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Classical Music Discoveries
Classical Music Discoveries
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650 Episodes
Sergio Cervetti returns with an exciting collection of works on his sixth Navona Records release, SUNSET AT NOON. A diverse composer, his works range from instrumental and vocal music to electronic compositions, often reflecting his South American, French and Italian heritage. His vocabulary draws from an early interest in twelve-tone and minimalism, and his current approach is flexible and free of constraint. With SUNSET AT NOON, Cervetti focuses on keyboard-based compositions for half of the album, with a foray into chamber music on the other half. Cervetti’s keyboard compositions shine in this collection. On Ofrenda Para Guyunusa for Harpsichord, Cervetti delivers a peaceful and slightly meditative piece that very occasionally veers into Bachian territory. Some Realms I Owned is split into three piano movements – the first starts with a lively melodic line before landing on a relentless pedal point while Cervetti solos in a restrained manner; the second is the more contemplative of the three; and the third is a frantic piece featuring rapid arpeggios before settling on a more linear melodic sequence. I Can’t Breathe, while based on a wild piano performance, centers around a pulsating rhythm that at times sounds like the fervent keys of a typewriter. The performance and composition both match the composition’s urgent title; it’s a quick burst of desperate sounds clawing their way out of the speaker, not quite two and a half minutes long. Cervetti trades in his keyboards for clarinet and strings on And The Huddled Masses, a three-part suite, as well as Sunset At Noon, for violin and viola, a sprawling 18-minute opus that serves as the album’s grounding centerpiece. For the most part, Cervetti’s string scores deliver a more somber mood that counterbalances the upbeat and at times delirious vibe of the keyboard-based compositions. As the sacred vocal arrangement on Lux Lucet in Tenebris closes the album, its contrast with the album’s secular pieces acts as a testament to Cervetti’s imagination and compositional fortitude. He has a keen ability to combine several different sounding compositions on one album and have it come across as a complete and congruent work. But ultimately, that is Cervetti’s strength – he is an enigmatic composer whose work knows no boundaries. Purchase now at: http://www.classicalsavings.com/store/p328/Sunset_at_Noon.html TRACK TITLES SOME REALMS I OWNED, piano (2010) Sergio Cervetti, piano 01 I. The art of losing isn’t hard to master 02 II. ...à ceux qui ont perdu ce qui ne se retrouve jamais... 03 III. Even losing you... AND THE HUDDLED MASSES, clarinet quintet (2015) Alden Ortuño Cabezas, clarinet; Leonardo Pérez Baster, violin I; Luis Alberto Mariño Fernández, violin II; Yamed Aguillón Santa Cruz, viola; Lester Monier Serrano, cello; Enrique Pérez Mesa; conductor 04 I. The Tired, the Poor, and the Huddled Masses 05 II. Hâves, déguenillés 0:00 06 III. Noemí Álvarez Quillay 0:00 07 OFRENDA PARA GUYUNUSA, harpsichord (2011) María Teresa Chenlo, harpsichord SUNSET AT NOON, violin and viola (1995) Vit Muzik, violin; Dominika Mužíková, viola 08 I. In Memoriam Jon Mensinger 09 II. In Memoriam Michael Aiken 10 III. In Memoriam Patrick Kelly 11 IV. Hymn, In Memoriam Drew Dreeland 12 I CAN’T BREATHE, piano & percussion (2014) Sergio Cervetti, piano 13 LUX LUCET IN TENEBRIS, a cappella choir (2002) Kuhn Choir | Marek Vorlicek, conductor Purchase now at: http://www.classicalsavings.com/store/p328/Sunset_at_Noon.html
3 months ago | |
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Maestro Yuri Botnari has been a favorite with our listeners for several years. In this live recording, Maestro Botnari conducts the National Radio Orchestra of Romania as they performed Tchaikovsky’s Romeo and Juliet Fantasy Overture and Symphony No. 5. This recording is available now at ClassicalRecordings.co and also through the Russian Music Society.
