Classical Music Discoveries

By Classical Music Discoveries

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Proudly Sponsored by La Musica International Chamber Music Festival in Sarasota Florida

Episode Date
15102 Salieri: Prima la musica e poi le parole
<img src="" alt="itunes pic" /><br />Prima la musica e poi le parole (First the music and then the words) is an opera in one act by Antonio Salieri to a libretto by Giovanni Battista Casti. The work was first performed on 7 February 1786 in Vienna, following a commission by the Emperor Joseph II. The opera (more specifically, a divertimento teatrale) was first performed at one end of the orangery of the Schönbrunn Palace in Vienna by an Italian troupe; simultaneously, Mozart's Der Schauspieldirektor was staged at the other end. The title of the opera is the theme of Richard Strauss's opera Capriccio which debates the relative importance of music and drama in opera. Kathryn Cavanaugh - conductor/producer CMD Grand Opera Company of Venice Download now at:
Feb 18, 2019
15101 Frederik Magle - The Fairest of the Roses for Two Trumpets and Organ
<img src="" alt="itunes pic" /><br />Frederik Magle, Danish composer, organist and pianist. His music has been performed by The London Philharmonic Orchestra, Zürcher Kammerorchester, The Danish National Symphony Orchestra, Danish National Chamber Orchestra, Riga Philharmonic Orchestra, South-Jutland Symphony Orchestra, violinist Nikolaj Znaider, and many other ensembles and soloists. The world premiere performances of Frederik Magle's large symphonic suite »Cantabile« (with text by H.R.H. Henrik, the prince consort of Denmark) took place at two televised gala concerts. The first movement 2004 and the two remaining movements were premiered on June 10th, 2009, by the Danish National Symphony Orchestra and Chorus, at a gala concert in celebration of H.R.H. the Prince Consort's 75th birthday. Frederik Magle also works with film scores and crossover/fusion music, blending contemporary classical music with another genre. As a soloist on piano or pipe organ Frederik Magle has played in Saint Peter's Basilica (Rome), Windsor Castle, Luzern Concert Hall, Riga Cathedral, Koncerthuset (Copenhagen Concert Hall), The Danish Radio Concert Hall, and many other places. In 1999 Frederik played at the christening of H.H. Prince Nikolai, and later he was invited to perform a solo organ concert for the Danish Royal Family and Royal Court at Fredensborg Castle. In 2002 his piece »Pact of the Baptism« was given its first performance at the christening of H.H. Prince Felix in Møgeltønder Church. Frederik Magle has also received many grants and prizes in support of his work and achievements as composer and musician, including the Grants of Her Majesty The Queen of Denmark and H.R.H. Prince Henrik, The Grant of H.H. Prince Joachim and H.H. Princess Alexandra, Countess Erna Hamilton's scolarship, Carlsberg's Prize of Ideas, Unibank's Arts Prize, the Arts Award of the Freemasons, and a grant from the Danish Arts Foundation (2014). Website: Social Media:
Feb 12, 2019
15100 Verdi: Sicilian Vespers
<img src="" alt="itunes pic" /><br />Les vêpres siciliennes (The Sicilian Vespers) is a grand opéra in five acts by the Italian romantic composer Giuseppe Verdi set to a French libretto by Eugène Scribe and Charles Duveyrier from their work Le duc d'Albe, which was written in 1838. Les vêpres followed immediately after Verdi's three great mid-career masterpieces, Rigoletto, Il trovatore and La traviata of 1850 to 1853 and was first performed at the Paris Opéra on 13 June 1855. Today it is better-known in its post-1861 Italian version as I vespri siciliani and it is occasionally performed. The story is based on a historical event, the Sicilian Vespers of 1282, using material drawn from the medieval Sicilian tract Lu rebellamentu di Sichilia. CMD Grand Opera Company of Venice Download now at:
Feb 13, 2019
15099 Sasha Raven - Kiss Me
<img src="" alt="itunes pic" /><br />I was a very quiet child and very an introverted person. My passion was music and it’s still. My mother was a classical guitarist, but I didn’t show any interest in learning or playing guitar. I have started learning to play guitar when I was almost twenty years old. My friend convinced me into that, he showed me four chords and that was it. With that four chords, I composed my first song. I was impressed by that and until today, I have composed over four hundred songs. Some of my songs can be heard on music social platform Soundcloud, Spotify, Deezer, Amazon, iTunes and so on, but a very few on YouTube. In the year 2005, me and my friend, created the band Dharma. My friend met those days Paul Godfrey from worldwide band Morcheeba. My friend first didn’t know who is he (Paul Godfrey) or who is Morcheeba. Paul gave him a business card and he showed me that card. I was excited and I said to my friend whom he met. A coincidence was that my friend met Paul Godfrey again the other day. And he showed to the Paul our song Winter’s Day (a.k.a. Afterglow). Guess Paul liked that song, so he wrote the lyrics for Afterglow. But Dharma didn’t last long, because of different music taste in the band. So we simply split the band. I went on my solo music career. I have released the songs like Kiss Me, Moonrise, Indian Summer. Beside music I write also poetry. I post it on sites like AllPoetry, Steemit, Hello Poetry. I have also released two poetry books and four e-books. Poems are about social problems, love, pain, sadness, sorrow, death and also about the crypto world… I wrote also a fairy tale for the children. Beside guitar, I play also bass guitar, I sing and write lyrics. My music influence are Radiohead, Muse, Nirvana, The Vines, Royal Blood, QOTSA, Suede, Placebo, The Kills, Jack White and many other bands. Poetry e-books at Walmart: MY SOCIAL MEDIA ACCOUNTS: Twitter: Facebook: Instagram: Soundcloud: Linkedin: Bandcamp:
Feb 11, 2019
15098 PARMA Recordings - The Mask in the Mirror
<img src="" alt="itunes pic" /><br />Composer Richard Thompson’s three-act opera presents the life behind the name of Paul Laurence Dunbar, one of the most prominent African American poets of the early 20th Century. This dramatic performance, inspired by the hundreds of letters exchanged between Dunbar and his wife, Alice Ruth Moore, removes the masks of fame and social identity to investigate the psychological realities of the people underneath. Download now at: For more information about this album, please visit:
Feb 09, 2019
15097 La Musica International Chamber Music Hour
<img src="" alt="itunes pic" /><br />Villa-Lobos: Assobio a Jato Williams: Piano Quintet in C minor Brahms: String Quintet No. 2 in G Major, Op. 111 For more information, please visit:
Feb 08, 2019
15096 R Strauss - Capriccio Op. 85
<img src="" alt="itunes pic" /><br />Capriccio, Op. 85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music". The opera received its premiere performance at the Nationaltheater München on 28 October 1942. Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later. Strauss then took on the libretto, but finally recruited Krauss as his collaborator on the opera. Most of the final libretto is by Krauss. Joana Filipe Martinez, conductor CMD Grand Opera Company of Barcelona, Spain Download now at:
Feb 06, 2019
15095 PARMA Recordings - A Bissel Rhythm
<img src="" alt="itunes pic" /><br />A BISSEL RHYTHM is composer and clarinetist Paul Green’s PARMA Recordings debut, although it marks his second recorded exploration into the fusion between jazz and Jewish music. A performance at Merkin Concert Hall resulted in the New York Times extolling his talents: "Like a cobra intent on doing some charming of its own, the clarinetist Paul Green weaved, darted and hovered over his instrument…conjuring gorgeous sounds." Download now at: For more information, please visit:
Feb 05, 2019
15094 PARMA Recordings - Mythical Spaces
<img src="" alt="itunes pic" /><br />MYTHICAL SPACES STEVEN KEMPER Steven Kemper makes his debut on Ravello Records with his electroacoustic album MYTHICAL SPACES. Kemper combines acoustic instruments and electronics to create meditative compositions that explore the connections between real and imaginary worlds. Kemper writes that “myths represent traces of our collective imagination, and similarities between myths from different cultures point to a shared human experience.” Purchase CD at: Download at: For more information, please visit:
Jan 31, 2019
15093 PARMA Recordings - Kid Stuff
<img src="" alt="itunes pic" /><br />KID STUFF: SOLI FOR PIANO WITH PERCUSSION ORCHESTRA McCormick Percussion Group Juxtaposing the loud and abrasive with the soft and subtle, the McCormick Percussion Group balances tumult and tender in KID STUFF. Led by director Robert McCormick, Professor of Music at the University of South Florida in Tampa, the percussion orchestra re-imagines original compositions from five key contemporary classical composers. Purchase CD at: Download at: For more information, please visit:
Jan 30, 2019
15092 La Musica Chamber Music Hour
<img src="" alt="itunes pic" /><br />Mozart: Duo for Violin and Viola, K. 424 Dohnanyi: Serenade in C Major for Violin, Viola and Cello Brahms: Piano Quartet in G minor, Op. 25 For more information, please visit:
Jan 29, 2019
15091 La Musica Chamber Music Hour
<img src="" alt="itunes pic" /><br />Beethoven: Sonata No. 4 in A minor, Op. 23 Ravel: Sonata for Violin and Cello Shostakovich: Sonata for Viola and Piano, Op. 147 For more information, please visit:
Jan 29, 2019
15090 PARMA Recordings - The Myth of Tomorrow
<img src="" alt="itunes pic" /><br />THE MYTH OF TOMORROW Eric Klein Klein’s work is smart and sophisticated, accessible even to the untrained ear, and a cool, clever blend of things both old and new. Purchase CD at: Download at: For more information, please visit:
Jan 29, 2019
15089 La Musica Chamber Music Hour
<img src="" alt="itunes pic" /><br />Beethoven: String Quartet, Op. 29 Harbison: Piano Trio No. 3 Dvorak: Piano Trio No. 3 in F minor For more information about this year's festival, please visit:
Jan 29, 2019
15088 PARMA Recordings - The Ceiling Floats Away
<img src="" alt="itunes pic" /><br />THE CEILING FLOATS AWAY MATTHEW BURTNER & RITA DOVE EcoSono Ensemble Ravello Records proudly presents THE CEILING FLOATS AWAY, a groundbreaking new collaboration between sound artist Matthew Burtner, former US poet laureate Rita Dove, and ecoacoustic ensemble EcoSono. A National Endowment for the Arts commission, The Ceiling Floats Away was awarded a Special Jury Award in the 2016 American Prize in Chamber Music Composition for "Unique Nexus of Acoustics, Electronics and Audience Interaction." Since its composition, it has been selected for performance at various festivals and venues, including the Smithsonian Natural History Museum’s Accelerate Festival. Purchase CD at: Download at: For more information, please visit:
Jan 28, 2019
15087 Verdi: Stiffelio
<img src="" alt="itunes pic" /><br />Her husband is on a mission and has been completely loyal. Meanwhile, the wife has not as she has had a torrid love affair. Now he returns from his mission. The love affair is over and she knows that her love for her husband is all she wants from life. But now she must tell her husband what has happened in his absence. Will he forgive her or will this be the end of the marriage she now cherishes so much? CMD Grand Opera Company of Venice Download now at:
Jan 27, 2019
15086 PARMA Recordings - Rippling
<img src="" alt="itunes pic" /><br />RIPPLING Robert Morris Ravello Records is proud to present RIPPLING, a new album by composer Robert Morris. Morris recorded the album live at a “Summer at Eastman Concert” in Hatch Recital Hall, in Rochester, NY. Consisting of only two tracks, “Mountain Streams” and “Mysterious Landscape,” these dramatic compositions turn ordinary sounds of nature in extraordinary pursuits of sonic ambience. Like a drop in a pond, both tracks start small and simple only to evolve into an all-encompassing, full sound that excites curiosity while evoking relaxation. Purchase CD at: Download at: For more information, please visit:
Jan 26, 2019
15085 PARMA Recordings - Rosewood Cafe
<img src="" alt="itunes pic" /><br />Fusion lovers will enjoy the PARMA recordings debut of oboist Margaret Herlehy in this fresh, new collection of Latin-inspired jazz. Uniquely, oboe is the central instrument in each composition. Herlehy not only meets the demands of such a challenge but exceeds them. “Choro Negro” is a prime example. To the ear it should register as Brazilian, or even French, but it becomes something altogether different. The result, while experimental, is quite sensible leading the listener to wonder why he or she hasn’t heard the oboe in this capacity before. “Café 1930” is Herlehy’s opportunity to showcase her versatility with incredible depth in this introspective and solemn romanze. The other end of the spectrum is the fun and vibrant “Diabinho Maluco,” a flute and oboe duet reminiscent of the woodwind agility demonstrated in J.S. Bach’s great instrumental suites but delivered with the swagger of a modern Latin dance. On eight of the nine tracks appears guitarist David Newsam a regional powerhouse in the latin, jazz, and classical guitar community and a colleague of Herlehy at the University of New Hampshire. With Rosewood Café Margaret Herlehy is serving something exploratory and quite palatable. Enjoy! Purchase CD at: Download at: For more information, please visit:
Jan 25, 2019
15084 Erik-Peter Mortensen: Magnificat Octavi Toni
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">As a 4th generation musician Erik-Peter Mortensen (AKA Erik or EP) started singing professionally since the age of 9, first at the Metropolitan &amp; New York City Opera Children's Choruses, and then in many professional choirs through the present (most recently with the Schola of St. Agnes Church, in midtown Manhattan. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Having naturally developed a passionate love for Early, Baroque, and Classical music, he wishes to make the beauty of these earlier styles appeal to much wider audiences, either through fusing it with other musical styles, creating new styles, or promulgating it through his own music scoring for films, video games, and other multimedia formats.</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><br /></span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: x-small;"><span style="font-size: small;">Purchase the complete album on CD Baby at:</span><br /><a href="" target="_blank"><span style="font-size: small;"></span><br /></a></span></p> <p>&nbsp;</p> <p><span style="font-size: small;">Fiverr link to contract music for you:<br /></span><a style="font-size: small;" href="" target="blank"></a></p> <p>&nbsp;</p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">For more information, please visit:<br /></span><a style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;" href="" target="_blank"></a></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><img title="Erik-Peter Mortensen conducting" src="../../ts/b1/29/6f/khedgecock/0x0_13224420.jpg" alt="Erik-Peter Mortensen conducting" width="300" height="225" /></span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Promo expires 1/24/20</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><br /></span></p>
Jan 24, 2019
15083 PARMA Recordings - Small Stones
<img src="" alt="itunes pic" /><br />SMALL STONES Nancy Zipay DeSalvo, piano SMALL STONES showcases Dr. Nancy Zipay Desalvo’s exploration into both minute and immense concepts. Recorded on solo piano, DeSalvo performs the compositions translating the compressed beauty of Jason Tad Howard and the expansive universe of Daniel Perttu. Purchase CD at: Download at: For more information, please visit:
Jan 24, 2019
15082 Verdi: The battaglia di Legnano
<img src="" alt="itunes pic" /><br />La battaglia di Legnano (The Battle of Legnano) is an opera in four acts, with music by Giuseppe Verdi to an Italian-language libretto by Salvadore Cammarano. It was based on the play La Bataille de Toulouse by Joseph Méry, later the co-librettist of Don Carlos. Written as a commission from the Teatro Argentina in the "beleaguered republic" of Rome while the composer was still living in Paris, he traveled to Rome in late 1848 to prepare the opera for its first performance, which was given on 27 January 1849. Musicologist Roger Parker describes the première as "a clamorous success, with the entire final act encored" and the audience wild with enthusiasm. He goes to add that act 4 was encored at every performance of the run. However, we learn elsewhere that the opera failed in its 1850 production in Genoa. In later years Battaglia was given under different settings and different titles until Italian unification allowed for the opera to be presented as originally written. We know that Verdi considered revising it in the 1850s, but never did. While it has not been performed with any frequency, the succession of performances given after its 1959 revival have kept Battaglia in the public eye to this day. Performed by the CMD Grand Opera Company of Venice Recorded by Classical Music Discoveries Download now at:
Jan 24, 2019
15081 PARMA Recordings - Formika
<img src="" alt="itunes pic" /><br />Mexican composer Felipe Pérez Santiago introduces the follow up to his 2013 album, Mantis with his first Navona release, FORMIKA, an album of chamber music. Pérez Santiago continues his series with a vast notational layering and timing propelled by traditional instrumentation. Masterful playing by choice ensembles like Tamayo and Onix, create a particularly kaleidoscopic nostalgia in this pitching album. Purchase CD at: Download at: For more information, please visit:
Jan 23, 2019
15080 PARMA Recordings - Exhaling Space
<img src="" alt="itunes pic" /><br />EXHALING SPACE Alejandro Rutty With EXHALING SPACE, Alejandro Rutty and his cast of remarkable performers create one hour of fresh, captivating music combining Latin and world music styles with the classical tradition. With tracks like the futuristic tango Martian Milonga and the meditative More Music for Examining and Buying Merchandise, Rutty composes the album like a breathing exercise, taking in an anxious pace in one movement, and then in the next, letting the melodies exhale gently through the piece. Purchase CD at: Download a digital copy at: For more information, please visit:
Jan 22, 2019
15079 PARMA Recordings - Musical Images for Piano
<img src="" alt="itunes pic" /><br />MUSICAL IMAGES FOR PIANO Mark John McEncroe Composer Mark John McEncroe's latest album MUSICAL IMAGES FOR PIANO presents a theater of the mind, performed with a delicacy that is both melancholic and nostalgic. Rather than attempting to shatter musical boundaries, McEncroe focuses on the introspective, letting the listener’s stories and memories give the music its own unique life. Purchase CD at: Download at: For more information, please visit:
Jan 22, 2019
15078 Verdi: The Bandits
<img src="" alt="itunes pic" /><br />Verdi's rarely performed masterpiece "I masnadieri" (The Bandit) A man becomes involved with a group of bandits. However, his innocent and highly moral fiance also becomes intrigued. How he deals with the situation is unique and heartbreaking. Performed by the CMD Grand Opera Company of Venice and recorded by Classical Music Discoveries. Download now at:
Jan 21, 2019
15077 PARMA Recordings - I Carry Your Heart
<img src="" alt="itunes pic" /><br />In light of all the musical beauty and palpable excellence of this new release, it is hard to tell whose merit it is: the Chamber Singers', or conductor David Holdhusen's? Most likely, the answer lies within the question: One cannot tell, because all elements of this recording – composers named and unnamed, the choir singers, the conductor – work so astoundingly well in unison, just as you'd expect from a truly brilliant ensemble. Purchase CD at: Download at: For more information, please visit:
Jan 20, 2019
15076 PARMA Recordings - Crosswind
<img src="" alt="itunes pic" /><br />CROSSWIND TOWER DUO ERIN HELGESON TORRES FLUTE MICHAEL RENE TORRES SAXOPHONE On CROSSWIND, flutist Erin Helgeson Torres and saxophonist Michael Rene Torres, who have performed as Tower Duo since 2007, deliver a stunning set of performances which utilize flute and saxophone. Each performance evokes a sensory or psychological experience as wide-ranging as the various sensations encountered in a wet, humid environment, or the juxtaposition of consonance and dissonance. The album accentuates the duo’s emphasis on performing and premiering contemporary works by emerging composers, such as PARMA label-mates Chin Ting Chan and Scott Brickman, as well as one of Torres’ own compositions, the complex and introspective Four Short Episodes. Download at: For more information, please visit:
Jan 19, 2019
15075 PARMA Recordings - When the Soul Speaks
<img src="" alt="itunes pic" /><br />WHEN THE SOUL SPEAKS CHORAL MUSIC BY JAN JIRÁSEK BONIFANTES BOYS CHOIR & CZECH SOLOIST CONSORT JAN MÍŠEK CONDUCTOR The Bonifantes Boys Choir showcases the best of the best of the Czech boy singers and composer Jan Jirásek over the past 20 years. WHEN THE SOUL SPEAKS demonstrates the abilities of both the ensemble and its leaders through the performance of Latin Christian masses, Buddhist mantras and Quran excerpts, and traditional Czech hymns -- together presenting the idea that different religions and cultural customs can stand together side by side. Purchase CD at: Download at: For more information, please visit:
Jan 19, 2019
15074 PARMA Recordings - Great Southern Land
<img src="" alt="itunes pic" /><br />GREAT SOUTHERN LAND marks trumpeter Phillip Chase Hawkins’ recording debut. Hawkins’ decision to present the music of internationally renowned composer Brendan Collins in both duo and trio configurations clearly illustrates the exceptional synergy that exists between composer and artist. Each piece presents a unique scene, from Australian bushrangers escaping prison to the rich sounds of Vienna and its composers. Purchase CD at: Download at: For more information, please visit:
Jan 18, 2019
15073 PARMA Recordings - Pieces of Mind and Matter
