonial purpose.
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Pianist Sang-Hie Lee performs original works written for two pianos, by internationally recognized composers Gerald Chenoweth, Eun-Hye Park, Lewis Nielson, Daniel Perlongo, and Paul Reller, in ARS NOSTRA: BUT NOW THE NIGHT. Along with collaborating pianist Martha Thomas, the pieces showcase the instrument as a "super piano", unveiling textures and new combinations of sounds not accessible with a soloist.  Aber Jetzt Die Nacht by Lewis Nielson, begins by contrasting a distinct motive against outbursts of relatively abstract, dissonant music. About halfway through, the work reveals its true structural goal of exploring the extremes of a piano's color. This new direction is signaled by two glissandi, initiating the appearance of many more dramatic and unusual piano sounds, including knocking of the instrument's case and playing touch harmonics inside the piano.  Sonata For Two Pianos by Paul Reller, contains four major sections shaped by continuous notes moving from different rhythms, from rock and roll to jazz, flowingfast-slowest-fastest-slow, which can be seen as a microcosm of a classical four-movement sonata.  Influences of Ives and McDowell blend with classic balance and symmetry, creating leaps and chaotic dissonances alongside moments of exotic harmonies and calmer melodies.  TRACK LISTINGSang-Hie Lee and Martha Thomas piano duo  Eun-Hye Park1 CHERA IN NAIN (A Widow in Nain) (2009)Kyoung Cho, narrator  Lewis Nielson2 ...ABER JETZT DIE NACHT... (2013)  Gerald Chenoweth3 CELESTIAL PHENOMENA (2008)Big BangStarshineBlack HoleNight Sky - Dawn  Paul Reller4 SONATA FOR TWO PIANOS (2008)Moderato con motoMeno mossoAllegro  Daniel Perlongo5 WINDHOVER FOR PIANO DUO (2009)IntroPart 1Part 2Part 3Part 4Trio cantabile
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CADENCE, the new vocal music compilation from Navona Records, offers a set of inspired, emotive premiere recordings by composers Christopher J. Hoh, David Kirtley, Joanne D. Carey, and Timothy Kramer in works juxtaposing the ethereal and the earthy, the diaphanous and the muscular, and the serene and the agile.  Hoh's Remembering All sets five poems by the renowned Carl Sandburg, whom Hoh calls "a composer's poet." His treatment enhances the text with a spacious, compelling composition. By turns luminous, jaunty or lyrical, it dramatizes love and longing through intriguing music.  Kirtley's focus too is on poetry, but in this case it is the Japanese art of the haiku, which provides the inspiration.  Best known for its precise, simple form and short length, haiku offers a fascinating point of entry for Kirtley in the Haiku Songs of Karigane, as the composer carefully crafts a haunting, sanguine sound that unveils deep emotions within the lean words of five haiku by Kaoru Karigane.  William Blake's works have frequently been set to music, but The Lamb and The Tyger have rarely been given such a rigorous treatment.  Carey's complex, nuanced language highlights the mysterious symbolism of Blake's prose, coupling sophisticated musical figures alongside the enigmatic contemplations found in the text.  Lux aeterna by Kramer is the composer's own unique version of the traditional Mass setting, in this case created specifically for performance in the Cologne Cathedral in Germany. The radiant harmonies bound across dynamic peaks and valleys, bringing the listener on a sublime emotional journey. Click Here to Purchase   TRACK LISTING  David KirtleyHAIKU SONGS OF KARIGANEpoetry by Kaoru KariganeJennifer Bird, soprano; Mutsumi Moteki, piano 1 I. Karasu-uri2 II. Hanamizuki3 III. Nekojarashi4 IV. Daikan ya5 V. Mizutorimo  Joanne D. Carey6 THE LAMBpoetry by William BlakeThe Stanbery Singers  |  Paul Stanbery, conductor  7 THE TYGERpoetry by William BlakeVox Futura  |  Andrew Shenton, conductor  Timothy Kramer8 LUX AETERNAfrom the Requiem MassKühn Choir  |  Marek Vorlícek, conductor  Christopher J. HohREMEMBERING ALL: FIVE SANDBURG POEMSpoetry by Carl SandburgThe Stanbery Singers  |  Paul Stanbery, conductor 9 I. Joy10 II. Monotone11 III. Under the Harvest Moon12 IV. I Sang13 V. Follies Click here to purchase ?
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Die Walkure, WWV 86B, is a music drama in three acts by Richard Wagner with a German libretto by the composer. It is the second of the four works that form Wagner's cycle: The Ring of the Nibelung. The story of Die Walküre is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda. In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries". It received its premiere in Munich on 26 June 1870. Wagner originally intended the work to be premiered as part of the entire cycle, but was forced to allow the performance at the insistence of his patron King Ludwig II of Bavaria. It was first presented as part of the complete cycle on 14 August 1876 at Wagner's Bayreuth Festival. The work made its United States premiere at the Academy of Music in New York on 2 April 1877. This performance is conducted by Joana Filipe Martinez and is performed by the CMD German Opera Company of Berlin. This series is sponsored by Flowers.FM
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This week we are going to break away from the Sir Neville Marriner recordings as we have reached a milestone in young Mozart's life that was too important to pass. When Amadeus was 12 years old, he was commissioned by the Jesuit priest, Father Ignaz Parhammer to compose music for the consecration of the new Orphanage Church in Vienna. Mozart not only accepted the commission, but he also wrote a Trumpet Concerto, suitable to be performed by a young boy as the offertory. However, due to cataloging errors, both works were considered lost for many years. The premiere performance of the "Mass in C minor or Missa Solemnis" took place on December 7, 1768, in the presence of the court. The 12-year-old Mozart conducted the performance which consisted of boys at the new orphanage who handled all the parts in the chorus and orchestra. This may sound like a calamity waiting to happen, but the reviews of the concert called it "resounding with universal acclaim and utmost admiration." This mass is considered to be Mozart's most ambitious work to be performed up until that point in time. This performance by the CMD German Opera Company of Berlin and conducted by Dominique Beaulieu was performed and recorded in the Orphanage Church of Vienna and is available now at ClassicalRecordings.co
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