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CLAY JUG EDIE HILL THE CROSSING | DONALD NALLY CONDUCTOR The choral music of Minnesota-based composer Edie Hill shines on CLAY JUG, a compendium of large and small works for a cappella choir and choir accompanied by chamber ensemble. Though the works featured on CLAY JUG vary in scope, they all demonstrate Hill’s keen sensitivity to ensemble texture and harmonic density, as well as the incorporation of text across four languages. In CLAY JUG, Hill excels at shifting the listener’s perspective as they listen to the choir. In the most straightforward cases, such as in The Fenix, Hill moves the choir in between the music’s foreground and background to accommodate a vocal soloist. More dramatic is what happens in From the Wingbone of the Swan and “Clay Jug” – an excerpt from a large work of Hill’s entitled A Sound Like This – wherein three or four musical layers converse within the choir itself, or between the choir and accompanying instruments. It is obvious in the works on CLAY JUG that Hill has a strong connection to the texts she sets. Three of the album’s works – The Fenix, Alma beata et Bella and Cancion de el Alma – draw their texts from very old European sources dating back to the 10th, 15th and 16th centuries, respectively. Hill does not necessarily modernize these ancient words in her settings of them, but she succeeds in meaningfully personalizing them through her musical language. Along these lines, Hill describes the influence of the language these works’ texts on their aesthetics, particularly in the case of The Fenix, which uses its poetry’s original medieval Anglo-Saxon language. Similarly, Alma beata et Bella seems to make homage to Renaissance-era musical tropes contemporaneous to its text’s origins, but, in both works, Hill’s individual voice comes through with only slight alteration. The works on CLAY JUG feature a musical language that pairs beautifully with choir, employing dissonance with care and purpose, as well as freely shifting texture to serve Hill’s compositional designs. Order now at: http://www.classicalsavings.com/store/p333/Clay_Jug.html TRACK LISTING Edie Hill composer The Crossing • Donald Nally conductor From the Wingbone of a Swan Edie Hill & Timothy O’Brien, text 1 i. Prelude to Speech 2 ii. Source 3 iii. Paleolithic Flute 4 The Fenix Text from the Exeter Book 5 Cancion de el alma: en una noche escura San Juan de la Cruz, text 6 Clay Jug Kabir, text; VERSIONS by Robert Bly 7 We Bloomed in Spring St. Teresa of Ávila, text; translated by Daniel Ladinsky 8 Alma Beata et Bella Jacopo Sannazaro, text Order now at: http://www.classicalsavings.com/store/p333/Clay_Jug.html
3 months ago | |
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We have an escalating problem in the Mozart household and I will explain the problem to you. First, we have Leopold Mozart. Leopold has been dragging the Mozart family all over Europe for many years, showing the world what a marvelous teacher he is. His children, instructed under the Mozart technique, are all wonderful musicians, even at such a young age of 6 to 8 years old. Their understanding and ability to perform music eclipses that of most adults. The Mozart family concerts are continually sold out and they are requested to perform for Kings, Queens, Emperors and Empresses all over the known world. It is widely known that the Mozart children simply regurgitate what Leopold has taught them all to the complete astonishment of everyone in Europe and Asia. However, as the abilities of young Wolfgang increases, it becomes more and more difficult for Leopold to maintain the façade that he is the master and that Wolfgang is only the lowly student that relies solely on his father’s superior knowledge of music. Secondly, we have Wolfgang Amadeus Mozart, a truly gifted musician who is unquestionably the greatest composer the world will ever see. Young Mozart may need some initial guidance by his father and other composers, but soon his compositions eclipses every composer of his day and for generations to come. Now to the matter at hand, the 4 Symphonies in D. These are also known as Symphonies 44, 47, 45 and 11. All 4 symphonies