<img src="" alt="itunes pic" /><br />PIECES OF MIND AND MATTER features five string duos in chronological order of their creation, though even the precise instrumental set-up of the individual parts betrays long, careful thought. With the mathematical precision and analytical construction in PIECES OF MIND AND MATTER, it would be hard to dispute that mathematics and music do indeed go together – if one only understands both, as Paul Lombardi indubitably does. Purchase CD at: Download at: For more information, please visit:
Jan 17, 2019
15072 PARMA Recordings - John Psathas Percussion Project
<img src="" alt="itunes pic" /><br />The idea for THE JOHN PSATHAS PERCUSSION PROJECT: VOLUME ONE began in 2013 with John Psathas’ piano and gamelan piece Waiting: Still which Omar Carmenates arranged for percussion trio. While unknown at the time, this arrangement launched a five-year-long relationship that culminates in Carmenates’ debut for PARMA Recordings. Purchase CD at: Download at: For more information, please visit:
Jan 17, 2019
15071 PARMA Recordings - Toker Messing Around
<img src="" alt="itunes pic" /><br />TOKER MESSING AROUND ...WITH THE CLASSICS ;) HAKAN A. TOKER “Music is a game we play… It is to be respected, but not to be taken too seriously. It belongs to all of us. It is ours to create and recreate, to mess around with, as long as we give credit.” In his own words, Toker expresses the freedom that can be found within the written page of every musical score. A whole world can be discovered, rediscovered, and recreated in a single piece, and TOKER MESSING AROUND seeks to do just that. Purchase CD at: Download at: For more information, please visit:
Jan 16, 2019
15069 PARMA Recordings - Glacier Music
<img src="" alt="itunes pic" /><br />Matthew Burtner presents the haunting beauty of GLACIER MUSIC, an electroacoustic collection featuring the Alaskan natural landscape as the central instrument. with the sounds of snow, trickling streams, and the cracks, pops, and thundering as glaciers break apart and fall. Burtner, who was born in Alaska and grew up among the glaciers, also sculpts scientific measurements of glacial melt into the music through a technique known as sonification. Purchase CD at: Download at: For more information, please visit:
Jan 15, 2019
15068 PARMA Recordings - From the Valley of Baca
<img src="" alt="itunes pic" /><br />FROM THE VALLEY OF BACA THE CHAMBER MUSIC OF DAVID CARPENTER Charles Abramovic piano Katelyn Bouska piano Rebecca Harris violin Cassia Harvey cello Myanna Harvey viola Lawrence Indik baritone Composer David Carpenter’s PARMA debut, FROM THE VALLEY OF BACA, features three works that illustrate the expansive scope of his compositional style. From the lyrical Trio, to the powerfully poetic title work for baritone and piano, to the romantically-inclined Sonata, FROM THE VALLEY OF BACA demonstrates the composer’s ability to express his artistic vision in a wide variety of musical genres. Download now at: For more information, please visit:
Jan 14, 2019
15067 PARMA Recordings - Young Prometheus
<img src="" alt="itunes pic" /><br />YOUNG PROMETHEUS Mark Volker Inspired by poetry and prose, composer Mark Volker’s latest release YOUNG PROMETHEUS is about reactions. From the philosophical reaction to the “Three Quotations" to the physical reactions in “Echoes of Yesterday," Volker creates an atmosphere that both conveys the optimistic and ominous. For more information, please visit: Purchase CD at: Download at:
Jan 11, 2019
15065 PARMA Recordings - Piano Works by Sara Feigin
<img src="" alt="itunes pic" /><br />PIANO WORKS BY SARA FEIGIN Performed by Benjamin Goodman This latest record from Navona Records is a treasure trove of piano music by the late composer and pianist Sara Feigin. Led by Carmela O’Flaherty, the composer’s daughter, the project consists nearly entirely of previously unperformed and unrecorded works for piano. Pianist Benjamin Goodman masterfully interprets her vibrant, virtuosic music. Purchase CD at: Download at: For more information, please visit:
Jan 10, 2019
15066 R Strauss - The Love of Danae, Op. 83
<img src="" alt="itunes pic" /><br />Die Liebe der Danae (The Love of Danae) is an opera in three acts by Richard Strauss to a February 1937 German libretto by Joseph Gregor, based on an outline written in 1920, "Danae, or The Marriage of Convenience", by Hugo von Hofmannsthal. Strauss worked on the score in 1937, 1938 and into 1939, although he was preoccupied with completing Daphne, developing ideas with Gregor and finally replacing him as librettist for Capriccio, and then succumbed to illness, which caused postponement for several months into 1940. The opera was finally finished on 28 June 1940. Joana Filipe Martinez - Producer/Conductor CMD Grand Opera Company of Barcelona Spain Download now at:
Jan 08, 2019
15064 PARMA Recordings - Notes to Loved Ones
<img src="" alt="itunes pic" /><br />NOTES TO LOVED ONES PETER DAYTON Up-and-coming composer Peter Dayton makes his Navona Records debut with the release of Notes to Loved Ones, an album of works for piano and strings. Dayton’s style of composition is heavily influenced by people with whom he is fascinated and their works of art. Purchase CD at: Download at: For more information, please visit:
Jan 05, 2019
15062 Karkanawi
<img src="" alt="itunes pic" /><br />Heralded as the first Saudi academic musicologist, ethnomusicologist, and classical music composer, Karkanawi is able to weave the tapestry of life into a musical composition in a way that speaks to the senses of the human soul. Originally from Saudi Arabia, Karkanawi’s musical evolution was established in an environment exclusive of any other modern classical composer. Karkanawi spent nearly seven years in Lebanon where he was able to gain a degree in Musicology before returning to Saudi Arabia and proceeding with further augmentation of his sonic craft. You can find Karkanawi’s Music releases on: Soundcloud Spotify Deezer iTunes Amazon Email. Website:
Jan 04, 2019
15063 PARMA Recordings - Something More
<img src="" alt="itunes pic" /><br />SOMETHING MORE Timothy Lee Miller Timothy Lee Miller presents SOMETHING MORE, eight original jazz compositions that explore the unique relationships that the composer has with his family. Expanding upon something as simple as a photograph or a memory, Miller's noir-influenced jazz expands his reflections beyond words, and instead creates story through moods. Purchase CD at: Download at: For more information, please visit:
Jan 03, 2019
15061 PARMA Recordings - Spoon Hanging from My Nose
<img src="" alt="itunes pic" /><br />Dr. J.A. Kawarsky has been bringing his work to the PARMA Recordings playing field for years; however, this month marks a momentous occasion for both PARMA and this prolific composer, who up to this point has had his work performed on compilation albums with other composers. Years have led to this moment: Navona Records proudly presents SPOON HANGING FROM MY NOSE, the first full album of music by Kawarsky which tells stories, reimagines pieces of old, and offers compelling challenges. Purchase CD at: Download digital copy at: For more information, please visit:
Jan 01, 2019
15060 PARMA Recordings - Works for Dance
<img src="" alt="itunes pic" /><br />WORKS FOR DANCE TED COFFEY Using the sounds of handmade paper, electronics, and surf guitar among others, Ted Coffey composes a sometimes fragile, sometimes brutal order that swings from texturalism to song. Written for dance, both fixed media and live computer-mediated performance, Coffey’s music feels spontaneous without sacrificing finely calculated craft. Download digital copy at: Purchase CD at: For more information, please visit:
Dec 31, 2018
15059 PARMA Recordings - Many New Trails to Blaze
<img src="" alt="itunes pic" /><br />MANY NEW TRAILS TO BLAZE The UAB Chamber Trio James Zingara trumpet Denise Gainey clarinet Chris Steele piano MANY NEW TRAILS TO BLAZE showcases three musicians in an intellectually driven, globally inspired set of compositions. Each work, from the genre-crossing Sonata for Three to the tonal balancing act in Flying Over Water, presses boundaries, and the three instruments work together to draw every ounce of potentiality from the notes. Purchase CD at: Download Digital copy at: For more information:
Dec 31, 2018
15058 PARMA Recordings - Concertante Modern Works for Guitar
<img src="" alt="itunes pic" /><br />CONCERTANTE MODERN WORKS FOR GUITAR Campbell Ross Ariel Dirié Gerardo Dirié While New Zealand guitarist and composer Campbell Ross cites influences as varied as Claude Bolling, Manuel Ponce and Benjamin Britten when discussing the works featured on CONCERTANTE, it is clear that his own distinctive style is manifested throughout the album. Purchase CD at: Download Digital Copy at: For more information, please visit:
Dec 30, 2018
15057 PARMA Recordings - Universo
<img src="" alt="itunes pic" /><br />MÚSICA UNIVERSAL - Vocal Universal With Ansonica Records’ release of MÚSICA UNIVERSAL, traditional Cuban tunes and wider genres of pop and soul stand side by side. Vocal Universo’s performances intend to appeal to all varieties of musical tastes, with the understanding that humanity has a deeper understanding of music that breaks through language and genre barriers. Purchase CD at: Download Digital copy at: For more information, please visit:
Dec 30, 2018
15056 PARMA Recordings - Espontaneo - The Abdala Sessions
<img src="" alt="itunes pic" /><br />ESPONTÁNEO: The Abdala Sessions - Ortega, Silveira & Elizarde ESPONTÁNEO demonstrates a different side of the music production world -- one where the craft of performance itself and the shared musical moment is not lost in the effort for a perfect take. The groove, spice, and free-flowing energy of this album offers a view into the everyday life of the Cuban music-lover. Download digital copy at: Purchase CD at: For more information, please visit:
Dec 30, 2018
15055 PARMA Recordings - Centuria S-Quark
<img src="" alt="itunes pic" /><br />CENTURIA S-QUARK - Stas Namin For composer and legendary Russian art and music figure Stas Namin, the current state of the world points towards a trajectory of violence and dissonance, as humanity curiously turns from a collective to an individual mind. This dissonance, drama, and the cosmic cycle of breaking down and rebuilding is translated through the power of the LSO, in an epic performance born from a philosophical pondering of the state of humanity. Download now at:
Dec 27, 2018
15054 Vittoria Ricci Performs Mozart
<img src="" alt="itunes pic" /><br />Vittoria Ricci, principle horn of the CMD Grand Opera Company of Venice, performs Mozart. 1 - Horn Concerto in D Major, K. 412 2 - Horn Concerto in E-flat Major, K. 417 3 - Horn Concerto in E-flat Major, K. 447 4 - Horn Concerto in E-flat Major, K. 495 Kathryn Cavanaugh, conductor/director CMD Grand Opera Company of Venice Orchestra Download now at:
Dec 25, 2018
15053 Bach: Christmas Oratorio (complete)
<img src="" alt="itunes pic" /><br />Our most popular Christmas broadcast in our 15-year history, back by popular demand. The Complete Christmas Oratorio by Johann Sebastian Bach Conducted by Joana Filipa Martinez Performed by the CMD German Opera Orchestra of Berlin and the Berlin Community Choirs. Purchase now at:
Nov 28, 2017
15052 Introducing Rhonda Skaggs
<img src="" alt="itunes pic" /><br />Rhonda Skaggs, principle oboe Dominique Beaulieu, conductor CMD Paris Philharmonic in Orleans 1 - R Strauss: Concerto for Oboe and Small Orchestra in D Major 2 - Vaughan-Williams: Concerto for Oboe and Strings 3 - JS Bach: Sonata for Oboe and Continuo 4 - Britten: 6 Metamorphoses after Ovid 5 - Stravinsky: Pastorale 6 - Ravel: Le Tombeau de Couperin Download now at:
Dec 23, 2018
15051 Introducing Tina Vivaldi
<img src="" alt="itunes pic" /><br />Tina Vivaldi is a wonderful example of our "Women in Classical Music Program." Tina was working as a checkout clerk in Naples when we were alerted to a girl that was a fabulous flutist, but due to her lack of formal music education, could not find a job doing what she loved best. After an audition, we were amazed as to how brilliantly she played the flute and yet she never had any formal music training in her life. She was a 100% self-taught flutist. We put her through an intense orchestral and music training program at our CMD Orchestral Training facility and now you can hear the results. Download now at: Please support our "Women in Classical Music" program by donating at:
Dec 22, 2018
15050 The Lyrical Sounds of Amy Shaw
<img src="" alt="itunes pic" /><br />Amy Shaw is our first musician, of ours, that we have ever featured. We discovered Amy while she was practicing in her apartment. Her 2nd story window was open and we could hear her from the street. Several people had gathered to listen to her and we asked if they came here often to listen to her. "Oh yes, we wouldn't miss it. Who ever it is, plays so beautifully." So we went up to her apartment and introduced ourselves. Amy has been playing trumpet since she was 8 years old and was working as a 2nd grade teacher at the local elementary school in Galveston Texas. We hired her and promptly flew her off to Berlin to join up with Sylvia Wagner and the CMD German Opera Company of Berlin. We think after hearing her play, you will quickly understand why so many people gathered, under her window, to listen to her play. Download now at:
Dec 20, 2018
15049 Our Favorite New Year Selections
<img src="" alt="itunes pic" /><br />Over 100 of our favorite music selections for the New Year. Download now at:
Dec 19, 2018
15048 Mozart: Idomeneo, re di Creta ossia Ilia e Idamante, K. 366
<img src="" alt="itunes pic" /><br />Idomeneo, re di Creta ossia Ilia e Idamante, K. 366 is an Italian language opera seria by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart. The work premiered on 29 January 1781 at the Cuvilliés Theatre in Munich, Germany. Conducted by Dominique Beaulieu CMD Paris Philharmonic and Chorus of Paris in Orleans Download now at:
Dec 18, 2018
15047 R Strauss: Daphne
<img src="" alt="itunes pic" /><br />Considered by many to be the greatest of ALL Strauss operas that you've never heard of. Although Strauss described Daphne as a "bucolic tragedy," based on Greek myth, it is not an opera about loss, as is Orpheus, or about retribution, as in Elektra, but rather something else altogether. Daphne, a child of nature, embodies both chaste purity and bewitching glamour, rejects two suitors, and, through metamorphosis, turns into a tree, becoming for all time a part of the natural world she ardently loves. In Strauss's drama, the greater weight is placed on the bucolic, the pastoral, and on humanity's relationship to the natural world. Given the turbulence of 1930s Germany, when the piece was composed, Strauss's artistic response also suggests a meditation on humanity—the good and the bad—and an homage to the ideals of Hellenism that had informed German musical culture from the time of Goethe to Strauss's present day (ideals that were increasingly under the shadow of the rising nihilism that seemed intent on destroying that very culture). Notwithstanding the opera's special, evocative, dreamlike quality, there remains plenty of dramatic action—a cattle stampede, the trajectory of Apollo's chariot, Dionysian revels—that delivers full-on bravura. Performed by the CMD Grand Opera Company of Barcelona Spain. Produced and Conducted by Joana Filipe Martinez Download now at:
Dec 17, 2018
15046 Tchaikovsky
<img src="" alt="itunes pic" /><br />Over 100 of our favorite works by Tchaikovsky. Purchase now at:
Dec 17, 2018
15045 JS Bach Favorites
<img src="" alt="itunes pic" /><br />Over 100 tracks of our favorite works by JS Bach. Download now at:
Dec 16, 2018
15043 Beethoven!
<img src="" alt="itunes pic" /><br />Over 7 hours from our newest compilation of over 10 hours of music by Beethoven. Over 100 tracks! Available for download at:
Dec 13, 2018
15044 Handel: Messiah
<img src="" alt="itunes pic" /><br />Our annual Christmas broadcast of Handel's "Messiah." Hosted by Redd Horrocks Sir Neville Marriner, conductor Academy of St. Martin-in-the-Fields Download now at:
Dec 09, 2017
15042 Can You HANDEL This?
<img src="" alt="itunes pic" /><br />Over 100 of our favorite works by Handel. Includes a complete performance of "Messiah", "Water Music", "Royal Fireworks" and much more! Over 6 hours of Handel! Download now at:
Dec 08, 2018
14060 Tchaikovsky: Iolanta, Op. 69
<img src="" alt="itunes pic" /><br />Iolanta, Op. 69, is a lyric opera in one act by Pyotr Tchaikovsky. It was the last opera he composed. The libretto was written by the composer's brother Modest Tchaikovsky, and is based on the Danish play Kong Renés Datter (King René's Daughter) by Henrik Hertz, a romanticised account of the life of Yolande de Bar. In the original Danish play, the spelling of the princess's name was "Iolanthe", later adopted for the otherwise unrelated Gilbert and Sullivanoperetta of that name.[1] The play was translated by Fyodor Miller and adapted by Vladimir Zotov. The opera received its premiere on 18 December 1892 in Saint Petersburg. Sylvia Wagner, conductor CMD German Opera Company of Berlin Purchase now at:
Dec 06, 2018
15039 Tchaikovsky: The Nutcracker, Op. 71
<img src="" alt="itunes pic" /><br />Tchaikovsky's most popular and final ballet. Performed by the CMD Philharmonic of Paris and conducted by Dominique Beaulieu. Purchase now at:
Dec 05, 2018
Tchaikovsky: The Sleeping Beauty, Op. 66
<img src="" alt="itunes pic" /><br />The Sleeping Beauty is a ballet in a prologue and three acts, first performed in 1890. The music was composed by Pyotr Ilyich Tchaikovsky (his opus 66). The score was completed in 1889, and is the second of his three ballets. The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's La Belle au bois dormant. The choreographer of the original production was Marius Petipa. The premiere performance took place at the Mariinsky Theatre in St. Petersburg on January 15, 1890. The work has become one of the classical repertoire's most famous ballets. Sylvia Wagner, conductor CMD German Opera Company of Berlin Orchestra Download now at:
Dec 03, 2018
15036 Tchaikovsky: Swan Lake, Op. 20
<img src="" alt="itunes pic" /><br />Swan Lake, Op. 20, is a ballet composed by Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular of all ballets. Dominique Beaulieu, conductor CMD Paris Philharmonic in Orleans Download at:
Dec 01, 2018
15037 PARMA Recordings - Phoenix Ensemble Clarinet Quintets
<img src="" alt="itunes pic" /><br />The Phoenix Ensemble’s latest album JOHANNES BRAHMS / ELLIOTT CARTER: CLARINET QUINTETS is, of course, masterful. The Phoenix Ensemble now looks back on almost three decades of being a fixture in the national chamber music scene, focusing on performances and recordings of 20th- and 21st-century music. Indeed, it may be this particular specialization in complex musical structures that allows the musicians to explore Brahms' late quintet with the previously unheard thoroughness and careful reconnaissance displayed on this album. For more information, please visit: Purchase CD at: Download Digital Copy at:
Nov 30, 2018
15035 Tchaikovsky: Symphonies 2 and 3
<img src="" alt="itunes pic" /><br />Tchaikovsky: Symphony No. 2 in C minor, Op. 17 "Little Russian" Symphony No. 3 in D, Op. 29 "Polish" Sylvia Wagner CMD German Opera Company of Berlin Download Digital Copy at:
Nov 29, 2018
15034 PARMA Recordings - Songs Without Words
<img src="" alt="itunes pic" /><br />As "early" musicians, the members of Les Délices have committed their professional lives to gaining an understanding of old music and instruments that inspire and excite them. However, while reading about or exploring scores from the 17th or 18th centuries may provide insight, it’s inevitable that those can offer only incomplete information. The three musicians who comprise Les Délices believe the space between what is known and what is unknown provides great opportunities for expansion and discovery. They’ve taken just such a creative leap on their newest album, SONGS WITHOUT WORDS. For more information, please visit: Purchase CD at: Download Digital Copy at:
Nov 28, 2018
15033 100 Most Requested Baroque Masterpieces
<img src="" alt="itunes pic" /><br />During our 15 years of broadcasting, we have built up quite a list of requests from our Happy Listeners. Here are 100 of our most requested Baroque Period Masterpieces. Download your digital copy at:
Nov 27, 2018
15032 PARMA Recordings - Gentle Winds
<img src="" alt="itunes pic" /><br />When composing the music for GENTLE WINDS, Skip Livingston had one overarching goal in mind: write music that people will enjoy playing and listening to. In GENTLE WINDS you’ll hear the rich effects that come with doing what one truly finds joy in. For more information, please visit: Purchase CD at: Purchase Digital Copy at:
Nov 24, 2018
15028 Classical Christmas
<img src="" alt="itunes pic" /><br />6 hours of the most requested Classical Christmas Music by our listeners over the past 14 seasons. Download all 100 tracks at:
Nov 23, 2018
15031 PARMA Recordings - Whispers of Heavenly Death
<img src="" alt="itunes pic" /><br />Contemporary song cycles generally lead a marginal existence in the shadow of Schubert's perennial, towering example. Connecticut-native composer Scott Perkins nevertheless audaciously marches to the beat of his own drum on WHISPERS OF HEAVENLY DEATH, setting to music an awe-inducingly broad variety of poems across all ages and cultures. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 24, 2018
15030 PARMA Recordings - Butterfly Effects
<img src="" alt="itunes pic" /><br />Elizabeth Vercoe’s newest album BUTTERFLY EFFECTS AND OTHER WORKS begins with a quotation. The Chinese philosopher Zhuangzi asked "Am I a human who dreamt of being a butterfly or am I now a butterfly who dreams of being a human?" This sense of oneness and the paradoxical strength of the fragile butterfly permeates through the composer’s album, establishing themes translated through woodwind instruments, vocals, and piano. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 21, 2018
14046 Thanksgiving Dinner Music
<img src="" alt="itunes pic" /><br />Classical Thanksgiving Dinner Music 2 hours and 24 minutes of light classical music to be used as background music for Thanksgiving Dinner.