were composed in Italy in the Italian style and they were composed in April of 1770 during the Mozart family’s musical tour of Italy. Wolfgang is 14 years old now and is beginning to test the dominating grip of his father Leopold. Young Mozart has already composed a few operas, piano concertos and several symphonies. Not to mention the many church works for the archbishop of Salzburg and everything has been met with great success. The pressure is on Leopold to show that, he being the master teacher, is a far better composer than his young son. However, this image is beginning to wear thin and even Europe’s nobility is beginning to realize that young Mozart might be a truly gifted musician all on his own and not a great musician because of his father Leopold’s instructional capabilities. The Symphonies in D thus continues a mild war between father and son. Wolfgang’s compositional skills are already far superior to Leopold’s, however Leopold must continue to prove that he is the superior musician even if this means taking credit for his son’s compositions. While Leopold took credit for the 4 symphonies in D, this continues to be questioned today by music historians. Some musicologists may say that Symphony 44 is full of youthful charm and inventiveness and must be composed by Wolfgang, however others say of the same symphony that it is contrived and archaic and must have been composed by Leopold. Thus, the debate continues to this very day. So, dear listener, we will play for you all 4 symphonies and we will let you decide if the symphony was written by the 14-year-old Wolfgang, or by his Father Leopold. We will play the 4 symphonies in order of composition. Order now at: http://www.classicalsavings.com/store/p339/Leopold_vs._Wolfgang%3A_The_4_Symphonies_in_D.html
3 months ago | |
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TCHAIKOVSKY WORKS FOR VIOLIN & ORCHESTRA MOONKYUNG LEE LONDON SYMPHONY ORCHESTRA MIRAN VAUPOTIC CONDUCTOR OVERVIEW While speaking on Édouard Lalo’s Symphonie Espagnole, Op.21, Pyotr Tchaikovsky posited that his colleague “does not strive after profundity, but carefully avoids routine, seeks out new forms, and thinks about musical beauty more than observing established traditions.” Acclaimed violinist Moonkyung Lee endeavors to emulate this approach on her Navona debut TCHAIKOVSKY – WORKS FOR VIOLIN AND ORCHESTRA, in which she presents several performances of beloved Tchaikovsky alongside the London Symphony Orchestra under the baton of Miran Vaupotic. Lee finds particular success in this regard with her performance of Violin Concerto in D Major, Op.35, elevating several of the work’s unorthodoxies to the foreground. Her bow breathes new life into the unusual cadential sections in the first movement, its song-like Canzonetta second movement, and the Russian folk-infused finale. The album also includes a performance of the Méditation, a piece originally written as a middle movement for the violin concerto before its inclusion as the first movement of the Souvenir d’un lieu cher (Memory of a dear place), Op.42. Its nostalgic emotions are quintessential Tchaikovsky, and its subsequent popularity has led to presentations as a standalone piece. Lee chooses to perform an arrangement for violin and orchestra made by Glazunov in 1896. Finally, the violinist seizes the Sérénade mélancolique in B-flat minor, Op.26, Tchaikovsky’s first work for violin and orchestra. Like the Méditation and the violin concerto, it is filled with the intense emotion intrinsic to so much of his music. Lee singles out the end of the piece as particularly magical, lauding the moment “when the fragmented theme is reiterated by the clarinet and the solo violin in absolute stillness.” Purchase now at: http://www.classicalsavings.com/store/p332/Tchaikovsky_Works_for_Violin_and_Orchestra.html TRACK LISTING London Symphony Orchestra | Miran Vaupotic conductor Moonkyung Lee violin Pyotr Ilyich Tchaikovsky (1840-1893) VIOLIN CONCERTO IN D MAJOR, OP. 35 01 Allegro moderato 02 Canzonetta: Andante 03 Finale: Allegro vivacissimo 04 Méditation in D minor from Souvenir d’un lieu cher, Op. 42 05 Sérénade mélancolique in B-flat minor for violin and orchestra, Op. 26 Purchase now at: http://www.classicalsavings.com/store/p332/Tchaikovsky_Works_for_Violin_and_Orchestra.html #classicalmusicdiscoveries #parmarecordings #podcast #podomaticunlimited
3 months ago | |
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In this month’s edition of La Musica Chamber Music Hour we will be pleased to hear: Mozart’s “Duo for Violin and Viola in G Major, K. 423” Brahms’ “Concerto for Violin, French Horn and Piano” Mendelssohn’s “String Quintet in B-flat Major, Op. 87” Musicians are: Anne Schoenholtz, Ruth Lenz and Pamela Frank - violins Bruno Giuranna and Daniel Avshalomov - violas Eric Kim - cello Derek Han - piano For more information and to purchase tickets for La Musica International Chamber Music Festival, please visit their website at LaMusicaFestival.org #podcast #classicalmusicdiscoveries #lamusica #podomaticunlimited
3 months ago | |
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THE PRELUDES PROJECT is Holly Roadfeldt’s debut album on RAVELLO records, and features a complete recording of Chopin’s Op. 28 preludes for piano and a new set of twenty-six piano preludes written by American composer Kirk O’Riordan. In her performance of these works, Roadfeldt takes claim to one of the most iconic pieces in the solo piano repertoire, and also annoints O’Riordan’s new work as an impressive achievement among Classical music’s greatest sets of piano preludes. French composer Frédéric Chopin finished composing his Twenty-Four Preludes, Op. 28, in 1839, envisioning the set as a response to the twenty-four preludes in J. S. Bach’s monumental Well-Tempered Clavier. This connection is meaningful to any assessment of Chopin’s work, as Bach’s composition aimed to showcase the chromatic potential of a newly invented tuning system for keyboard instruments. By the same token, Chopin’s Op. 28 preludes put on display the unprecedented expressive powers of the modern piano, which was a relatively new instrument in 1839, and would continue to be refined over the course of the nineteenth century. To this end, Roadfeldt’s performance of the Chopin unquestionably captures the elegance, power, and intimacy that the composer explores in these pioneering preludes. In THE PRELUDES PROJECT, Roadfeldt also makes the persuasive case that, as Chopin’s preludes were to Bach’s Well-Tempered Clavier, so might O’Riordan’s preludes be to Chopin’s. Certainly, O’Riordan matches Chopin’s ability to create a vast collection of nuanced, indelible, and – most importantly – satisfactorily self-contained musical statements. As one expects, the Twenty-Six Preludes vary a great deal, but each achieves its beauty by crafting a unique space with the piano’s voice. In this way, O’Riordan’s preludes connect with the fundamental motivations underlying Bach and Chopin’s famous preludes: exploring the sound of the instrument. Of course, Holly Roadfeldt molds the piano’s sound in THE PRELUDES PROJECT, and, in her masterful rendering of Chopin and O’Riordan’s pieces, brings these two works side-by-side. As a result, one should consider Roadfeldt’s performance on this album as significant a contribution to piano music as the compositions she performs. Order now at: http://www.classicalsavings.com/store/p338/The_Preludes_Project.html TRACK LISTING DISC 1 Frédéric Chopin (1810-1849) PRELUDES, OP. 28 (1836-39) 01 No. 1 in C Major (Agitato) 02 No. 2 in A Minor (Lento) 03 No. 3 in G Major (Vivace) 04 No. 4 in E Minor (Largo) 05 No. 5 in D Major (Molto allegro) 06 No. 6 in B Minor (Lento assai) 07 No. 7 in A Major (Andantino) 08 No. 8 in F# Minor (Molto agitato) 09 No. 9 in E Major (Largo) 10 No. 10 in C# Minor (Molto allegro) 11 No. 11 in B Major (Vivace) 12 No. 12 in G# Minor (Presto) 13 No. 13 in F# Major (Lento) 14 No. 14 in Eb Minor (Allegro) 15 No. 15 in Db Major (Sostenuto) 16 No. 16 in Bb Minor (Presto con fuoco) 17 No. 17 in Ab Major (Allegretto) 18 No. 18 in F Minor (Molto Allegro) 19 No. 19 in Eb Major (Vivace) 20 No. 20 in C Minor (Largo) 21 No. 21 in Bb Major (Cantabile) 22 No. 22 in G Minor (Molto agitato) 23 No. 23 in F Major (Moderato) 24 No. 24 in D Minor (Allegro appassionato) DISC 2 Kirk O’Riordan (b. 1968) TWENTY-SIX PRELUDES FOR PIANO (2014) 01 I . molto legato; lightly and spirited 02 II. dancing, with quiet energy 03 III. misterioso, distant 04 IV. molto legatissimo; brooding 05 V. very slowly, deliberately 06 VI. agitato, unsettled 07 VII. floating, with trepidation 08 VIII. hushed, with energy 09 IX. child-like with simplicity 10 X. sparkling; bright, with energy 11 XI. freely, blurry 12 XII. gently, fragile 13 XIII. presto feroce, with intensity 14 XIV. very slowly, languishing 15 XV. molto misterioso; whispering 16 XVI. legatissimo; like bells 17 XVII. hypnotic, distant 18 XVIII. energetic, exuberant 19 XIX.(continued)