Nov 21, 2017
15029 PARMA Recordings - Boundless
<img src="" alt="itunes pic" /><br />Choi has been a champion of contemporary composers throughout her career, and her debut album demonstrates this championship while also celebrating the many cultures and customs that make up American music. BOUNDLESS proves that there are no boundaries -- cultural, energetic, or dynamic. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 21, 2018
15027 PARMA Recordings - When You Are Reminded by the Instruments
<img src="" alt="itunes pic" /><br />WHEN YOU ARE REMINDED BY THE INSTRUMENTS THE MUSIC OF HAYES BIGGS In short, WHEN YOU ARE REMINDED BY THE INSTRUMENTS manages to shed light on Biggs’s incredibly versatile musical output – light which, indeed, is well deserved. For more information, please visit: Order CD at: Download digital copy at:
Nov 19, 2018
15026 Bruckner: Symphony No. 9 in D minor
<img src="" alt="itunes pic" /><br />Anton Bruckner's final symphony with "Te Deum", Bruckner's proposed 4th movement to the symphony Kathryn Cavanaugh conducts the CMD Grand Opera Company of Venice Orchestra for movements 1, 2 and 3 Dominique Beaulieu conducts the CMD Paris Philharmonic and Chorus in Orleans for "Te Deum" Download digital copy at:
Nov 17, 2018
15025 Prokofiev 2 and Shostakovich 6
<img src="" alt="itunes pic" /><br />Sergei Prokofiev wrote his Symphony No. 2 in D minor (Op. 40) in Paris in 1924-5, during what he called "nine months of frenzied toil". He characterized this symphony as a work of "iron and steel". The Symphony No. 6 in B minor, Op. 54 by Dmitri Shostakovich was written in 1939, and first performed in Leningrad on 21 November 1939 by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. Conducted by Sylvia Wagner CMD German Opera Company of Berlin Orchestra Purchase Digital Download at:
Nov 16, 2018
15024 La Musica Chamber Music Hour 61
<img src="" alt="itunes pic" /><br />In this broadcast we preview the April 8, 2019 concert of La Musica International Chamber Music Festival. OPERA HOUSE CONCERT - PROGRAM I April 8, 2019 • 8:00pm Bohuslav Martinů, Serenade No.2 for Two Violins and Viola, H.216 ~ Marta Kowalczyk, Federico Agostini, Daniel Palmizio Ludwig van Beethoven, Piano Trio in E-flat major, Op.70 No.2 ~ Ruth Lenz, Dmitri Atapine, Derek Han Antonín Dvořák, String Sextet, Op.48 ~ Federico Agostini, Marta Kowalczyk, Bruno Giuranna, Daniel Palmizio, Christine J. Lee, Dmitri Atapine For more information, please visit: Purchase digital download at:
Nov 15, 2018
15023 PARMA Recordings - In Your Head
<img src="" alt="itunes pic" /><br />IN YOUR HEAD NEW MUSIC FOR PIANO FOUR HANDS Dana Muller Gary Steigerwalt Acclaimed piano four-hand duo Dana Muller and Gary Steigerwalt come together once more for IN YOUR HEAD, a collection featuring the work of six composers that highlights both fresh compositional talents and earlier successful works. Each piece demonstrates the unique synergy between the two performers. With twice the hands, twice the talent, and twice the interpretation, the piano is pushed to dynamic and sonoric extremes. Compositions on IN YOUR HEAD span over five decades, but each is brought to new life by the skilled hands of Muller and Steigerwalt. The duo, who have performed extensively across the Western Hemisphere, found inspiration for this compilation in the success of Lewis Spratlan's Dreamworlds, a piece which they had commissioned in 2015. Using the piano as a canvas, the two paint a psychological landscape exploring the mind within different people, scenarios, and even locations. Sometimes dissonant and flustered, as in Mind Games II. Panic, and other times eerie as in The Silent Hearth which captures the memories echoing like firing synapses inside a dilapidated concert hall, each piece resonates with the complexity of mental activity. Throughout IN YOUR HEAD, Steigerwalt and Muller compel listeners to zero in on the thoughts of the panicked soul, the trapped bureaucrat, the obsessed dictator, and the mind control of the lucid dreamer. As you follow along, perhaps you’ll ask yourself - whose psyche most resonates with me? For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 13, 2018
15022 R Strauss - Friedenstag Premiere Recording
<img src="" alt="itunes pic" /><br />Friedenstag (Peace Day) is an opera in one act by Richard Strauss, his Opus 81 and TrV 271, to a German libretto by Joseph Gregor. The opera was premiered at Munich on 24 July 1938 and dedicated to Viorica Ursuleac and her husband Clemens Krauss, the lead and conductor respectively. Strauss had intended Friedenstag as part of a double-bill, to be conducted by Karl Böhm in Dresden, that would include as the second part his next collaboration with Gregor, Daphne. The opera thematically expresses anti-war sentiments, which William Mann has described as "a determined counter to the militaristic policies of Nazi Germany". These caused the work to be shelved after the outbreak of World War II. Download at:
Nov 10, 2018
15021 PARMA Recordings - Spectra 2
<img src="" alt="itunes pic" /><br />SPECTRA VOLUME 2 A Concert of Music by Members of Connecticut Composers, Inc. Elizabeth R. Austin John Alan Rose Juliana Hall Ryan Jesperson Frank Vasi Nancy Tucker SPECTRA 2 unveils the works of six composers, each of whom tells a unique, memorable story. First up is Elizabeth R. Austin's B-A-C-HOMAGE, an intricately constructed tribute to the German Baroque composer. Based on Bach's name and his "Air on G" respectively, the first and second movement reflect upon the clarity of his work through the lens of Austin's decidedly modern tonal language. John Alan Rose's Sleepy Hollow Suite for piano mesmerizes with a timeless appeal that bridges centuries: aesthetically gratifying and inventive all at once, Washington Irving could fittingly have imagined this as a soundtrack for his eponymous story. Rose empathetically retells this masterpiece of American literature with natural skill in a three-movement suite of tremendous re-listening potential. Bells and Grass, composed by Juliana Hall, brings five poems by Walter de la Mare to life with only a soprano and an oboe. A courageously tender expansion of lied composition, the oboe does not just restrict itself to playing an accompaniment, but instead enters into a dialogue with the soprano like an intuitive, benevolent Socratic spirit. A related theme could be discerned in Ryan Jesperson's Icarus, a riveting duo for alto saxophone and piano. Like the eponymous mythological character, it starts out soaring, but undergoes a considerable transformation, culminating in a spectacular fashion. There is nothing random about Frank Vasi's saxophone quartet Random Thoughts: the four-movement work is so refreshingly tonal, as well as rhythmically and harmonically engaging, that it wouldn't be out of place in an upscale jazz venue. A stunning example of inspirations and musical craftsmanship, Vasi effortlessly toys with compositional difficulties throughout, such as the conflict between two contrasting time signatures in The Argument. The quirky Picasso's Rag sounds exactly how one would imagine it according to the title – only better. Nancy Tucker brings the album to a close with two of her playful, upbeat compositions. Escape of the Slinkys imagines the life of named perennial childhood toy with bewildering depth of imagination. Grasshopper's Holiday, an unapologetically catchy guitar piece, evokes images of road trips and carefree summers with such cheerful drive that one might find it difficult to stop listening to it on repeat. With its variegated selection, SPECTRA 2 packs a veritable punch in just about one hour of music – music composed in Connecticut, but with an artistic appeal that easily transcends the borders of the Constitution State. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 09, 2018
15020 Sibelius 6 and Brahms 2
<img src="" alt="itunes pic" /><br />The Symphony No. 6 in D minor, Op. 104, was a work of long gestation completed by Jean Sibelius in 1923. Although the score does not contain a key attribution, the symphony is usually described as being in D minor; much of it is in fact in the (modern) Dorian mode. A typical performance lasts about 25 minutes. The composer called the work "cold spring water" in opposition to many contemporary "cocktails"—a reference to the modernist gestures in post-war music. The symphony was premiered by the Helsinki Philharmonic Orchestra, conducted by the composer, on 19 February 1923 and had other performances under his direction in the following months. Symphony No. 2 in D major, Op. 73, was composed by Johannes Brahms in the summer of 1877, during a visit to Pörtschach am Wörthersee, a town in the Austrian province of Carinthia. Its composition was brief in comparison with the 21 years it took Brahms to complete his First Symphony. The cheery and almost pastoral mood of the symphony often invites comparisons with Beethoven's Sixth Symphony, but, perhaps mischievously, Brahms wrote to his publisher on November 22, 1877, that the symphony "is so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning." The premiere was given in Vienna on 30 December 1877 by the Vienna Philharmonic under the direction of Hans Richter; Walter Frisch notes that it had originally been scheduled for 9 December, but "in one of those little ironies of music history, it had to be postponed [because] the players were so preoccupied with learning Das Rheingold by Richard Wagner." Conducted by Dominique Beaulieu Performed by the CMD Paris Philharmonic in Orleans Download at:
Nov 08, 2018
15019 PARMA Recordings - Ethereal Side of Paradise
<img src="" alt="itunes pic" /><br />MUSIC FROM THE ETHEREAL SIDE OF PARADISE JOHN A. CAROLLO John A. Carollo’s fourth Navona Records release, and follow up to 2017’s THE TRANSFIGURATION of GIOVANNI BAUDINO, is a wondrous musical journey through the world of desire. With MUSIC FROM THE ETHEREAL SIDE OF PARADISE, Carollo makes an impassioned plea for the power of romance. From the opening tensions and mystery of “Awakenings for String Orchestra” through the surprising, amorous joy of “Romanzo!” “Splendido Affare,” and “La Tortura dell’ Amore,” Carollo’s compositions communicate what mere words cannot:the inner rapture, utter fulfillment, and yes, the torture, of being in love. Shifting slightly, and perhaps more into the ethereal, “Metamorphosis No. 3 for Solo Violin” introduces a newer, more contemplative element. With short notes and runs, the violin first cries out with unanswered questions followed by furrowed introspection. Two Guitar Etudes follow, demonstrating both intimacy and technique, while maintaining an inquisitive tone throughout. As the album continues, we arrive at a vocal suite with “Little Gems” to be discovered throughout. T.S. Eliot wrote “…the end of all our exploring/Will be to arrive where we started/And know the place for the first time.”MUSIC FROM THE ETHEREAL SIDE OF PARADISE does just that. Concluding as we began with a sumptuous string orchestra, we arrive where we started – enlightened and wise from our journey. For more information, please visit: Purchase CD: Purchase Digital Download:
Nov 06, 2018
15018 PARMA Recordings - Interfaces
<img src="" alt="itunes pic" /><br />INTERFACES JAZZ MEETS ELECTRONICS Jeff Morris INTERFACES explores the different ways a computer can fit in a modern jazz ensemble and still be true to itself. Technology performer Jeff Morris is joined by free jazz icon Karl Berger on vibes and piano as well as innovative New York percussionist Joe Hertenstein. Morris takes sounds from his partners live in the moment and transforms them into his own musical voice with the DNA of acoustic sounds and the fingerprints of digital processing. This live sampling improvisation results in expressively shifting quasi-loops and glitchy melodic gestures, drawn from music that just happened and influencing what the performers will do next. Call it a twenty-first century version of imitative counterpoint, as in J. S. Bach’s classic fugues. Taking inspiration from, among others, free jazz legend Ornette Coleman and Brian Eno’s early rebellious sound, Morris builds different digital instruments and interactive environments to produce unique encounters with the jazz world. He uses every stutter, glitch, and clash as a chance to discover new kinds of beauty. The native voice of the technology sings freely instead of pretending to be other instruments or remixing classic recordings. At times, INTERFACES can feel like an aural puzzle that challenges the mind as much as the ear. But if you’re up for a sonic adventure, you will find musical moments that are nothing short of revolutionary. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Nov 04, 2018
Rigoletto Detailed Analysis
<img src="" alt="itunes pic" /><br />Verdi's Rigoletto Explained Written by Thomson Smillie Narrated by David Timson
Nov 03, 2018
15017 Verdi - Rigoletto
<img src="" alt="itunes pic" /><br />Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. It is considered by many to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father. Conducted by Rosalinda Betrucci Performed by the CMD Grand Opera Company of Venice Recorded by Classical Music Discoveries Download Digital Copy at:
Nov 03, 2018
Mozart - Don Giovanni Detailed Analysis
<img src="" alt="itunes pic" /><br />A detailed analysis of Mozart and "Don Giovanni." Written by Thomson Smillie and narrated by David Timson
Nov 02, 2018
15016 Mozart - Don Giovanni
<img src="" alt="itunes pic" /><br />Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer. It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Da Ponte's libretto was billed as a dramma giocoso, a common designation of its time that denotes a mixing of serious and comic action. Mozart entered the work into his catalogue as an opera buffa. Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements. Conducted and Produced by Kathryn Cavanaugh CMD Grand Opera Company of Venice Download Digital copy at:
Nov 02, 2018
15015 Mozart: Marriage of Figaro
<img src="" alt="itunes pic" /><br />The Marriage of Figaro, K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro, which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Download digital copy at:
Oct 27, 2018
15014 Rossini: The Barber of Seville or The Useless Precaution
<img src="" alt="itunes pic" /><br />The Barber of Seville, or The Useless Precaution is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's French comedy Le Barbier de Séville (1775). The première of Rossini's opera (under the title Almaviva, o sia L'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome, with designs by Angelo Toselli. Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all "opere buffe". After two hundred years, it remains a popular work. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Purchase your digital copy at:
Oct 26, 2018
15013 Classical Halloween
<img src="" alt="itunes pic" /><br />In our annual Halloween broadcast we present to you 40 classical favorites for Halloween. Album produced by Kathryn Cavanaugh Purchase now at:
Oct 25, 2018
15008 Puccini: Tosca
<img src="" alt="itunes pic" /><br />Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias. Puccini saw Sardou's play when it was touring Italy in 1889 and, after some vacillation, obtained the rights to turn the work into an opera in 1895. Turning the wordy French play into a succinct Italian opera took four years, during which the composer repeatedly argued with his librettists and publisher. Tosca premiered at a time of unrest in Rome, and its first performance was delayed for a day for fear of disturbances. Despite indifferent reviews from the critics, the opera was an immediate success with the public. Musically, Tosca is structured as a through-composed work, with arias, recitative, choruses and other elements musically woven into a seamless whole. Puccini used Wagnerian leitmotifs to identify characters, objects and ideas. While critics have often dismissed the opera as a facile melodrama with confusions of plot—musicologist Joseph Kerman called it a "shabby little shocker"—the power of its score and the inventiveness of its orchestration have been widely acknowledged. The dramatic force of Tosca and its characters continues to fascinate both performers and audiences, and the work remains one of the most frequently performed operas. Many recordings of the work have been issued, both of studio and live performances. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Purchase Digital Download:
Oct 24, 2018
15012 PARMA Recordings - Mezzanine Seat
<img src="" alt="itunes pic" /><br />MEZZANINE SEAT WORKS FOR ORCHESTRA Michael G. Cunningham Moravian Philharmonic Orchestra Petr Vronský conductor Croatian Chamber Orchestra Miran Vaupotić conductor Bruno Philipp clarinet In MEZZANINE SEAT, Cunningham exhibits a mastery over all aspects of the orchestra, filling out every bit of space with breathtaking melody and harmony. The arrangements emote a sophistication that echoes J.S. Bach, one of Cunningham’s greatest inspirations. In the three-part composition Bach Diadem, Cunningham pays tribute to the famed composer and incorporates 18th-century orchestral influence in his compositions. Backed by the Moravian Philharmonic Orchestra and the Croatian Chamber Orchestra, Cunningham uses his compositions to create stories that intertwine darkness and beauty. The instruments interact at the forefront of the pieces as though they are characters in an opera, singing with backdrop of the chamber orchestra. A classic example occurs in the second work, Clarinet Concerto. The composer highlights the clarinet as the protagonist in a fantastic narrative carried by the orchestra. Throughout the three movements, the clarinet creates a conversation which moves the production forward. The somber melodies form a dramatic dialogue with the rest of the orchestra, presenting a chain of events that captures the listener’s attention immediately. The captivating compositions in MEZZANINE SEAT will ensure to listeners that anywhere they listen to the album, they will feel as though they are sitting in the best seats in the concert hall. For more information about this CD, please visit: Purchase CD at: Purchase Digital Download at:
Oct 23, 2018
15011 PARMA Recordings - Piano Works of Kenneth A Kuhn
<img src="" alt="itunes pic" /><br />PIANO WORKS OF KENNETH KUHN Kenneth Kuhn Chiharu Naruse, piano Composer and pianist Kenneth Kuhn, after finding the music he wanted to hear did not exist, strove to bring his own musical visions to life. The result, PIANO WORKS OF KENNETH KUHN, is a cathartic journey through the memories and imagination of the composer. Romantic in quality, thematic, memorable, and deeply moving, Kuhn’s latest work leaves listeners feeling enriched and enchanted. Kuhn’s compositions arose from three main sources: dreams, memories, and spontaneity. In Prelude No. 3 in G-minor, the composer describes the free-flowing second section as having formed on its own, stating “As if controlled by some external something I literally watched my hands play this without any thought in the process.” An Alpine Song formed from a dream of a young Bavarian woman singing and playing guitar in the Alps and what the composer could recall of her exotic melodies upon waking. In Ode to Memories, the composer reminisces on his own past and its ups and downs, from joyous school years to the sudden death of a dear friend. Sublime in nature and simultaneously tender and haunting, each memorable composition tells its own story. PIANO WORKS OF KENNETH KUHN bares the heart, mind, and soul of the composer in a beautiful, sentimental fashion. With its emotional height and depth, nature-inspired melodies, and connection to the sublime, Kuhn’s collection both moves and inspires listeners. For more information, please visit: Purchase CD at: Purchase Digital Download at:
Oct 16, 2018
15010 PARMA Recordings - Legends and Light