3 months ago | |
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Wolfgang Amadeus Mozart began learning how to compose piano and harpsichord concertos when he was 11 years old. Unlike his studies of the art of opera composition by other composers, his father, Leopold, handled young Mozart’s education of the complex structural problems of composing in the piano concerto form. Piano concertos 1 through 4 were probably devised by Leopold as a compositional teaching method for Wolfgang. Though these works were long considered to be original, we now know that the concertos are actually orchestrations of sonatas by various German composers. Each sonata was re-imagined by Mozart into the form of a complete piano concerto. To support this theory, Leopold excluded the first four concertos from his 1768 list of Wolfgang’s early compositions suggesting that Leopold may not have considered them true compositions by his son. Also, the autographs of the four works show them to be joint projects by father and son and concerto number 4 is mainly in Leopold’s hand. CMD Philharmonic of Paris Joana Filipe Martinez - Piano Soloist and Conductor Purchase now at: http://www.classicalsavings.com/store/p336/Mozart%3A_Piano_Concertos_1-4.html
3 months ago | |
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Trombonist Deb Scott makes her PARMA debut with her new Navona release PLAYING FAVORITES, accompanied by pianist Ron Petti. She performs a variety of her favorite pieces that appeal to her background in jazz and to her considerable technical skill. She writes: “What I love about each one is its ability to engage a diverse audience making for enjoyable and exciting musical moments.” The central piece on the album is Stephen Lias’s River Runner, written in response to a paddling trip he took with Scott through Big Bend National Park’s Santa Elena Canyon. Across the piece, Lias explores nature landscapes and the excitement of adventure, culminating in the visceral and kinetic third and final movement “Rock Slide.” The album includes many additional pieces, as well. Derek Bourgeois’ crowd-pleasing Trombone Concerto, written for Christian Lindberg, appeals to pop, jazz, and classical audiences. William Goldstein’s emotional Colloquy for Solo Trombone uses elements of jazz to explore opposing feelings of positivity and angst against a backdrop of Americana. Finally, the album closes with Variations on 'The Carnival of Venice' composed by Jean-Baptiste Arban. This arrangement by Donald Hunsberger was actually composed for trumpet and originally performed by Wynton Marsalis. Purchase now at: http://www.classicalsavings.com/store/p330/Playing_Favorites.html TRACK LISTING Deb Scott trombone Ron Petti piano Derek Bourgeois Trombone Concerto 01 Allegro 02 Adagio 03 Presto William Goldstein 04 Colloquy for Solo Trombone Stephen Lias River Runner 05 Lajitas 06 The Sentinel 07 Rock Slide Jean-Baptiste Arban 08 Variations on “The Carnival of Venice” arr. Hunsberger Purchase now at: http://www.classicalsavings.com/store/p330/Playing_Favorites.html
3 months ago | |
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Siegfried, WWV 86C, is the third of four music dramas that constitute “The Ring of the Nibelung” by Richard Wagner. The opera premiered at Wagner’s Bayreuth Festival on August 16, 1876 as part of the complete performance of the Ring Cycle. This performance by the CMD German Opera Company of Berlin is conducted by Dominique Beaulieu and is available for purchase at ClassicalRecordings.co
3 months ago | |
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