<img src="" alt="itunes pic" /><br />PARMA Recordings presents LEGENDS & LIGHT, a compilation album featuring works by composers Hans Bakker, Jan Järvlepp, Clive Muncaster, and Shirley Mier. Each has a different, unique story to tell, and the narratives are brought to life by the orchestra and string ensemble. Hans Bakker showcases his Canzona III: Hidden in Her Light in ternary form. Described by the composer as a “hymn to the sun,” this tone poem is reminiscent of the symphonic storytellings of such greats as Tchaikovsky and Rimsky-Korsakov — with a heritage of folk melodies and rhythms to boot. The extraordinary balance between strings, woodwinds, brass, and percussion is expressed so fluidly, yet individually, the listener is immediately enveloped into the epic saga Bakker is telling. Jan Järvlepp expresses his unique composition style in Suite for Strings. In this celebration of lively rhythms, short melodic phrases are repeated and altered in such a way that the work becomes a meditation in several movements. The vibrant first movement focuses on echoing melodic fragments and dynamic contrast. The second movement is an exploration of the differences in chromatic tension when a singular phrase is echoed at varying octaves. Following is the darker third movement; heaviness ensues in this dies irae of sorts. Closing is a dance movement in which the string ensemble becomes the foreground of a down-home celebration in middle-America. The violins become fiddles and there is foot stomping to fit the mood. In this incredible pedagogical work, Järvlepp brings the listener through a gamut of emotions. Clive Muncaster’s Redcliffe Gardens Suite for Strings follows suit perfectly with a romantic “Petronella,” enormously expressive in every way. “Pastorella” takes it down a notch, toeing the line between major and minor, somewhat demonstrating the complexity of romantic love. But, obviously, love wins. “Stella” is the heroic ballad to profess it. “Fuga Romantica” layers the sweetness together using one of composition’s most complex forms. It is loaded with tone painting — butterflies in the stomach are aflutter in the entire ensemble, but finally come to rest. “Girandole” opens with a romantic, Americana section followed by a section with exquisite suspensions. The return of the first section and themes ties it all together. Shirley Mier’s Of Lakes and Legends, a programmatic work written for the Century Chamber Orchestra, closes the album. Each movement is set at White Bear Lake in Minnesota, the city where the Century College and the ensemble are located. It opens with “Legend of the White Bear (Manitou Island),” a love story between a Sioux maiden and a Chippewa brave whose tribes are at odds with each other. The affection, tension, and strife within the story is brought to life through the power of the orchestra, culminating in the brave defending his lover from a white bear - a battle in which both the warrior and the bear are mortally wounded. In their deaths, both are transformed into the subjects of legends. “Ride on the Rails (Lake Superior & Mississippi Railroad Depot)” is the symphonic representation of a new train engine’s journey from St. Paul to White Bear Lake in September of 1868. The storyline of the train’s inaugural trip tells of the excitement of the passengers as they pass through the beauteous natural landscape and arrive at a gala celebration at the Depot. “Parlor Recital (Fillebrown House)” is set to “capture the sounds and moods of [the] intimate concerts” a town piano teacher held in her home. This celebration of music is tinged with nostalgia, as it both recalls these concerts and reflects on the fact that they now exist only in time past. The piece concludes with “Regatta (White Bear Yacht Club),” an energetic homage to the influential boatmakers of White Bear Lake and the thrilling races that still occur on the Lake today. This, hands down, is contemporary composition at its best. This album has been perfectly curated to offer continuity in the listening experience. PARMA patrons, old and new, will find enormous satisfaction in this collection. For more information about this release, please visit: Purchase CD at: Purchase Digital Download at:
Oct 13, 2018
15009 La Musica Chamber Music Hour 60
<img src="" alt="itunes pic" /><br />Featuring music by Mozart, Bridges and Brahms. For more information about La Musica International Chamber Music Festival, please visit:
Oct 11, 2018
15007 Bizet - Carmen
<img src="" alt="itunes pic" /><br />Carmen is an opera in four acts by French composer Georges Bizet. The libretto was written by Henri Meilhacand Ludovic Halévy, based on a novella of the same title by Prosper Mérimée. The opera was first performed by the Opéra-Comique in Paris on 3 March 1875, where its breaking of conventions shocked and scandalized its first audiences. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Purchase now at:
Oct 10, 2018
15006 Mozart: The Magic Flute (in English)
<img src="" alt="itunes pic" /><br />The Magic Flute, K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The work was premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Vienna Purchase digital download at:
Oct 08, 2018
15004 Puccini - Madama Butterfly
<img src="" alt="itunes pic" /><br />Madama Butterfly is an opera in three acts (originally two) by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. It is based on the short story "Madame Butterfly" (1898) by John Luther Long, which in turn was based on stories told to Long by his sister Jennie Correll and on the semi-autobiographical 1887 French novel Madame Chrysanthème by Pierre Loti. Long's version was dramatized by David Belasco as the one-act play Madame Butterfly: A Tragedy of Japan, which, after premiering in New York in 1900, moved to London, where Puccini saw it in the summer of that year. The original version of the opera, in two acts, had its premiere on 17 February 1904 at Teatro alla Scala in Milan. It was poorly received, despite such notable singers as soprano Rosina Storchio, tenor Giovanni Zenatello and baritone Giuseppe De Luca in lead roles; this was due in part to a late completion by Puccini, and thus inadequate time for rehearsals. Puccini revised the opera, splitting Act II into two (with the Humming Chorus as a bridge to what became Act III) and making other changes. Success ensued, starting with the first performance on 28 May 1904 in Brescia. Madama Butterfly is a staple of the operatic repertoire around the world, ranked 6th by Operabase; Puccini's La bohème and Tosca rank 3rd and 5th. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Purchase digital download at:
Oct 07, 2018
15005 PARMA Recordings - My Symphonic Poems
<img src="" alt="itunes pic" /><br />In MY SYMPHONIC POEMS, the two-disc album that is Mark John McEncroe’s fourth recording overall for Navona Records, the Australian composer explores worlds both internal and external. On each of the album’s ten tracks, McEncroe has crafted a musical painting, a work of art that describes, as it were, his reflections on the subject alluded to in its title. The concepts for these very personal compositions, which were brought to life by the noted Janacek Philharmonic Orchestra under the direction of Anthony Armore, fall into two basic categories. The five selections on the first disc talk of the wonders of the natural world, of bio-diversity, and of the power of the seasons. From the spry energy of That Old Indian Summer, to the majestic dignity of Movements in the Night, McEncroe’s talent for creating compositions that evoke both image and emotion is on vibrant display. The second disc features two tracks that also explore ecological terrain. Those are combined with three distinctively introspective compositions which musically portray the joys and difficulties that are a part of daily life. The tumultuous beginning of The Passing, which the composer says is “about letting go of old ideas that are no longer relevant,” evolves, as the music becomes brighter, to reflect the promise of a hopeful future. Echoes from a Haunted Past captures the frustration at not having resolved issues from the past. Those tracks bookend the playful, pastoral A Pageant at the County Fair. In his rather brief career, Mark John MCEncroe has composed pieces that have been performed by solo pianists as well as by full orchestras. MY SYMPHONIC POEMS, the latest addition to his robust body of work, confirms that his capacity to portray both ambiance and emotion is truly boundless. For more information, please visit: Purchase CD: Purchase Digital Download:
Oct 06, 2018
15003 Puccini: La bohème
<img src="" alt="itunes pic" /><br />La bohème is an opera in four acts, composed by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere of La bohème was in Turin on 1 February 1896 at the Teatro Regio, conducted by the 28-year-old Arturo Toscanini; its U.S. premiere took place the following year, 1897, in Los Angeles. Since then, La bohème has become part of the standard Italian opera repertory and is one of the most frequently performed operas worldwide. Kathryn Cavanaugh - Producer/Conductor CMD Grand Opera Company of Venice Purchase digital copy at:
Oct 04, 2018
15002 Puccini - Turandot (in English)
<img src="" alt="itunes pic" /><br />Turandot is an opera in three acts by Giacomo Puccini, completed by Franco Alfano, and set to a libretto in Italian by Giuseppe Adami and Renato Simoni. Though Puccini's first interest in the subject was based on his reading of Friedrich Schiller's 1801 adaptation of the play, his work is most nearly based on the earlier text Turandot (1762) by Count Carlo Gozzi. The original story is based on one of the seven stories in the epic Haft Peykar (The Seven Beauties), a work of 12th-century Persian poet Nizami. Nizami aligned the seven stories with the seven days of the week, the seven colors and the seven corresponding planets. This particular story is the story of Tuesday, being told to King Bahram by his companion of the red dome, associated with Mars. In the very first line of this story, the protagonist is identified as a Russian princess. The name of the opera is based on Turan-Dokht (daughter of Turan), which is a common name used in Persian poetry for Central Asian princesses. The opera's version of the story is set in China and involves Prince Calaf, who falls in love with the cold Princess Turandot. To obtain permission to marry her, a suitor has to solve three riddles; any wrong answer results in death. Calaf passes the test, but Turandot still refuses to marry him. He offers her a way out: if she is able to learn his name before dawn the next day, then at daybreak he will die. In the original story by Nizami, the princess sets four conditions. The first is "a good name and good deeds", and then the three challenges. The opera was unfinished at the time of Puccini's death in 1924, and was completed by Franco Alfano in 1926. The first performance was held at the Teatro alla Scala in Milan on 25 April 1926 and conducted by Arturo Toscanini. This performance included only Puccini's music and not Alfano's additions. The first performance of the opera as completed by Alfano was the following night, 26 April, although it is disputed whether this was conducted by Toscanini again or by Ettore Panizza. Produced and Conducted by Kathryn Cavanaugh CMD Grand Opera Company of Venice Purchase digital copy at:
Oct 03, 2018
15001 Verdi: Aida
<img src="" alt="itunes pic" /><br />Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni. Set in Egypt, it was commissioned by and first performed at Cairo's Khedivial Opera House on 24 December 1871; Giovanni Bottesini conducted after Verdi himself withdrew. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera. Performed by the CMD Grand Opera Company of Venice Purchase digital download at:
Oct 02, 2018
14244 Verdi: La Traviata
<img src="" alt="itunes pic" /><br />La traviata (The Fallen Woman) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas fils. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Performed by the CMD Grand Opera Company of Venice Purchase Digital Download at:
Sep 30, 2018
14242 PARMA Recordings - Quadrants
<img src="" alt="itunes pic" /><br />With QUADRANTS, Navona Records shines a spotlight on the modern string quartet — melding old with new, combining traditional forms with contemporary influences, and presenting expressive, emotional works that both make and break the mold. QUADRANTS Vol 2, performed by Boston’s acclaimed Pedroia String Quartet, features compositions by Paul Osterfield, David T. Bridges, Fred DeSena, L Peter Deutsch, Katherine Price, and Marvin Lamb. Discover how each composer reveals utterly different, yet intrinsically beautiful sound from this most traditional instrumentation. For more information, please visit: Order CD: Order Digital Download:
Sep 28, 2018
14243 Classical Newspapers
<img src="" alt="itunes pic" /><br />Our "Music to Deliver Newspapers By" has been one of our most popular shows now, for over 2 years. So, we thought we would do another edition. "Classical Newspapers" contains 5 hours of classical music that has been requested to be played by our Happy Listeners. Happy Newspaper Delivery! Note: the show contains 63 tracks. Download all 100 tracks and the PDF file identifying each track at:
Sep 27, 2018
14241 Byron Janis On Tour Live
<img src="" alt="itunes pic" /><br />“Byron Janis Live: On Tour” (Janis Eleven Enterprises), a collection of previously unissued live performances of pieces by Chopin, Haydn and Liszt that were recorded between 1979 and 1999, also includes solo-piano arrangements of several of Mr. Janis’ songs, thus reminding us that he is also a highly accomplished popular songwriter. Sonata E Flat Major Hob. XVI:49 (Allegro) Ÿ Haydn Ÿ Paris, France 1982 Sonata E Flat Major Hob. XVI:49 (Adagio Cantabile) Ÿ Haydn Ÿ Paris, France 1982 Sonata E Flat Major Hob. XVI:49 (Tempo di Menuet) Ÿ Haydn Ÿ Paris, France 1982 Polonaise Ÿ Chopin Ÿ Havana, Cuba 1999 Mazurka F Minor (Posthumous) Ÿ Chopin Ÿ Havana, Cuba 1999 Nocturne D Flat Op. 27 No. 2 Ÿ Chopin Ÿ Warsaw, Poland 1979 Waltz A Flat Major Op. 34 No.1 Ÿ Chopin Ÿ Toulon, France 1989 Sonata B Minor Third Movement (Largo) Op. 58 No. 3 Ÿ Chopin Ÿ Knoxville, TN 1982 Waltz G Flat Major (Posthumous) Ÿ Chopin Ÿ New York, NY 1982 Waltz G Flat Major Op. 70 No. 1 Ÿ Chopin Ÿ New York, NY 1982 Sonetto del Petrarca No. 104 Ÿ Liszt Ÿ Brussels, Belgium 1988 Paraphrase on Verdi’s Opera, Rigoletto Ÿ Liszt Ÿ Madrid, Spain 1981 You Are More Ÿ Byron Janis Ÿ Abbey, Bethlehem, CT 1988 David’s Star – A Song for Israel Ÿ Byron Janis Ÿ Abbey, Bethlehem, CT 1988 Like Any Man Ÿ Byron Janis Ÿ Abbey, Bethlehem, CT 1988 “By and Cy – More Paganini Variations” Ÿ Byron Janis and Cy Coleman* Ÿ NY, NY 1978 For more information please visit: Purchase CD at: Purchase digital download at:
Sep 27, 2018
14240 PARMA Recordings - Art for Two
<img src="" alt="itunes pic" /><br />ART FOR TWO ARTHUR GOTTSCHALK MARIO CIACCIO alto & tenor saxophone SAURO BERTI clarinet & bass clarinet NAOMI FUJIYA piano ECCHER SCHOOL OF MUSIC VOCAL ENSEMBLE How can something as intimate as a musical moment shared between two people open up the door to endless possibilities? Discover the answer in ART FOR TWO, a collection of works by acclaimed composer Arthur Gottschalk and performed by Italian woodwind extraordinaires Sauro Berti and Mario Ciaccio, accompanied by the skilled hands of pianist Naomi Fujiya. In each piece, the performers call listeners into the moment as they traverse art music inspired by sources from traditional Jewish hymns to Frank Zappa. The melodies of Berti and Ciaccio will carry listeners to some interesting and unexpected places. Italian bass clarinetist Sauro Berti has performed at major festivals from China to Mexico, and his command of the woodwind has earned him credit with the most notable orchestras in Italy and beyond. His counterpart, the award-winning saxophonist Mario Ciaccio, adds smooth flair -- together, the two mesmerizingly work off of each other as the strains of their instruments sing together as one. In the first piece, Benny, Zoot, and Teddy, one can almost hear witty banter back and forth between the instruments. Two best friends strolling through a lively city scene as they converse immediately comes to mind. The album’s concluding piece, Shalom, also features the two instruments in conversation, but this time with a different message. They are joined by a full choir to deliver a final word: “shalom,” a Hebrew word meaning “peace.” This message, balanced with the exchange of the woodwinds, sends listeners on their way, enriched with having joined the musicians on this journey. In ART FOR TWO, each track brings listeners into a different shared conversation and experience. Enjoy the intimate dialogue between two musicians, and between the performer and you, the listener, as each song tells you a new, fascinating story. For more information, track listing, credits, biographies and YouTube videos, please visit: Purchase CD at: Purchase digital download at:
Sep 25, 2018
14239 PARMA Recordings - Costas - Duo Beija-Flor
<img src="" alt="itunes pic" /><br />Montreal-based ethno-classical Duo Beija-Flor explores the Spanish and Portuguese influence on classical music with COSTAS, their vibrant debut for Big Round Records. Charles Hobson (guitar) and Marie-Noëlle Choquette (flute) form a highly expressive, versatile duo that is a force to be reckoned with. The twenty-two tracks on COSTAS appear to be bite-sized, but not only do they span a vast repertoire, they also pack a powerful punch individually. When Astor Piazzolla's only non-tango piece (Escualo) is contrasted with traditional Spanish folk songs (Siete Canciones Españolas) and motion picture soundtracks (Summer Garden Suite), it's not far-fetched to call this selection eclectic. All the more astounding, then, is Duo Beija-Flor's ability to tie this diverse program together, making it sound as if these pieces had always gone hand in hand. Occasionally, experimental elements are allowed in and incorporated into the flow of the album, such as the temporary, modernist dissonance in Boulevard San Jorge or the jazz harmonies in Havana Street Parade. And naturally, mirroring the dualist nature of the set-up, contrasts abound, not only in instrumental timbre and dynamics, but also in the music's character: Thus, the cheerful sweetness of Pé de Moleque and Quebra Quiexo (both aptly performed according to their title referencing Brazilian candy) is abruptly cut short by two dramatic fados pondering nothing less than the value of life. COSTAS attractively meanders between the light-footed and the profound, and the album's finale, Four Sephardic Songs, forms a majestic and evocative conclusion to an hour of music that is as vivacious, colorful and multi-faceted as the performing duo itself. For more information, track listings, credits, notes, biography and YouTube videos please visit: Purchase Digital Download at: Purchase CD at:
Sep 24, 2018
14237 PARMA Recordings - Pictures of the Hidden
<img src="" alt="itunes pic" /><br />Kamyar Mohajer’s PICTURES OF THE HIDDEN honors the composer’s “four Grand Masters:" Johann Sebastian Bach, Persian poet Hafez, and his parents. In this album, Mohajer shares his artistic upbringing by combining his roots in Persian modality with his love of Western classical music. The eponymous piece, a set of five songs for voice and piano, feature the works of the Persian poet Hafez. In the multi-tiered composition, Mohajer draws from childhood memories of his mother’s singing. Used with Hafez’s poetry, which adores a superior spirit called “Beloved,” Pictures of the Hidden reaches towards a higher meaning, honoring the perfection of an all-powerful Spirit. Each song, sung in Persian by soprano Raeeka Shehabi-Yaghma, brings a motherly passion to the depth of Hafez’s poetry. With Karolina Rojahn on piano, the composer combines the story-like motifs and counterpoint of Bach-inspired piano composition with the brilliant virtuosity of Shehabi-Yaghma. In Reng, Mohajer shares the conventions of his native music. The dance , for instance, is built on a syncopated 6/8 rhythm characteristic of Persian dances throughout history. The dance signals a release, a giving up of self to the joy of music and movement. The album concludes with a stunning performance by the acclaimed Alexander String Quartet, who communicate the contrasting feelings of melancholic longing and swift energy - a task perfect for strings and their ability to produce sound across the dynamic spectrum. Though the album is Mohajer’s debut, PICTURES OF THE HIDDEN is more than just an artistic expression of self. Rather, the album celebrates the past figures who shaped his present context, and demonstrates how art can leave humanity in a better place for having experienced it. For track listings, credits, poems, notes, biography and YouTube links, please visit: Purchase Digital Download at: Purchase CD at:
Sep 23, 2018
14232 Schoenberg - Transfigured Night - 5 Pieces for Orchestra
<img src="" alt="itunes pic" /><br />Arnold Schoenberg's masterpieces that Jean Sibelius protested against and the direction they were taking music. Transfigured Night, Op 4 5 Pieces for Orchestra Op. 16 Dominique Beaulieu conducts the CMD Philharmonic of Paris in Orleans Purchase Digital Download at:
Sep 22, 2018
14236 Paris mon Amour - Pamela Coats and Carmen Stefanescu
<img src="" alt="itunes pic" /><br /><p><span style="font-size: medium;"><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif;"><a href="">Pamela Coats</a>&nbsp;- <em>Paris mon Amour</em></span></strong></span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">From the end of the 19th century through today, Paris has been named the "Capital of the Arts". For many composers "the city of lights" was not only a place of creative exchange and inspiration but also a place of adventurous "Joie de vivre&ldquo;. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> In the CD "Paris mon Amour/Paris, my love", the clarinet-piano duo <a href="">Coats</a>-Stefanescu presents composers, that in their time, had their finger on the pulse of innovation and development of culture and music in France as well as Europe. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">This CD filled with thrilling, melancholic and sensuous chamber music from the "city of the arts and love", will delight and enchant all audiences. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> 1 - Camille Saint-Saens (1835-1921) <br /><em><strong>Sonata for Clarinet and Piano, Op. 167 </strong></em><br />Allegro <br />Allegro Animato <br />Lento <br />Molto Allegro </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> 2 - Claude Debussy (1862-1918) <br /><em><strong>Premiere Rhapsodie for Clarinet and Piano </strong></em></span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">3 - Darius Milhaud (1892-1975) <br /><em><strong>Sonatina for Clarinet and Piano, Op. 100 </strong></em><br />Tr&eacute;s Rude <br />Lent <br />Tr&eacute;s Rude </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> 4 - Francis Poulenc (1899-1963) <br /><em><strong>Sonata for Clarinet and Piano, FP. 184 </strong></em><br />Allegro Tristamente <br />Romanza <br />Allegro con Fuoco </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> 5 - Germaine Tailleferre (1892-1983) <br /><em><strong>Arabesque for Clarinet and Piano </strong></em></span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><strong> CD is Available at: </strong><br /><strong>Amazon:</strong> <br /> </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><strong> Itunes:</strong> <br /></span></p>
Sep 21, 2018
14235 La Musica Chamber Music Hour 59
<img src="" alt="itunes pic" /><br />Featuring music of Beethoven, Ravel and Dvorak.
Sep 20, 2018
14234 PARMA Recordings - I Close My Eyes in Order to See
<img src="" alt="itunes pic" /><br />With her Navona debut I CLOSE MY EYES IN ORDER TO SEE, accomplished Canadian flutist Sara Hahn demonstrates her exceptional sensitivity for emotional nuance coupled with great virtuosic capability, but most of all: the healing power of music itself. Hahn, currently the Principal Flutist for the Calgary Philharmonic Orchestra, is rightly known for her refined and beautiful tone, and I CLOSE MY EYES TO SEE indubitably attests to this. But extraordinarily, there is even more to Hahn's musicianship: An exquisite ability to get right into the heart of a composition. No doubt this is in part due to the highly personal selection of pieces: The album's eponymous opening track, I Close My Eyes To See, was dedicated to Hahn by composer Arthur Bachmann, written to commemorate her mother's hard (but eventually successful) battle with cancer. Indeed, the compositions of this album center around perhaps the greatest, and most universal, challenge of the human condition: overcoming Fate's hardships. In this spirit, the individual musical pieces represent emotions such as fear, sadness, the desire to bargain, and depression and anger are reached with the help of mental fortitude and spirituality – all culminating, inspiringly, in acceptance and optimism. Sara Hahn's interpretation of these wildly diverse sentiments is nothing short of riveting and, towards the album's cheerful conclusion, supremely uplifting. In this sublime feat, pianist Laura Loewen and alto flutist Sarah Gieck, who both accompany with fitting delicacy, add great musical depth. I CLOSE MY EYES TO SEE is an aesthetic feast for the ears, no doubt; but its true strength lies in having encapsulated not only a timeless constant of the human experience – suffering – but also a viable, feasible way to overcome it. For more information, track listings, credits, notes, biography and YouTube links, please visit: Purchase CD at: Purchase Digital Download at:
Sep 19, 2018
14233 PARMA Recordings - Dreams Laid Down
<img src="" alt="itunes pic" /><br />DREAMS LAID DOWN brings to life the works of several acclaimed composers, evoking a tender, reflective atmosphere. Inspired by sources from the Beatles to the poetry of Rinehart’s wife, the album creates an intimate aural experience that is as personal to the listener as it is to the artist himself. The title track, composed by Michael Karmon, is named after a book of poems by Rinehart’s wife Janice Notland. Karmon animated six of her poems with thoughtful, evocative compositions. Contrast this with composer John Oliver’s Ancient Heroes Suite. Oliver, inspired by ancient music conventions, worked with dance-oriented rhythms in experimental time signatures that recall melodies resonating through ancient halls, while filtering them through a modern context. Variaciones Sobre un Tema de Juan Lennon, written by New Brunswick composer Richard Gibson as a wedding gift for his daughter Julia, reimagines parts of a song originally written by John Lennon. Exploring shifts in key signatures, major and minor modes, and alternate harmonization, Gibson takes the pop song and breathes his unique perspective into it. The album is rounded out with works by two more well-established Canadian composers. Guitarist-composer William Beauvais contributes his improvisatory and rhythmic Beginning of the Day and Vancouver's David Gordon Duke explores the full range of guitaristic colors in his Soliloquies and Dreams. DREAMS LAID DOWN tenderly beckons for the listener’s attention with the lilting strains of classical guitar. Showcasing Rinehart’s inspired musical gifts, the gentle performance warmly invites audiences into a serene listening experience. For more information, track listing, credits, notes, poems, biographies and YouTube, please visit: Purchase CD at: Purchase Digital Download at:
Sep 18, 2018
14229 Shostakovich - Symphony No. 5 in D minor, Op. 47
<img src="" alt="itunes pic" /><br />The Symphony No. 5 in D minor, Op. 47, by Dmitri Shostakovich is a work for orchestra composed between April and July 1937. Its first performance was on November 21, 1937, in Leningrad by the Leningrad Philharmonic Orchestra under Yevgeny Mravinsky. The premiere was a huge success and received an ovation that lasted well over half an hour. Conducted by Maestra Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra Purchase Digital Download at:
Sep 15, 2018
14231 PARMA Recordings - Mind and Machine Volume 2
<img src="" alt="itunes pic" /><br />MIND & MACHINE VOL. 2 is the second electro-acoustic compilation to be released on Ravello Records. Each of the seven composers featured on MIND & MACHINE VOL. 2 offers his or her own striking exploration into the means by which technology can be used to alter time and form to create entirely new musical experiences. This diverse assortment of composers have all taken different paths to reach that goal. The sounds of nature are manipulated or integrated into pieces such as Tom Prescott’s The Singing Forest and Jennifer Bernard Merkowitz’s Les Crapauds de la Fontaine, while Joshua Tomlinson’s Convergences utilizes the natural elements of metal and wood. Julius Bucsis takes as his source material the work of renowned composer Igor Stravinksy for Some Writings of Spring, using Schenkerian analysis and various audio processing techniques to reinvent The Rite of Spring. Cory Fant deliberately worked outside of the studio to create the sounds in his Vox Ballet without using synthesizers, while Lou Bunk’s Cut and Joshua Harris’ a tiny fleck of blue crying light into the void both each use pianos – albeit very dissimilar ones – in their individual manipulations of time and space. If there is one common trait that the works on MIND & MACHINE VOL.2 share, it is their ability to capture the immediacy of sonic experience and, regardless of context, to subtly create an entirely new musical narrative, again reinforcing the limitless possibilities inherent in the realm of electro-acoustic music. For more information, track listings, credits, notes, biographies and YouTube links, please visit: Purchase CD: Purchase Digital Download:
Sep 14, 2018
14230 Sibelius - Symphony No. 5 in E-flat, Op. 82
<img src="" alt="itunes pic" /><br />The Symphony No. 5 in E-flat major, Op. 82, by Jean Sibelius is a symphony in three movements. Dominique Beaulieu, conductor CMD Paris Philharmonic in Orleans
Sep 13, 2018
14228 PARMA Recordings - Black Swan of Piano
<img src="" alt="itunes pic" /><br />Peace and war, East and West, past, present, and future: find all this and more in BLACK SWAN OF PIANO, the latest album by award-winning composer and pianist Marta Brankovich. Brankovich, dubbed the “Black Swan of Piano” by the Miami Herald, invites listeners to explore the rich history of Serbia, her home country, in this captivating collection of piano works. For more information, track listings, credits, notes, videos, biography and YouTube, please visit: Purchase CD at: Purchase Digital Download at:
Sep 12, 2018
14224 La Musica Chamber Music Hour 58
<img src="" alt="itunes pic" /><br />Mozart: Eine kleine Nachtmusik (Serenade No. 13 for strings in G Major), K. 525 Beethoven: String Quartet No. 11 in F minor, Op. 95 "Serioso" Schubert: Piano Quintet in A Major, Op. 114 "The Trout" Visit for more information about the 2019 season.
Sep 11, 2018
14227 PARMA Recordings - Several Times
<img src="" alt="itunes pic" /><br />A central theme in Dr. Dennis Kam’s album SEVERAL TIMES is, predictably, time. Not so predictable is how time is used, manipulated, and developed throughout. Dr. Kam explores beyond expectation, using repetition and connectivity to experiment with form. This creates a unique sonic experience that pushes the boundaries of tonal and rhythmic conventions. For more information, track listings, credits, notes, biographies and YouTube links, please visit: To purchase the CD, please visit: To download the digital tracks, please visit:
Sep 10, 2018
14225 PARMA Recordings - Journeys
<img src="" alt="itunes pic" /><br />Ed Martin's Ravello Records debut JOURNEYS could not be more aptly titled. This album of highly original piano compositions invites the listener on a voyage through mysterious realms where the limits of the sensual and the intuitive dissolve – a journey that is at times epic, and at other times epically quiet. The album commences with Three Pieces for Piano (2006), a modernist melange whose gamut ranges from dissonant serenity to rhythmic agitation. They're perfectly, intimately rendered by pianist Jeri-Mae G. Astolfi, who performs the entirety of JOURNEYS with great clarity, structural insight and precision, never losing touch with the primal, emotional appeal of the compositions. Swirling Sky (2014), dedicated to the pianist, displays the collaboration between the performer and the composer at its most fruitful. Martin has sculpted and captured the peculiar sensation of looking at clouds in the sky with seeming effortlessness; Astolfi performs them with a paradox combination of lightness and depth that is most appropriate. The album's namesake and centerpiece, however, is the recent, eleven-piece piano cycle Journey, composed in 2015-2017. In more traditionalist terms, one might call this "variations on a theme" – and one would fall horrendously short, considering the vast artistic and psychological scope of the work. The starting point, Soul, whose main idea centers around a humble minor third, is subsequently transformed in the most diverse of ways: The motive appears, recognizable but ever-changing, in deep sorrow in Lament, desperate to the brink of madness in Vexed, collected in Revelation, and cheerfully delusional in Manic. Eventually, a new thought – Conviction – leads to a Metamorphosis and ultimately culminates in the final Transcend, the cycle's (and album's) musical catharsis.
Sep 08, 2018
14224 Bruckner - Symphony No. 8 in C minor, WAB 108 (1887 version)
<img src="" alt="itunes pic" /><br />Anton Bruckner's Symphony No. 8 in C minor is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 in Vienna. It is dedicated to the Emperor Franz Joseph I of Austria. This symphony is sometimes nicknamed The Apocalyptic, but this was not a name Bruckner gave to the work himself. CMD German Opera Company of Berlin Orchestra Sylvia Wagner, conductor
Sep 06, 2018
14223 La Musica Chamber Music Hour 57
<img src="" alt="itunes pic" /><br />La Musica International Chamber Music Festival performs: Mozart: String Quintet No. 6, K. 614 Beethoven: Piano Trio in E-flat Major, Op. 70, No. 2 For more information, please visit:
Sep 04, 2018
14222 PARMA Recordings - Veil
<img src="" alt="itunes pic" /><br />VEIL GREG D'ALESSIO Greg d'Alessio's VEIL offers a cross-section through all the facets encompassing modern classical composition as well as an impressive portrait of the composer's unique voice and development over two decades. VEIL's chronological track order allows the listener to follow the progression of both the music and the man behind it. Veil and Thread are D'Alessio's early chamber works, very much reflective of the conviction and clarity characteristic of the young composer, built on a thoughtful yet passionate blend of traditional structure and instrumentation with experimental effects. Enter Sono Solo and the turmoil begins. Befitting the meaning of their Italian title, Sono Solo paints an accurate, solemn portrait of solitude, a soulful, introspective lament that is not without instances of enlightenment and self-assurance. Now's the Time picks up with a higher energy level, intertwining jazz rhythms and harmonies with D'Alessio's ever-present pursuit of a carefully constructed, airy musical architecture. Elements of it are still experimental – but now with the greater determination of a matured composer. After Ending forms the transcendent climax of the album. The two-part work contrasts a profoundly lyrical first movement with a strongly rhythmic finale reminiscent of Shostakovich's late symphonies. They, too, harken back to the stark contrast of the D'Alessio's early work, but now with the aplomb of someone who's confident that he has achieved mastery in his field. What stands out about VEIL is the astonishing ease with which two opposing concepts are reconciled: The diversity of modern composition in its widespread applications, and the profoundly personal, individual journey of a singular composer.
Sep 02, 2018
14221 R Strauss - The Silent Woman
<img src="" alt="itunes pic" /><br />Die schweigsame Frau (The Silent Woman), Op. 80, is a 1935 comic opera in three acts by Richard Strauss with libretto by Stefan Zweig after Ben Jonson's Epicoene, or the Silent Woman. Joana Filipe Martinez - conductor/producer CMD Grand Opera Company of Barcelona Spain
Sep 01, 2018
14220 Mozart at 24 - Part 2
<img src="" alt="itunes pic" /><br />All 40 works by Mozart at 24 years of age. Over 7 hours(!) of beautiful music by the world's greatest composer. Missa solemnis in C, K 337 Symphony No. 34 in C Major, K 338 Vesperae solennes de confessore in C, K 339 Kyrie in D minor, K 341 O Gottes Lamm, K 343a Als aus Agypten K 343b Zaide, K 344 Thamos, King in Egypt, K 345 Luci care, Lucibelle, notturno, K 346 Wo der per lende Wein im Glase blinkt, K 347 Vamo di core teneramente, K 348 Was frag ich viel, K 349 Wiegenlied, K 350 Komm, liebe zither, komm, K 351 8 Variations in F Major on "Dieu d'amour" by AE Gretry, K. 352 12 Variations in E-flat Major on "Je suis Lindor" by AL Baudron, K 354 Minuet in D, K 355 Adagio in C Major, K 356 Sonata for Piano Duet in G, K 357 Sonata for Piano duet in B-flat, K 358 12 Variations for Piano and Violin in G on "Labersee Celimere", K 359 6 Variations in G minor for Piano and Violin, K 360 Serenade in B-flat for Winds "Gran Partita", K 361 3 Minuets, K 363 Sinfonia concertante, K 364 Concerto for 2 Pianos and Orchestra in E-flat, K 365 Performances by the entire staff, orchestras and opera companies of Classical Music Discoveries.
Aug 31, 2018
14219 Mozart at 24 - Part 1
<img src="" alt="itunes pic" /><br />All 40 works by Mozart at 24 years of age. Over 7 hours(!) of beautiful music by the world's greatest composer. Missa solemnis in C, K 337 Symphony No. 34 in C Major, K 338 Vesperae solennes de confessore in C, K 339 Kyrie in D minor, K 341 O Gottes Lamm, K 343a Als aus Agypten K 343b Zaide, K 344 Thamos, King in Egypt, K 345 Luci care, Lucibelle, notturno, K 346 Wo der per lende Wein im Glase blinkt, K 347 Vamo di core teneramente, K 348 Was frag ich viel, K 349 Wiegenlied, K 350 Komm, liebe zither, komm, K 351 8 Variations in F Major on "Dieu d'amour" by AE Gretry, K. 352 12 Variations in E-flat Major on "Je suis Lindor" by AL Baudron, K 354 Minuet in D, K 355 Adagio in C Major, K 356 Sonata for Piano Duet in G, K 357 Sonata for Piano duet in B-flat, K 358 12 Variations for Piano and Violin in G on "Labersee Celimere", K 359 6 Variations in G minor for Piano and Violin, K 360 Serenade in B-flat for Winds "Gran Partita", K 361 3 Minuets, K 363 Sinfonia concertante, K 364 Concerto for 2 Pianos and Orchestra in E-flat, K 365 Performances by the entire staff, orchestras and opera companies of Classical Music Discoveries.
Aug 29, 2018
14197 PARMA Recordings - The Eloquent Saxophone
<img src="" alt="itunes pic" /><br />THE ELOQUENT SAXOPHONE David Tanner, saxophone Marc Widner, piano Navona Records is proud to announce the re-release of David Tanner's 1988 album THE ELOQUENT SAXOPHONE. Tanner is no Stranger to Navona; his compositions and arrangements can be heard on two other Navona releases: Of Birds and Lemons (2012) and Dashing (2016). This was his first album, featuring him as a performer. It includes two unaccompanied pieces and two sax quartets recorded by multi-tracking, as well as a rich variety of works with accompaniment admirably rendered by pianist Marc Widner. The music ranges from Schumann to a stylized blues by Gene DiNovi. Tanner's musical language is enriched by classical training and a career encompassing rock'n'roll and jazz as well as symphony. Reviewer Denis Armstrong wrote in Music Magazine, "Not long into this recording, one begins to marvel at the sheer joy David Tanner's playing conveys... a dense and rich recording... at times elegant and elegiac, other times ribald and visceral. But the one constant is the joy and clarity of expression." The first track sets the tone: "Serenade comique" is a brief, frantic sax quartet composition that evokes Parisian traffic or perhaps a flock of birds. "La Blues," the other quartet selection, evokes the melancholy of New York in the depth of night. "It is a treat for the listener to hear this feat of multi-tracking done so well," said reviewer Joseph Viola in Saxophone Journal. Each track is in contrast to the one before it; each represents something different and interesting. To quote Music Magazine again, "The Eloquent Saxophone [is] a thoroughly eccentric, invigorating and generous treat."
Aug 30, 2018
14218 Bernstein - Mass
<img src="" alt="itunes pic" /><br />Mass (formally: MASS: A Theatre Piece for Singers, Players, and Dancers) is a musical theatre work composed by Leonard Bernstein with text by Bernstein and additional text and lyrics by Stephen Schwartz. Commissioned by Jacqueline Kennedy, it premiered on September 8, 1971, conducted by Maurice Peress and choreographed by Alvin Ailey. The performance was part of the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C. Mass premiered in Europe in 1973, with John Mauceri conducting the Yale Symphony Orchestra in Vienna. Originally, Bernstein had intended to compose a traditional Mass, but instead decided on a more innovative form. The work is based on the Tridentine Mass of the Roman Catholic Church. Although the liturgical passages are sung in Latin, Mass also includes additional texts in English written by Bernstein, Broadway composer Stephen Schwartz, and Paul Simon (who wrote the first quatrain of the trope "Half of the People"). The work is intended to be staged theatrically, but it has also been performed in a standard concert setting. Initial critical reception, including a review in the New York Times, was largely negative, but the Columbia Records recording of the work enjoyed excellent sales.
Aug 27, 2018
14195 PARMA Recordings - Places in Time
<img src="" alt="itunes pic" /><br />PLACES IN TIME Richard Brooks Richard Brooks’ PLACES IN TIME travels through the acclaimed composer’s personal history with each piece representing a different period in the composer’s life. Many of these recordings were originally released by Brooks’ label, Capstone Records. Each piece gains new life as Brooks and Navona Records team up to share this fascinating work in tonality, soundscapes, and emotional sway with a new generation of music lovers. Opening with Seascape: Overture to Moby Dick from 1997’s AND THE EAGLE FLIES, a grand yet suspenseful soundscape, the piece rises and swells with the droning low brass and tense tremolo strings, as if waiting for the emergence of the great white whale. Choral Variations for Two Horns and String Orchestra, from 1995’s TONUS TOMIS, is one in a collection of pieces recorded in Constanta, an ancient city on the shore of the Black Sea in Romania. This piece is a complex, theoretical, and emotional traverse through the realm of tonality, where the mood is described as “almost anguished in its search for resolution.” Prelude and Lament from 1986’s MUSIC VISIONS demonstrates both academic and raw elements of Brooks’ compositions. Prelude and Lament is a powerful example of his work in twelve-tone composition, a method devised by Arnold Schoenberg wherein each note in the chromatic scale is given equal emphasis. The track takes on a heavy, emotional tone in the Lament in response to a personal tragedy: the death of Brooks’ younger brother in a traffic accident before the completion of the work. PLACES IN TIME offers a fresh, remastered look at this acclaimed composer. With each track comes a revived sense of purpose and the genius behind it. In bringing the tracks from the analog world into the realm of digital music, Brooks and Navona have assembled a collection of compositions that inspires through its musical complexity and moments of raw intensity and sensitivity.
Aug 28, 2018
14194 PARMA Recordings - Whispering Fragrance
<img src="" alt="itunes pic" /><br />WHISPERING FRAGRANCE Stephen Yip On WHISPERING FRAGRANCE, his first solo album with Navona Records, composer Stephen Yip merges serenity with agitation, earthiness with sophistication and the mundane with the sublime. The result is an original creation that is unapologetically post-modern, yet deeply rooted in Chinese traditionalism. The instrumentation itself already offers ample proof for this unique blend. "Ding", scored for double bass and the Chinese zither guzheng (an instrument with a 2,500-year history), reflects the nine ancient rulers of the Zhou kingdom in just as many short musical sections. "Whispering Fragrance," an intuitive, ethereal composition for solo violin, aims to capture the transcendent sensual experiences of interacting with nature – sight, smell, hearing – with the instrument's natural harmonics. Stephen Yip, who nowadays lives in the United States, does not shy away from jazz instrumentation, either. "In 7th Heaven," a saxophone, double bass and piano seek to create a state of debonair tranquility. Nevertheless, the influence of Yip's Chinese heritage remains profoundly interwoven with his musical creations. Some of the different meanings of the Chinese word "Ran" are set to sound in the eponymous piece written for solo guzheng, running the gamut from collected composure to fiery agitation. "Tranquility in Consonance", set for flute, saxophone, bassoon and piano, never loses its distinctly Eastern feel, which is partially due to applying playing techniques of Chinese instruments to the Western set-up, partially due to its uninhibited celebration of environmental and natural sounds. Finally, "Peace of Mind" is an atmospheric development of heterogeneous textures, the conclusion of which mirrors the title. WHISPERING FRAGRANCE is an exceptional solo debut, bridging the chasm between two vastly different cultures with a musical language that is quite unique.
Aug 26, 2018
14198 Shostakovich - Symphony No. 4 in C minor, Op. 43
<img src="" alt="itunes pic" /><br />Dmitri Shostakovich composed his Symphony No. 4 in C minor, Opus 43, between September 1935 and May 1936, after abandoning some preliminary sketch material. In January 1936, halfway through this period, Pravda—under direct orders from Joseph Stalin[1]—published an editorial "Muddle Instead of Music" that denounced the composer and targeted his opera Lady Macbeth of Mtsensk. Despite this attack, and despite the oppressive political climate of the time, Shostakovich completed the symphony and planned its premiere for December 1936 in Leningrad. After rehearsals began, the orchestra's management cancelled the performance, offering a statement that Shostakovich had withdrawn the work. He may have agreed to withdraw it to relieve orchestra officials of responsibility. The symphony was premiered on 30 December 1961 by the Moscow Philharmonic Orchestra led by Kirill Kondrashin. Kathryn Cavanaugh - Executive Director and Conductor CMD Grand Opera Company of Venice Orchestra
Aug 25, 2018
Bernstein - On the Waterfront
<img src="" alt="itunes pic" /><br />Leonard Bernstein's magnificent music for Elia Kazan's equally-magnificent, multi Oscar-winning film On The Waterfront - with its landmark performance by Marlon Brando - has until now been available only as an oft-perfomed, re-arranged 19-minute "classical" suite, a brief 2-minute selection on "Leonard Bernstein's New York" album with the Orchestra of St. Luke's plus one short segment on a 1956 Decca collection of Columbia movie themes entitled You Can't Run Away With It. The actual original soundtrack scoring session elements have been missing for ages and were presumed lost for ever. But when Sony unearthed elements for their recent restoration of the film classic on Blu-ray, myriad cans of audio turned out to contain not just effects and film dialog but also the entire scoring sessions, probably being discovered for the first time in a half century. These recordings, captured on acetate discs for playback purposes during the sessions, included music not heard in the finished film! Recorded at Columbia Pictures' own scoring stage at the end of April 1954, these priceless recordings at last reveal the entire score in all of its magnificence. 1. On The Waterfront – Main Title (Revised) (3:26) 2. Roof Morning (1:03) 3. Scramble (1:18) 4. Riot In Church (1:57) 5. Glove Scene (1:45) 6. Glove Scene – Coda (0:54) 7. Pigeons And Beer (2:37) 8. Saloon Love (1:39) 9. Waterfront Love Theme (1:33) 10. Blue Goon Blues (2:28) 11. After Sermon (1:12) 12. Roof 3 (1:35) 13. Confession Scene (1:15) 14. Kangaroo Court (0:34) 15. Cab And Bedroom (3:59) 16. Charley’s Death (4:21) 17. Throwing The Gun (1:11) 18. Dead Pigeons (4:35) 19. The Challenge And The Fight (3:38) 20. Walk And End Title (4:09) The Extras 21. On The Waterfront – Main Title (1:28) 22. The Accident (1:59) 23. “Gott Lebet Noch” – Organ (J. S. Bach, Arr. L. Bernstein) (0:35) 24. Blue Goon Blues – Whistle (0:11)
Aug 23, 2018
14193 PARMA Recordings - Manifold
<img src="" alt="itunes pic" /><br />MANIFOLD Michael Wittgraf Ravello Records welcomes Michael Wittgraf to its family of artists. Wittgraf is releasing his debut album MANIFOLD, an expansive effort with numerous layers hidden in the composition. Choosing texture over melody, the visceral compositions of MANIFOLD draw the listener in to the arresting music, and sound as if it would take lifetimes to unpack the complex layers building to Wittgraf’s stellar debut. The album features Jesse Langen on guitar, for whom Wittgraf wrote the eponymous track and Topographic Timepiece. The compositions rumble with complexity, some employing electronic sounds, others entirely acoustic. The truly expressive nature of Langen’s performance leaves the listener impressed with the balance of such a calculated composition combined with his ability to build emotion. Performing with Langen on two improvised tracks is vocalist Amanda DeBoer Bartlett, who adds to the chilling texture of the album with her modernist take on medieval chanting. DeBoer Bartlett brings a new variety to the music with her ability to elongate beautiful melodies only to, literally, hush herself and let the listener dissolve back into the eerie fog of Wittgraf’s electronics and Langen’s guitar. On tracks such as Improvisation 2 and Improvisation 4, the performers tenderly build the centrifugal force of the song with DeBoer Bartlett’s processed voice providing a soothing drone. As the droning climaxes, the soundscape sends the listener spiraling into a haunting, brand new dimension of texture and space. Wittgraf’s brilliance with computer manipulation makes the composition seem as though the listener has just phased into the sounds of an alternative universe. MANIFOLD was recorded at Experimental Sound Studio in Chicago, IL. Wittgraf holds the title of Chester Fritz Professor at the University of North Dakota. The University of North Dakota College of Arts and Sciences Fine Arts and Humanities Scholarship Initiative Grant funds this project.
Aug 24, 2018
14192 PARMA Recordings - Two Cells in Sevilla
<img src="" alt="itunes pic" /><br />TWO CELLS IN SEVILLA, OR: DON QUIXOTE IS HUNGRY Walter Steffens In many ways, Walter Steffens' TWO CELLS IN SEVILLA is a work of polar opposites. Quasi-tonal but modern, traditional but minimalist, the German composer has created an opera uniting two historical protagonists as multi-faceted as the music itself. The libretto, written by Steffens' son Marec Béla Steffens, fancifully merges the lives of Brother Gabriel Téllez, best known under his pen name Tirso de Molina as the inventor of the fictional womanizer Don Juan, and that of Miguel de Cervantes, the author of windmill-fighting Don Quixote. Both look upon the world from their own respective confines – the monk Brother Gabriel from his cloister, Don Miguel from a debtor's prison cell. Their divine literary outbursts are provoked by a very mundane desire indeed: Both habitats share the same slothful cook, a lady with a penchant for gallant novels. Spurred by the same simple wish of enjoying a heartier fare, both Brother Gabriel and Don Miguel de Cervantes embark on a competition to come up with the raciest, most exciting novel to win the good will of their cook. The music captures this dialectic perfectly, conveying a grandiose arc of drama with deceptive ease and at the same time elevating the mundane to greatness. It would be tempting to diagnose enlightened undertones in the libretto as well as in the music: For as sublime as the work sounds, it remains deeply committed to the human spirit. TWO CELLS IN SEVILLA is rounded off by Steffens' musical interpretation of five poems by fellow-German Friedrich Hölderlin, widely known for the intensely lyrical, idealistic quality of his work and his tragic descent into insanity. With these lieder's ethereal fluctuation between beauty and pain, they truly are an apt choice for an album as full of contrasts as this one.
Aug 22, 2018
14216 Sibelius - Symphony No. 4 in A minor, Op. 63
<img src="" alt="itunes pic" /><br />The Symphony No. 4 in A minor, Op. 63, is one of seven completed symphonies composed by Jean Sibelius. Written between 1910 and 1911, it was premiered in Helsinki on 3 April 1911 by the Philharmonia Society, with Sibelius conducting. CMD Paris Philharmonic in Orleans Conducted by Dominique Beaulieu
Aug 23, 2018
14189 PARMA Recordings - Flare
<img src="" alt="itunes pic" /><br />FLARE VOLUME 32 Society of Composers, Inc. Navona Records proudly presents Flare, recordings by members of the Society of Composers, Inc. Now in its 32nd installment, it offers a veritable cross-section of some of the most original voices in composition today. The album opens with 20-year-old Vaibhav Mohanty's Rhapsody No. 1 (2017), traveling through elements of Western classical composition, jazz, and Indian traditional music with such well-proportioned naturalness and ease, it bears all the telltale signs of an instant repertoire classic. Robert Strobel's Refugees, a dynamic piano composition reminiscent of Takemitsu, explores the human drama of displacement in profoundly thought-out rhythmic and melodic structures. Continuing with the musical tradition of the 20th century, Keith Kramer transcends Olivier Messiaen's harmonic heritage in his oboe/piano duo L'etere del Tempo. Rejuvenated by Matthew J. Jaskot perambulates a futuristic universe of musical expression in seven diverse piano variations, miraculously springing forth from a simple pentatonic melody. In contrast, Jonathan Graybill draws inspiration from ancient Cherokee mysticism and lends a mysterious voice to the black-capped chickadee in Tsigili'I, illustrating its mythological association as a messenger of wisdom and truth. In Song of the Avadhut, Romanian composer Gabriel Mălăncioiu aims to affect human consciousness in an avant-gardesque duet between soprano and violin, influenced by the teachings of modern and ancient mystics. Jacob Thiede's When All Else Fails contrasts the sonorous texture of a tuba with the mathematical perfection of computerized sine tones. In Dreams Interrupted, Mark W. Phillips fuses jazz, blues, and classical elements into a rhapsodic tribute to the cultural heritage of Memphis TN.
Aug 20, 2018
14215 Bernstein - Wonderful Town
<img src="" alt="itunes pic" /><br />Wonderful Town is a 1953 musical with book written by Joseph A. Fields and Jerome Chodorov, lyrics by Betty Comden and Adolph Green, and music by Leonard Bernstein. The musical tells the story of two sisters who aspire to be a writer and actress respectively, seeking success from their basement apartment in New York City's Greenwich Village. It is based on Fields and Chodorov's 1940 play My Sister Eileen, which in turn originated from autobiographical short stories by Ruth McKenney first published in The New Yorker in the late 1930s and later published in book form as My Sister Eileen. Only the last two stories in McKenney's book were used, and they were heavily modified. Wonderful Town premiered on Broadway in 1953, starring Rosalind Russell in the role of Ruth Sherwood, Edie Adams as Eileen Sherwood, and George Gaynes as Robert Baker. It won five Tony Awards, including Best Musical and Best Actress, and spawned three New York City Center productions between 1958 and 1966, a 1986 West End production and 2003 Broadway revival. It is a lighter piece than Bernstein's later works, West Side Story and Candide, but none of the songs have become as popular.
Aug 19, 2018
14214 Bernstein: West Side Story
<img src="" alt="itunes pic" /><br />West Side Story is a musical with a book by Arthur Laurents, music by Leonard Bernstein and lyrics by Stephen Sondheim. It was inspired by William Shakespeare's play Romeo and Juliet. The story is set in the Upper West Side neighborhood in New York City in the mid 1950s, an ethnic, blue-collar neighborhood (in the early 1960s, much of the neighborhood was cleared in an urban renewal project for the Lincoln Center, which changed the neighborhood's character). The musical explores the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds. The members of the Sharks, from Puerto Rico, are taunted by the Jets, a white gang. The young protagonist, Tony, a former member of the Jets and best friend of the gang's leader, Riff, falls in love with Maria, the sister of Bernardo, the leader of the Sharks. The dark theme, sophisticated music, extended dance scenes, and focus on social problems marked a turning point in American musical theatre. Bernstein's score for the musical includes "Something's Coming", "Maria", "America", "Somewhere", "Tonight", "Jet Song", "I Feel Pretty", "A Boy Like That", "One Hand, One Heart", "Gee, Officer Krupke", and "Cool". The original 1957 Broadway production, conceived, directed and choreographed by Jerome Robbins and produced by Robert E. Griffith and Harold Prince, marked Sondheim's Broadway debut. It ran for 732 performances before going on tour. The production was nominated for six Tony Awards including Best Musical in 1957, but the award for Best Musical went to Meredith Willson's The Music Man. Robbins won the Tony Award for his choreography and Oliver Smith won for his scenic designs. The show had an even longer-running London production, a number of revivals and international productions. A 1961 musical film adaptation, directed by Robert Wise and Robbins, starred Natalie Wood, Richard Beymer, Rita Moreno, George Chakiris and Russ Tamblyn. The film was nominated for eleven Academy Awards and won ten, including George Chakiris for Supporting Actor, Rita Moreno for Supporting Actress, and Best Picture.
Aug 17, 2018
14187 PARMA Recordings - Songs of Lake Volta - Joseph Sheehan
<img src="" alt="itunes pic" /><br />SONGS OF LAKE VOLTA Joe Sheehan SONGS OF LAKE VOLTA, Joe Sheehan’s debut on Ansonica Records, finds the composer and pianist fusing his passion for the music of West Africa, particularly that of Ghana, with his background in both classical chamber music and contemporary jazz. SONGS OF LAKE VOLTA features nine traditional Ghanian songs surrounded by original music composed by Sheehan, performed by two critically acclaimed groups: Kinetic and Kassia Ensemble. Sheehan returned to Ghana several times after a life-changing trip in 2008, between 2013 and 2017, to further explore the country and its music. The intensity of these studies, which included many unforgettable late nights drumming and dancing, continued to inspire him, resulting in Kinetic’s 2014 recording, World of Wonder, and now in SONGS OF LAKE VOLTA. To promote the values of open, critical cross-cultural dialogue, this genre-bending album challenges the persistent notion of drumming being the sole outstanding feature of traditional African music. Kinetic, which Sheehan founded, is comprised of five versatile musicians who believe in breaking down barriers between traditional music genres and audiences. The newly-formed Kassia Ensemble is equally focused on breaking down barriers – the all-woman group came together to supersede the gender barrier that is prevalent in classical music. SONGS OF LAKE VOLTA features vocalist Anqwenique Wingfield singing in various indigenous languages and styles representative of Ghana’s ethnic diversity. The amalgamation of the Kassia Ensemble’s and Kinetic’s musicians represents an equally diverse spirit, incorporating whose work outside these groups extends to contemporary classical, R&B and hip-hop. SONGS OF LAKE VOLTA expresses Sheehan’s joy and admiration for Ghanian music in an honest and respectful way, sharing a wisdom that unites the three music traditions from which it draws influence: West African, classical and jazz. TRACK LISTING 01 Akoo Kofi 4:08 02 Damba Suite 6:42 03 Nyento 6:35 04 Oye 6:51 05 Subo 4:09 06 Confornoche 5:48 07 Kekele 5:06 08 Dusime 7:29 09 Dama Dama 4:42
Aug 18, 2018
14213 Bernstein: On the Town
<img src="" alt="itunes pic" /><br />Like Fancy Free, On the Town tells the story of three sailors during World War II and their amorous adventures on a 24-hour shore leave in New York City. The framework of a full-length musical piece, however, permitted the development of complete characters, comic situations, and a distinct theatrical personality. This personality, a rare combination of lighthearted and passionate, derived from the dramatic demands of time juxtaposed against the ominous background of the war. Surely, the personalities of its authors also influenced the show's singular identity. Furthermore, Comden and Green insured that the spirit of their writing would come to life by playing Claire and Ozzie themselves. Variety Magazine announced the show on June 7, 1944 saying, "...a group of youngsters have gotten together to stage a musical production. On the Town, scheduled for Broadway this fall will be written, produced and staged by 23 to 25 year-olds headed by Leonard Bernstein, who recently has forged to the front of the ranks of young symphonic composers and conductors.
Aug 15, 2018
14186 PARMA Recordings - Unexplored
<img src="" alt="itunes pic" /><br />UNEXPLORED NADA RADULOVICH CULLAN BRYANT The four works on UNEXPLORED, offer an expansive variety of musical genres while introducing listeners to previously unrecorded cello repertoire. Premiere recordings of works by Tchaikovsky, Cassadó, Rudnytsky, and Rimsky-Korsakov are presented by cellist Nada Radulovich and pianist Cullan Bryant. Tchaikovsky’s Six French Songs, opus 65, dedicated to Madame Desirée Artôt de Padilla, are settings of works of three French poets. The intensity of these poems is amplified by Tchaikovsky’s music. They find a convincing voice in this transcription for cello. Although this is a fully instrumental program, Radulovich provides the only available English translation of this poetry with this album at Navona Records. Published by Ovation Press. The passionate and compelling voice of Cassadó (1897-1966) in his Sonata of 1924, deserves to be widely shared and enjoyed . This four movement work is dedicated to Donna Giulietta von Mendelssohn who was said to ‘sing like a mermaid and play the piano like Liszt’ . This compelling work, presented here for the first time, represents various moods and dances. At times poignant, dramatic, playful, or uplifting, it is an effective synthesis of tradition cast in striking harmonic terms. Romantic Fantasie for Cello and Piano, Op 43, by Ukrainian composer Antin Rudnytsky (1902-1975), displays a conservative 20th-century harmonic language, while exploring the folk idioms of the composer’s native land. The intricate dialogue between the instruments illustrates the composer’s skill at evoking a variety of moods within a single composition. One of Nikolai Rimsky-Korsakov’s best-known works, The Flight of the Bumblebee, evokes the effortless yet driven path of the tiny insect. This unique transcription of the work was created by pianist Bryant in his effort to remain truer to the original score than previous transcriptions, and was inspired by his years of collaboration with Radulovich.
Aug 16, 2018
14212 Bernstein - Candide
<img src="" alt="itunes pic" /><br />In 1953, the renowned playwright Lillian Hellman proposed to Leonard Bernstein that they adapt Voltaire's Candide for the musical theater. Voltaire's 1758 novella satirized the fashionable philosophies of his day and, especially, the Catholic Church whose Inquisition routinely tortured and killed "heretics" in a ghastly event known as an "Auto da Fé" ("act of faith"). Hellman observed a sinister parallel between the Inquisition's church-sponsored purges and the "Washington Witch Trials," fueled by anti-Communist hysteria and waged by the House Un-American Activities Committee. Charged with rage and indignition, she began her adaptation of Voltaire's with lyricist John LaTouche and Bernstein, who wrote numerous musical sketches. Before long, LaTouche was replaced by poet Richard Wilbur. Hellman, Bernstein, and Wilbur worked periodically over the next two years but labored in earnest through 1956, a year when Bernstein was simultaneously composing West Side Story. By October 1956, Candide was ready for performances in Boston, where Dorothy Parker contributed lyrics to "The Venice Gavotte" while Bernstein and Hellman had also added lyrics of their own to other numbers. The lyricist credits were already beginning to mount up. Conducted by Leonard Bernstein
Aug 13, 2018
14185 PARMA Recordings - Mind and Machine - Volume 1
<img src="" alt="itunes pic" /><br />MIND & MACHINE VOLUME ONE Doug Bielmeier Jon Bellona Julius Bucsis Herbert Deutsch Bill Whitley Schliestett & Bliss MIND & MACHINE is the first of two electro-acoustic compilations to be released on RAVELLO RECORDS. Featuring the work of seven composers on six tracks, MIND & MACHINE explores the incredible range of works that can be categorized as electro-acoustic, a music in which styles are dictated by the technology that is at the heart of its performance. As far-ranging as are the works themselves are the composers of these pieces. Herb Deutsch (Moog to Mac) originally collaborated with musical pioneer Robert A. Moog on the development of the Moog Synthesizer in the 1960s. Jon Bellona (Currents) is an intermedia artist and composer who specializes in digital technologies, and Doug Bielmeier (Costa Mesa Rocking Chair) is a studio and live engineer. Also based in the technology realm are Jim Schliestett and Bob Bliss (Sunrise Sonata). Julius Bucsis (In the Interest of Time) is an award-winning composer, guitarist, and music technologist, and Bill Whitley (Absent Light) is a composer and pianist. On MIND & MACHINE’s six selections, this diverse assortment of composers utilizes such elements as incorporating instruments – cello, viola, violin, piano, lap steel guitar – and vocals; creating new musical works divorced from their source content; or, somewhat conversely, sounding out the intersections of our current electronic state while referencing its history; and exploring the relationship between subtle rhythmic shifts and the sense of groove. Each composer uniquely demonstrates how electronics play an equal, if not greater, part in the overall concept of their piece, proving that the possibilities for the creation and manipulation of sound are endless.
Aug 14, 2018
14211 Bernstein - A Quiet Place
<img src="" alt="itunes pic" /><br />A Quiet Place is a 1983 American opera with music by Leonard Bernstein and a libretto by Stephen Wadsworth. It is a sequel to Bernstein's 1951 “opera in seven scenes” Trouble in Tahiti. In its original form, A Quiet Place was in one act. Bernstein spoke of it as having a Mahlerian four-section structure. The premiere, conducted in Houston by John DeMain on June 17, 1983, was a double bill: Trouble in Tahiti, intermission, A Quiet Place. In its three-act form, Act II largely consisted of Trouble in Tahiti in flashback. This form appeared in 1984, with John Mauceri conducting in Milan and Washington. It was refined in 1986 for Vienna, where a recording was made and the composer himself conducted. Conducted by Leonard Bernstein
Aug 09, 2018
14184 PARMA Recordings - Secrets for Free
<img src="" alt="itunes pic" /><br />SECRETS FOR FREE FERDINANDO DE SENA It should be no secret that Miami-based composer Ferdinando De Sena is a tour de force amongst electroacoustic composers. Just listening to SECRETS FOR FREE is all the proof you need. The EP boasts adventurous yet accessible compositions that balance real instruments with computer-generated sound. SECRETS FOR FREE is a testament to fans of either subgenre that the two approaches to classical music do not have to be mutually exclusive. Starting with Deciphered Reverence, De Sena’s orchestra creates a thrilling balance of sensual suites and chilling chamber music. The composition is an adventure from beginning to end, leading the listener on a journey through the trials and tribulations of sonic wonder. The trumpets fill the heart with triumph; the strings lull the listener through tender balance, and the percussion booms with excitement at every turn of the performance. The second composition, titled eponymously, showcases De Sena’s complex ear of electronic music. Unlike the grounded performance of Deciphered Reverence, Secrets For Free reaches for something beyond the limitations of live instruments. De Sena interweaves the flute and digital instruments into a chamber music texture with a raw electronic sound reminiscent of some early video games. The third and final track is De Sena’s String Quartet No. 1. Originally written in memory of his mother-in-law Marie Warach, the track was commissioned by Compositum Musicae Novae for the CMN Quartet. The composition is broken down into three movements, each reflecting a mood of sorrow and mourning. Tension lies in the plucking of the strings and curious crescendos building to their breaking point, as if to reflect an air of disbelief. String Quartet No. 1 succeeds in perfectly capturing the denial one feels over a death. SECRETS FOR FREE is De Sena’s third project with Navona Records. He is a former student of fellow PARMA artist Dennis Kam. The composer earned a B.A. in Computer Music at Ithaca College, a Masters degree in Electronic Music and a D.M.A. in Composition at the University of Miami. He teaches composition and electronic music at the New World School of Arts.
Aug 12, 2018
14183 PARMA Recordings - 3 The Music of Gina Biver
<img src="" alt="itunes pic" /><br />3 : THE MUSIC OF GINA BIVER Fuse Ensemble On 3: THE MUSIC OF GINA BIVER, her debut recording on Ravello Records, composer, guitarist, vocalist and producer Gina Biver presents five selections featuring the concept-based new music/new media performing collective Fuse Ensemble, a group in which she has played an integral part for the past decade. Not only did Biver compose the five tracks on the album, she either performed on, produced, mixed and/or engineered many of them. On the opening track, Mirror, which draws its inspiration from the poem “Empress in the Mirror” by the American poet Colette Inez – who joins the composer in contributing spoken word to the track – Biver begins her exploration into the very nature of identity. Girl, Walking continues that exploration, flowing through five sections that are shaped as they go along by improvisations of the parts of the bassist, flutist and guitarist. Those improvisations unfold and force the unexpected; awakening new shapes and realities while the repetitive nature of the Biver’s electric guitar maintains an underlying continuing, eternal presence. We Meet Ourselves is dedicated to fellow Fuse Ensemble member Scott Deal, whose solo marimba triggers audio samples which represent Jung’s theories about the impact of confrontations with the unconscious and of the messages we receive as we go through life. On The Cellar Door, Biver musically explores Jung’s theory of individuation, the process by which the psyche becomes integrated and whole. Its audio track, with the vibrant and ethereal sounds of the waterphone, represents the unconscious, while the piano and cello represent the conscious life. Perhaps the only piece on the album not deriving inspiration from psychological inquiry is the closing track, No Matter Where. Biver states that she interpreted “No Matter Where, Not Pictured Here,” a painting by the notable American artist Jackie Tileston, as a journey and so decided to sonically travel around it. Captured sound (trains) is constant, suggesting unending movement; piano floats like water. The Asian influenced leg of her journey features tablas and ascending violin and piano lines made from Indian ragas and prepared piano with small Tibetan bells sitting atop the strings. Trains trail off, slowly fading away as the piece ends. Gina Biver is a composer, guitarist, vocalist and producer. She composes electro-acoustic music for chamber ensemble, choirs, dance, multimedia and film. Since 1991 she has scored music for television and film, winning multiple awards for her work. Biver’s work in inspired by the written word and by visual art. Her life and work involve collaborations with other musicians, filmmakers, choreographers, poets, computer artists, sculptors, painters and video artists.
Aug 08, 2018
14188 Bruckner - Symphony No 7 in E Major WAB 107
<img src="" alt="itunes pic" /><br />Anton Bruckner's Symphony No. 7 in E major (WAB 107) is one of his best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the "Lyric", though the appellation is not the composer's own, and is seldom used. Sylvia Wagner, conductor CMD German Opera Company of Berlin Orchestra
Aug 11, 2018
14210 Bernstein - Trouble in Tahiti
<img src="" alt="itunes pic" /><br />Leonard Bernstein was on his honeymoon in 1951 when he began composing his one-act opera, Trouble in Tahiti, a candid portrait of the troubled marriage of a young suburban couple. Written between his biggest Broadway successes— On the Town in 1944 and Candide and West Side Story in 1956 and 1957, respectively— Trouble in Tahiti draws upon popular songs styles to deliver an uncompromising critique of post-war American materialism. Beneath the couple's marital discord is a profound longing for love and intimacy. Their spiritual emptiness, in contrast to a veneer of happy consumerism, creates the heart of the drama and is emphasized by sudden stylistic shifts in the music. Bernstein dedicated the piece to his close friend Marc Blitzstein, who had led him toward music theater. Conducted by Leonard Bernstein
Aug 07, 2018
14182 PARMA Recordings - One at a Time
<img src="" alt="itunes pic" /><br />ONE AT A TIME Douglas Anderson Long time PARMA composer Doug Anderson is showcasing his legacy with ONE AT A TIME. As the name implies, Anderson’s solo compositions act as milestones to the artist’s musical development through the intimacy of solo instruments. As an instrumentalist early in his expansive career, Anderson found particular affection for live performance. In this album, you will hear the diversity of the composer’s inspiration amid its intense, physical element. The first track, appropriately named “...increasingly, physical…”, establishes tension with consistent building and release, creating captivating drama that draws the listener in immediately. Various artists spanning the artistic timeline of Anderson’s career perform on ONE AT A TIME. Each track spotlights a different instrument, adding to Anderson’s compositional legacy. “...increasingly, physical…” performed by Maureen Keenan, kicks off the album with her intense performance on the flute. The jazz-influenced composition is played with inescapable passion. Five Bagatelles and a Synopsis, on the other hand, is an exploration lead by pianist Jin-Ok Lee into a realm evoking free jazz sharing blurred lines with the avant-garde. Contrast that with “...springing, gradually…” which presents Debbie Schmidt and her French horn creating a grand orchestral sound that evokes nostalgia for the days of radio dramas. Anderson’s ONE AT A TIME is nothing less than engaging. Listeners will be hanging on to every breath the musicians take. Performances are raw, emotionally arresting, and yet provide the perfect insight into the mind of a completely original and unique composition talent.
Aug 10, 2018
14209 Leonard Bernstein - The Complete Ballets
<img src="" alt="itunes pic" /><br />Fancy Free Facsimile - Choreographic Essay for Orchestra Dybbuk Conducted by Leonard Bernstein
Aug 05, 2018
14181 PARMA Recordings - Stylistic Alchemies
<img src="" alt="itunes pic" /><br />STYLISTIC ALCHEMIES Scott Barton Scott Barton, contemporary composer and Assistant Professor of Music at Worcester Polytechnic Institute, engages in a rather unusual hobby: He designs and builds musical robots. Hardly unexpected then, that Barton's first Ravello Records release STYLISTIC ALCHEMIES is an electroacoustic box of surprises. Balancing diverse musical elements with the virtuosity of a skilled playwright, Barton takes the listener on a journey that pushes the boundaries of established genre definitions. The opening track, Breeding in Pieces, starts out with a deceptively familiar early 2000's indie rock (!) sound – only to lead, like a will-o'-the-wisp, into the alluring sound of Eroding Mountains, in which a suave 1960's-style radio presenter voice juxtaposed with dissonant plucked strings creates an atmosphere of tangible unease. For those who prefer their serving of destiny to be accompanied by a side dish of jocular existential absurdity, Opus Palladianum ticks all the boxes, offering a well-structured, soothing respite soon taken over by synthesizers and rhythmic experimentation. In many ways, STYLISTIC ALCHEMIES is a work of contrasts and the reconciliation of opposites: for Steps that Grow When Climbed is equally bleak and colorful, interrupted only by the occasional glimpse of harmonic resolution, impressively building up to a harrowing climax in which rhythm and melody eventually triumph over the chaos. Carried by Currents could well be the soundtrack to an intriguing dream, its themes appearing and dissolving in logical successions but retaining an atmosphere of wavering physicality, at times walking a tightrope which seemingly spans an almost classicist aesthetic. The aptly titled Effusion, on the other hand, may hold interest with a recurring theme (quite the rarity on an album as diverse as this), but the instrumentation and compelling rhythm convey a mood more reminiscent of a psychedelic night out. Scott Barton's work indubitably succeeds in transcending the limits of contemporary composition: STYLISTIC ALCHEMIES wants to be, and is, more than electroacoustic chamber music – it is a journey through the possibilities of artistic expression.
Aug 06, 2018
14180 Richard Strauss - Arabella Op. 79
<img src="" alt="itunes pic" /><br />Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration. Joana Filipe Martinez - conductor and producer CMD Grand Opera Company of Barcelona Spain Download now at:
Aug 04, 2018
14208 Bernstein: Peter Pan
<img src="" alt="itunes pic" /><br />Peter Pan is a 1950 musical adaptation of J. M. Barrie's play Peter Pan, or The Boy Who Wouldn't Grow Up with music and lyrics by Leonard Bernstein; it opened on Broadway on April 24, 1950.[1] This version starred Jean Arthur as Peter Pan, Boris Karloff in the dual roles of George Darling and Captain Hook, and Marcia Henderson as Wendy. The show was orchestrated by Hershy Kay and conducted by Benjamin Steinberg. The show ran for 321 performances, closing on January 27, 1951. The production was initially intended as a full-blown musical, with Bernstein composing a complete score for it, but was staged with only five songs – "Who Am I?", "Pirate's Song", "Plank Round", "Build My House", and "Peter Peter" – to accommodate the limited vocal ranges of the principals. In 2000, conductor Alexander Frey learned about the full score, and restored the omitted material, which included almost an hour of previously unperformed Bernstein music. The restored songs included "Captain Hook Soliloquy" and "Dream With Me". The world premiere recording of Bernstein’s complete score was released on CD in 2005, conducted by Frey, and featuring Broadway star Linda Eder in the role of Wendy Darling, and baritone Daniel Narducci as Captain Hook, on the Koch International Classics label. In September 2008 the world premiere performance of the full Bernstein score was performed in concert with Alexander Frey conducting the Gulbenkian Orchestra, and dialogue adapted from the original J. M. Barrie play by Nina Bernstein Simmons. Three performances were given in Cascais, Portugal, for a combined audience of over 10,000 people, and featured Geraldine James (narrator), John Sackville-West (Peter Pan), Charlotte Ellett and Rachel Nicholls(Wendy) and Nicholas Lester (Captain Hook). The first stage production of the full Bernstein score was given by Santa Barbara Theater (California) in December 2008, directed by Albert Ihde and again conducted by Alexander Frey. A new chamber adaptation of the score will be produced at the Richard B. Fisher Center for the Performing Arts in June 2018, directed by Christopher Alden.
Aug 02, 2018
14179 PARMA Recordings - Waking the Sparrows
<img src="" alt="itunes pic" /><br />WAKING THE SPARROWS Duo Sureño Nancy King, soprano & Robert Nathanson, guitar WAKING THE SPARROW, the premiere recording on PARMA RECORDINGS from classical and baroque guitarist Robert Nathanson and soprano Nancy King, performing as Duo Soreño, is the result of a twenty-year long journey exploring the grandeur of the human voice blended with the vibrancy of the guitar. Interpreting the work of five notable modern composers who were, in turn, inspired by the words of poets throughout the ages, Nathanson and King deliver a stunning performance that is rich in its variety and impressive in scope. The album opens with William Neil’s “Out of Darkness into Light”, which adds violin, saxophone, bassoon and contrabassoon to Duo Soreño’s arrangement of what the composer described as a “mystery play interpreting through composed and improvisational music the prayer-like text written by Malgosia Sawczuk.” Along with violinist Danijela Žeželej-Gualdi, the duo interprets “Open the River,” with text from “To the Hand,” a poem by W.S. Merwin. The poem’s transcendental and archetypal imagery provides a rich underpinning for the piece. The remaining pieces on WAKING THE SPARROW feature only Nathanson and King. “A Song of Unending Sorrow” is a three-movement setting for guitar and soprano, inspired by composer Jing Jing Luo’s interpretation of a work by the Tang Dynasty poet Ba Juji. The performance, at once both simple and intricate, captures the ecstasy of love and the sorrow of loss. Pulitzer Prize and Grammy Award-winning composer William Bolcom’s “Three Cabaret Songs” – among the most beloved of his songs – arise from his collaboration with poet Arnold Weinstein and are here for the first time arranged for soprano and guitar by guitarist Michael Lorimer. Inspired by the seasonal aspect of much of haiku poetry, “Waking the Sparrows: Five Haiku Songs” was composed for Duo Soreño by David Ketchley. Its lyrical and dramatic exploration of the timbral possibilities of voice and guitar evoke a haiku-like aura of Spring, further emphasized by King’s singing of the lyrics to several of the movements in Japanese. Guitarist Robert Nathanson is an active recitalist and orchestral soloist, now focusing on chamber music. He has been performing as part of the Ryoanji Duo (guitar and saxophone) and the North Carolina Guitar Quartet since 1992 and as part of Duo Soreño since 1999. He is also the Artistic Director of PRO MUSICA, a concert series celebrating the music of living composers. A champion of new music, Nathanson has commissioned, premiered, and recorded works by many modern composers. He has released five CDs in various musical configurations prior to his PARMA RECORDINGS debut, WAKING THE SPARROW. Soprano Nancy King is artistic director of Opera Wilmington and an active performer and guest lecturer. She has performed and recorded with the Wilmington Symphony, Chamber Music Wilmington, Toronto Classical Singers, and the Grammy Award-winning Oregon Bach Festival Chorus, of which she was a member from 1998 – 2004.
Aug 03, 2018
14207 Jane Leslie - Starlight Reflection
<img src="" alt="itunes pic" /><br />Soft and reflective piano solos dedicated to those who love beautiful, peaceful melodies, and the warm sound of the piano. Winner of several ASCAP Awards for her music, Jane Leslie holds two degrees from Juilliard.
Jul 31, 2018
14178 PARMA Recordings - Birds of the Psalms
<img src="" alt="itunes pic" /><br />BIRDS OF THE PSALMS Cappella Clausura German philosopher Immanuel Kant defined the Sublime as "beauty accompanied by awe" – a thought which perfectly encapsulates the spirit of Cappella Clausura's second PARMA release, BIRDS OF THE PSALMS. Evocatively conducted by Amelia LeClair, the ensemble interprets a magnificent choral repertoire spanning six centuries. Indeed, this Boston-area choir performs with such intimate dedication that the individual voices morph into a single body of sound, leading the listener deeply into the heart of the music itself. This unification of vocal expression, flawless and soulfully upheld throughout, unveils the timelessness of all works performed – from 17th-century favorite Henry Purcell's Hear My Prayer to contemporary composer Patricia Van Ness's eponymous choral cycle Birds of the Psalms. The latter, a selection of ten psalms scored for a cappella choir, constitutes the album's focal point. Van Ness explores the pure and the divine in carefully constructed, aesthetically crafted soundscapes. Conducted by Amelia LeClair, Birds of the Psalms runs the gamut of the human condition from profound serenity to fervent longing. While Psalm 104 conveys a sophisticated tenderness, Psalm 54 and Psalm 148 examine downright primal realms of tonality, featuring grand melodic lines interspersed with strong rhythmic contrasts. The opening track, Psalm 91, develops into a spacious musical tapestry from but a single initial voice. Unsurprisingly, Van Ness's gracious compositions pair well with the established choral repertoire. Purcell's aforementioned classic, haunting and beautiful in its own right, is performed with dolorous intensity, rendering the final resolution nothing short of breathtaking. Tchaikovsky's ethereal Svete Tihiy evokes the natural appeal of birdsong, while Rachmaninoff's Blagoslovi, its background of male vocals juxtaposed with a single alto in what could best be described as a spiritual bel canto, sounds positively out of this world. Painstakingly recorded, mixed, and mastered, this album draws the listener into crystal-clear, extraordinary scenery, transcending the limitations of the modern secular existence. If there is a musical way to intuit Kant's ideas of the truly Sublime – this is it.
Aug 01, 2018
14206 Sibelius - Belshazzar's Feast and Symphony No. 3
<img src="" alt="itunes pic" /><br />Belshazzar's Feast, Op. 51, is incidental music by Jean Sibelius to a play of the same name by the journalist, poet and playwright Hjalmar Fredrik Eugen Procopé. Sibelius composed in 1906 eight movements, scored for orchestra, with singers also being required in some numbers. The Symphony No. 3 in C major, Op. 52, by Jean Sibelius is a symphony in three movements composed in 1907. Coming between the romantic intensity of Sibelius's first two symphonies and the more austere complexity of his later symphonies, it is a good-natured, triumphal, and deceptively simple-sounding piece. The symphony's first performance was given by the Helsinki Philharmonic Society, conducted by the composer, on 25 September 1907. In the same concert, his suite from the incidental music to Belshazzar's Feast, Op. 51, was also performed for the first time. Conducted by Dominique Beaulieu CMD Paris Philharmonic in Orleans
Jul 29, 2018
14177 PARMA Recordings - Sweet Spontaneous
<img src="" alt="itunes pic" /><br />SWEET SPONTANEOUS Michael Arnowitt & ImproVisions Jazz Concert pianist and composer Michael Arnowitt, assisted by ImproVisions Jazz, makes his Big Round Records debut with SWEET SPONTANEOUS, the title drawn from a poem by e.e.cummings. This two-disc jazz album features 14 of Arnowitt’s own compositions with the composer himself at the piano, joined by a dozen jazz notables including Yosvany Terry on alto sax, Lucas Pino on tenor sax, Dave Smith on trumpet, and Colin Stranahan on drums. Against the Wind, featuring vocalist Shirley Crabbe, tells the story of a woman summoning the strength to persist in the face of powerful forces. In The Crossing, bassist Rick Rosato’s accompaniment to the spoken words of a Langston Hughes poem evolves into a slow groove of brushes, keys, bass, and sax, rendering the listener completely spellbound. Syria-us is the creative culmination of a deep study Arnowitt made of Syrian literature and music in preparation for benefit concerts he organized in 2016 to support humanitarian aid for Syrian refugees. The composer’s love of Bulgarian music is shown in Bulgarian Hoedown’s wild, exuberant fiddling and Shapka Swing, which opens with a triumphant fanfare that transitions to klezmer before emerging as the energetic gem of the album. Ascent features a reading of Maya Angelou’s celebrated poem Still I Rise combined with a flirtatious melody and syncopated accompaniment reflecting the spunkiness of both poet and poem. With SWEET SPONTANEOUS, Michael Arnowitt encapsulates the journey of world music into jazz with dignity, class, and just the right amount of swing. The Washington Post wrote of an Arnowitt concert: “He played with an exquisite sense of touch, color and musical imagination.” Come join Michael Arnowitt as he takes us on voyages into these highly absorbing musical landscapes.
Jul 30, 2018
14205 Dominika Zamara - Traccia
<img src="" alt="itunes pic" /><br />Dominika Zamara was born 11 August 1981 in Wrocław. In 2007 she had honours degree on Karol Lipinski Musical Academy in Wroclaw (vocal faculty). Her professor was Barbara Ewa Werner. She received the one year lasting scholarship in the Italian Musical Conservatory in Verona, She educated her voice in Italy at masters of bel-canto art such as: Bruno Pola, Alida Ferrarini, Enrico De Mori, Mario Melani, Alessandra Althoff-Pugliese, Danile Anselmi. She works with numerous artistic agencies in the whole Europe and the United States.
Jul 27, 2018
14175 PARMA Recordings - 40 Years of Contemporary Music
<img src="" alt="itunes pic" /><br />40 YEARS OF CONTEMPORARY MUSIC GRUPO ENCUENTROS Alicia Terzian, conductor Since composer, conductor and musicologist Alicia Terzian founded Grupos Encuentros in 1978, the six-person group has garnered international acclaim for its success at bringing the music of avant-garde Argentinian and Latin American composers to the world. On 40 YEARS OF CONTEMPORARY MUSIC, their debut recording for RAVELLO RECORDS, the group combines compositions from such well-known Latin American composers as Heitor Villa-Lobos, Alberto Ginaslera, and Terzian herself with works by an international array of composers that ranges from Anton Webern (Germany) to Luciano Berio (Italy) to Franz Schreker (Austria) to Pierre Boulez (France). Grupo Encuentos consists of mezzo soprano Marta Blanco, pianist Claudio Espector, flutist Fabio Mazzitelli, clarinetist Matias Tchicourel, violinist Sergio Polizzi and violoncellist Carlos Nozzi. In this CD, saxophonist Maria Noel Luzzardo, oboist Ruben Albornoz, bassoonist Ernesto Imsand and percussionist Arauco Yepes join Encuentros Group. The program presented on 40 YEARS OF CONTEMPORARY MUSIC originally premiered at the annual Encuentros International Festivas in Buenos Aires and truly highlights the brilliance of these award-winning musicians, who have earned high praise from such media outlets as the Los Angeles Times, where they were lauded as “deeply serious and challenging.” Over their 40 year-long career, the group has performed in more than 300 concert halls and festivals of the main cities of five continents including London’s Royal Albert Hall and New York City’s Merkin Auditorium. 40 YEARS OF CONTEMPORARY MUSIC transcends cultural boundaries with such selections as Villa-Lobos’ Choro No 7, which unites the sounds of Amerindian primitivism with the polkas and waltzes of suburban dance halls in Brazil. Emphasizing her status as a renowned ethnomusicologist, Terzian dedicates her composition Yagua Ya Yuca to the Chiriguano and Chanel peoples, who belong to a lost indigenous northwestern Argentinian culture O King was composed the same year as the assassination of Martin Luthor King, a tragedy which deeply affected its Italian composer Luciano Berio. Grupo Esncuentros founder Alicia Terzian has composed over 80 compositions for orchestras, orchestra with soloist, and chamber orchestras with and without soloists, musical theater, dance, and multimedia. She travels the world giving seminars on composition and contemporary chamber music at European and American universities and is often invited to participate on juries at international compositions.
Jul 28, 2018
14204 Mozart at 23
<img src="" alt="itunes pic" /><br />Coronation Mass in C Major, K 317 Symphony No. 32 in G Major, K. 318 Symphony No. 33 in B-flat Major, K. 319 Posthorn Serenade for Orchestra No. 9 in D Major, K. 320 Dominique Beaulieu, conductor CMD Boys Choir of France CMD Paris Philharmonic and Chorus of Orleans
Jul 25, 2018
14174 PARMA Recordings - DASH - Cuatrogato (Four Cats)
<img src="" alt="itunes pic" /><br />DASH CUATROGATO (FOUR CATS) A warm, tropical breeze blows across the palm trees while you stroll Havana’s famous Malecón. There’s a good chance you hear the music from DASH – the latest release from Ansonica Records. Recorded in Cuba, DASH was born from the vision of jazz and with the intent of fusing it with traditional rock, Cuban folk, and music from other traditions. For Dash opens the album with propulsive drums and hook heavy Hammond B3 before igniting a propulsive jam that sets the tone for the rest of the recording. Contrary to its title, Inertia moves between Andy Garcia Palacios’ laid back electric piano groove and Dayron Ortiz Jiménez’s ferocious electric guitar. Drume Negrita and Cuando Ya No Estas layer Cuban flair over a slow jam. With exceptionally fluid guitar and drums sitting deep in the pocket, this is what sunset in Cuba sounds like. DASH concludes with the rollicking melody of Easy Blues. Saloon style piano over Hernán Cortes Vilches’ funk heavy drums effortlessly bends genres while still sounding distinctly Cuban.
Jul 26, 2018
14173 PARMA Recordings - The Gorgeous Nothings
<img src="" alt="itunes pic" /><br />THE GORGEOUS NOTHINGS Ingrid Stölzel THE GORGEOUS NOTHINGS is composer Ingrid Stölzel’s first recording on Navona Records, although she has also been featured on three compilation albums released by the label. Haunting and lyrical throughout, the album explores themes of beauty, being, journey and transformation. The album’s eleven tracks, some inspired by the poetry of Emily Dickinson and Walt Whitman and some created by Stölzel’s own native curiosity, engage the listener intellectually, emotionally and spiritually. The album’s title composition takes as its inspiration Emily Dickinson’s envelope writings and weaves together five paper fragments into a beautiful song cycle. Soprano Sarah Tannehill Anderson performs against a backdrop of flute, oboe and piano, evoking a sense of both the poet’s and the composer’s creative spirits. In here there, performed by Navona violinist Véronique Mathieu and pianist Ellen Sommer, Stölzel plays with the subtlety of perspective. The interplay between piano and violin creates a sense of the instruments both attracting and resisting each other, much like the emotion one feels when torn between two places. In Soul Journey – Three Whitman Songs, Stölzel brings together three poems by Walt Whitman into a song cycle, which creates a journey of the soul from awakening to awareness to transcendence. These striking lyrical interpretations from Whitman’s “Leaves of Grass” are soulfully interpreted by mezzo-soprano Phyllis Pancella and Ellen Sommer on piano. With Eyes Open takes as its source material Stölzel’s earlier composition, “with both eyes.” Here, allowing herself to fully open to the idea of possibility, Stölzel takes the 2008 composition, originally written for flute, guitar, vibraphone and piano, and transforms it into a subtle and serene piece written for alto saxophone and piano. The album concludes with The Road is All, which takes as its inspiration a quote from a 19th century historian which translates to “The end is nothing; the road is all.” Each instrument – violin, cello and piano – travels on its own journey throughout the piece, sometimes solo and at other times converging, embracing the twists and turns, the unpredictability that is life, and the simple enjoyment of a moment in passing time. Ingrid Stölzel has been hailed as “a composer of considerable gifts” who is “musically confident and bold” by NPR’s classical music critic. Her music has been described as “tender and beautiful” and as creating a “haunting feeling of lyrical reflection and suspension in time memory.” Stölzel’s compositions have been performed in concert halls and at festivals worldwide including the Kennedy Center, Seoul Arts Center, Thailand International Composition Festival and the Festival of New American Music, among others. Her music has been awarded and recognized in numerous national and international competitions.
Jul 24, 2018
14172 PARMA Recordings - Hymnus
<img src="" alt="itunes pic" /><br />HYMNUS Otmar Mácha, composer JITRO Czech Girls Choir | Jiří Skopal, conductor On HYMNUS, the world renowned Jitro Czech Girls Choir under the direction of Jiří Skopal once again delivers refined, dazzling interpretations of the music that is so much a part of Czech culture. The album, which is the Choir’s third release on Navona Records, includes 24 selections that range from Moravian and Silesian folk songs on which the Choir interprets the subtle call and response between bucolic lovers, to a series of compositions inspired by Latin proverbs on which intricate, multidimensional vocals underscore the significance of a simple word or phrase. While the album’s tracks are assembled under specific groupings – Silesian Yodel Songs, The Replies of Silesian Songs, Moravian Folk Songs, and Proverbia – this merely delineates the source material. The unifying impact of the Choir’s exquisitely crafted vocals elevates this album far above what might otherwise be an ethnomusicological exercise. For the most part, the choir performs without any instrumental accompaniment, save for several Moravian folk songs, on which a solo piano provides an additional layer of intricacy, and for the album’s closing track, Hymnus. Combining the stirring instrumentation of kettledrum and organ with the Choir’s uplifting vocals, Hymnus translates the positive, humanistic vision of John Amos Comenius, the 17th century educator, philosopher and theologian, into what serves as a superb melodious conclusion of this impressive recording. Conductor and educator Jiří Skopal has managed the Jitro Czech Girls Choir since 1977. Over the ensuing years, he has achieved major international success at concerts in Europe, Asia, and the United States. In total, Skopal has recorded 43 albums with his choirs and conducted more than 3500 concerts. The Jitro Czech Girls Choir is a complex institution with a membership of around 350 young singers ranging between five and 19 years of age. Since being founded 35 years ago, the Choir has been lauded internationally for its tonal brilliance, superb intonation, and distinctive rich blend of sound and energetic vitality. It is considered as one of the best children’s choirs anywhere in the world, receiving multiple awards and medals.
Jul 22, 2018
14199 PARMA Recordings - Bello Son
<img src="" alt="itunes pic" /><br />BELLO SON TROVAS MODERNAS With TROVAS MODERNAS, the members of Bello Son have curated the latest edition of the Great Cuban Songbook. This group of free format musicians emerged in the summer of 2014, from an experimental project developed over six years by Professor Jesús Bello at the Samuel Feijóo Art School in Villa Clara Cuba. Since May 2015 Bello Son has worked and performed consistently including presentations and performances in Trinidad, in Havana with the Association "José Martí,” and on television broadcasts across Cuba. From the timeless salsa of Luis “Tata” Guerra’s “Son Matamoros” to Ñico Saquito’s “Amarro Con P,” the music on this album represents a deep dive into the music that defines a country and its people. Tony Smith’s “Dile Que Por Mi No Tema” is a passionate salsa featuring a spurned lover who informs a former flame to “tell your new lover there is nothing to fear / it has been a long time since I erased you from my mind.” “Los Celos De Mi Compay” (My Friend’s Jealousy) rounds the story out with surprisingly upbeat music contrasting a less than joyful circumstance. Alongside Cuban icons Pepe Sanchez, Rosendo Ruiz, and Manuel Corona, Sindo Garay is considered one of the four greats of the trova – poetic songwriters who accompanied themselves on guitar. Indeed, these trovadors were the folk musicians of Cuba, and Bello Son’s take on Garay’s “Retorna” carries on the tradition proudly. “El Reto” (The Challenge) features a rollicking piano line and birdlike flute that dances around the lyrics. As a gateway into understanding a people and culture, music has no equal. Listening to TROVAS MODERNAS provides an unparalleled look into the hearts and minds the Cuban people.
Jul 21, 2018
14202 PARMA Recordings - The Broken Vessel
<img src="" alt="itunes pic" /><br />THE BROKEN VESSEL Magnar Åm With THE BROKEN VESSEL, Andreas Barth, Geir Hjorthol and Magnar Åm take the concept of “industrial music” to a whole new level. The recording took place in an abandoned Norwegian factory, “The Propeller Hall,” utilizing everything from the acoustics in the building to the muffled sounds of traffic outside its walls. In this way the building became a partner in a concrete as well as a metaphorical way in creating the music of this ten-track album. Let us quote the composing musicians: “Metaphorically the building with all its scars could be seen as a broken vessel, left alone and non-productive. And this broken vessel even became the reflection of how our minds had to willingly enter into the nothingness of the creative moment, where we are left with nothing but what we are and what is around us, trying constantly to find a meaningful way into the next moment. This is true both as far as composition and improvisation concerns, maybe even living in general…” The notion of THE BROKEN VESSEL is borrowed from German philosopher and critic Walter Benjamin. Benjamin argued against the idea that any original work could be translated into another language while still retaining its original meaning. Thus any translation would be a “broken vessel”. “We chose this title,” the composing musicians say, “because we acknowledge the impossible challenge in translating what our hearts feel into a musical language. But music was the most direct language we could find.” From this double inspiration, the three composers/musicians created their sonic interpretations of a factory, now abandoned, as an image of the relation between past and present, but also between the materiality of industrial production and the spirituality of music. They created this project using instruments such as a glass harp, grand piano, trumpet, the human voice and various percussion instruments including tools and materials found within the factory. They manipulated their sonic output to simulate the industrial sounds of production in an attempt to musically translate the labours, but also the hopes and longings of the workers of the past. The outcome of this was a series of musical images filled with contrasts between darkness and light, drama and peaceful meditations. Though the past cannot be fully translated, Barth, Hjorthol and Åm reimagine the factory in its working condition, bringing the building to life in an attempt to retell its story to a new audience.
Jul 19, 2018
14171 Bruckner: Symphony No. 6 in A Major, WAB 106
<img src="" alt="itunes pic" /><br />Bruckner's most passionate and best orchestrated symphony. Even Gustav Mahler wrote of the Adagio movement of this symphony, "The Adagio achieves a level of composition that I have yet to achieve." Only the 2nd and 3rd movements of this symphony were performed in Bruckner's lifetime. Sylvia Wagner, conductor CMD German Opera Company of Berlin
Jul 20, 2018
14170 PARMA Recordings - John Robertson Symphony 1
<img src="" alt="itunes pic" /><br />SYMPHONY NO.1 John Robertson Deeply committed to a beauteous aesthetic, composer John Robertson's second album SYMPHONY NO.1 once more delivers a neoclassical triumph with tremendous potential for repeated listening. This release flaunts an unapologetically exuberant elegance ever-present in the composer's oeuvre. The heart of the album is, of course, Robertson's Symphony No. 1, a three-movement epos which explores the vast realm of classical tonality. While the first movement starts out touching upon 20th-century harmonies reminiscent of Prokofiev, the second one already harkens back to the late Romantic school. Still, remaining very much a contemporary composition in its essence, this symphony offers plenty of innovation: not only does it push the limits of the traditional symphonic fast-slow-fast movement order, it also spearheads intensely lyrical soloistic parts such as the third movement's elaborate solo violin introduction, from which all other instruments organically spring forth. In the same vein, the Suite for Orchestra Op. 46 is easy on the ear, oscillating between the exaltation of the introductory Fanfare, the natural grace of the subsequent Waltz, the profound tristesse of the Elegy, and the uplifting, resolute splendor of the concluding March. The form of musical variations, the calling card of a composer's skill and craftsmanship throughout the ages, receives an apt treatment in the form of Robertson's Variations for small orchestra, Op. 14. In just over 18 minutes, they explore the possibilities of thematic development from every imaginable angle, ranging from the solidly-classical to the breezingly and self-confidently outlandish. John Robertson's straightforward formal choices render all of these compositions intuitively accessible, yet make no compromises in terms of technical and musical complexity, which remain sophisticated throughout. SYMPHONY #1 proves that new music can be rooted in tradition, yet offer a breath of creative fresh air – effortlessly and naturally.
Jul 18, 2018
14201 PARMA Recordings - 315 Ensemble
<img src="" alt="itunes pic" /><br />315 ENSEMBLE CHRIS CRESSWELL Arjun Jethwa Luke Newby Laurie McGee Laetitia Van Wyk Heather Duncanson Chris Cresswell Ravello Records presents 315 ENSEMBLE, the self-titled debut album of composer/electric guitarist/sound artist Chris Cresswell’s sextet, recorded live at Birmingham Conservatoire in England. Cresswell’s 315 Ensemble is dedicated to exploring possibilities in electroacoustic music as well as commissioning works from outstanding composers worldwide. This album premieres two compositions by Creswell exclusively. 315 Ensemble is “a chamber ensemble masquerading as an electro-acoustic band or an experimental band masquerading as a chamber ensemble,” includes Arjun Jethwa (flute/bass flute); Luke Newby (clarinet/bass clarinet); Laurie McGee (violin); Laetitia Van Wyk (cello); Heather Duncanson (piano); and Chris Cresswell (electric guitar/electronics). In Cresswell’s blurs the line between white noise, digital sampling, ambient electronic textures, and classical instruments, with an organic structure and a restrained instrumentation. This culminates in a provocative exploration of tonalities through which the listener is challenged to hear sound graphics as the foreground. This journey is aptly reflected in the first work “From Dreams, We Emerge,” about which, the composer writes: “the work explores subtle, shifting electronic textures built from white noise, sampled instruments, and static.” The album also premieres “The Lost Art of Losing Sleep,” the first work Cresswell wrote specifically for the ensemble. The music, an exploration of electroacoustic tone clusters, is accompanied by a poem: woven fragments wash over him as he rediscovers the lost art of losing sleep
Jul 17, 2018
14169 PARMA Recordings - Hipster Zombies from Mars
<img src="" alt="itunes pic" /><br />HIPSTER ZOMBIES FROM MARS PIANO MUSIC FOR A POST-IRONIC AGE Nicholas Vines, composer Ryan MacEvoy McCullough, piano Nicholas Vines presents HIPSTER ZOMBIES FROM MARS, his third PARMA Recordings album. This collection of three major piano works by Dr. Vines was recorded on location at Cornell University with artist Ryan MacEvoy McCullough at the piano. For all of the flash one might expect from the album title, Vines bypasses gimmickry in order to capture something sophisticated. Standouts include the four-movement Terraformation for pianoforte, inspired by Kim Stanley Robinson’s science-fiction novel “Red Mars.” Vines depicts the technology’s influence on nature by lifting traditional classical forms and acclimating them to a modernist viewpoint. McCullough captivates the listener with his careful attention to the futuristic timeline into which Vines’ tone clusters have been poetically mapped. Indie Ditties: Twelve Scapes for Piano is a social commentary on the modern hipster movement. The multi-genre piano melodies are thoughtfully constructed, telling a story that is both interesting and musically complex. Concentrating carefully, a keen listener will hear familiar incidental phrases in the most unexpected of places (hint: Movement III, Bad Appletude is not about produce). Vines describes his compositional technique as “ firmly rooted in the technical resources of the Western classical canon, while embracing sounds and ideas from an array of popular, experimental, Australian and non-Western traditions. This combination of rigour and pluralism gives rise to music at once vectored and kaleidoscopic.” Popular media outlets have called the work of Dr. Nicholas Vines “exquisite,” “riveting,” “arresting,” “edgy, bright and entertaining as hell.” HIPSTER ZOMBIES FROM MARS does not fail to deliver on these accolades.
Jul 16, 2018
14200 PARMA Recordings - The More You Know
<img src="" alt="itunes pic" /><br />THE MORE YOU KNOW Ron Paley Exuberant and exciting is the Big Round Records debut of big band pianist and composer Ron Paley. This is not “just another pops album.” Paley’s work is cool, clever, and ridiculously fun. Seven of the ten tracks on THE MORE YOU KNOW are completely composed, arranged, and performed by Ron Paley. “Theme” is energetic, exploring elements of upbeat jazz and classic boogie woogie. Fast-paced, too, is “U of M” where the artist/composer delves into the genres of gospel and rock as well—surprising the listener at the end with his impressive talent for percussing vocally. “A Beautiful Soul,” and “P&Q” are exquisite jazz ballads that are par with the perfection of those Weill, Porter, or Gershwin. This is demonstrated, too, in Paley’s Ballad Trilogy. “Listen to the Sound,” explores the rhythmic character inherent in Latin dance genres. The title track, “The More You Know,” is fresh and improvisatory. Paley’s mash-up arrangement of Dietz and Schwartz’s “Alone Together” and Orbison’s “Pretty Woman,” is the most experimental track on the album and demonstrates Paley’s gift for transforming the expected into something altogether new. Paley’s arrangement of Tchaikovsky’s “Waltz of the Flowers,” is a lounge treat, unlike any other interpretation of the favorited Nutcracker tune. Paley brings the same sort of originality to his fabulous arrangement of Chopin’s Prelude in C-Minor, which concludes this treasure of a recording. For complete track listings and credits, please visit:
Jul 15, 2018
14168 PARMA Recordings - Tableau
<img src="" alt="itunes pic" /><br />TABLEAU TEMPEST & TANGO Clipper Erickson, piano Navona Records artist Clipper Erickson presents a solo piano album of works by composers Richard Brodhead (1947- ), David Finko (1936-), and Modest Mussorgsky (1839-1881) entitled TABLEAU TEMPEST & TANGO. The mostly Russian-themed album climaxes with Erickson’s masterful interpretation of Mussorgsky’s Pictures at an Exhibition. The original version for solo piano precedes the iconic orchestrations by many composers, most notably Maurice Ravel. For Erickson, the piano is his orchestra, and he conducts it marvelously through every movement, down to the famed finale, The Great Gate of Kiev. Stellar, too, is Erickson’s interpretation of Finko’s Fantasia on a Medieval Russian Theme, which is inspired by a grievous poem about the oppression of the Russian people. Mussorgsky also used this poem, incorporating it as part of the libretto for the Act I choral scene of his Khovanshchina (1880). The severity, which is truly captured in Finko’s fantasy, is made spiritual by Erickson’s interpretation. Finko’s Sonata No. 1 Solomon Mikhoels is next. It has folk roots--budding from the composer’s interest in Yiddish and Slavic cultures. Erickson executes the polarity in dynamic contrast and rhythmic complexity with incredible manual dexterity. Finko writes that his Sonata No. 2 “expresses the acute feelings of a sensitive intellectual who goes through several stages of personal sufferings and struggle.” This journey is demonstrated by Erickson’s acute attention to mood, even in the subtlest of harmonic progressions. Finko’s Sonata No. 3, composed in 2009, is evocative of the evolution of the composer’s technique since his first sonata in 1964. Erickson, too, shows an evolution -- the melodies become more fluid, the separation between each note more precise. The listener is transported to Argentina where Erickson presents Richard Brodhead’s Una Carta de Buenos Aires, a truly dark tango. It is mysterious and vacant, but Erickson handles it like a delicate flower. The finale is Brodhead’s Sonata No. 2, Sonata Notturna, dark, too, in its presentation, but Erickson’s light shines on the meditation of terrors we hear at night. As evidenced on his previous recording, 2015’s MY CUP RUNNETH OVER, Professor Erickson’s prodigious performances are not only products of his superior musicianship, but also the in-depth studies he completes on every work performed. This is the best collection of such works to date. TABLEAU TEMPEST & TANGO is a must-have for the collections of piano dilettantes and savants alike. As the LA Times notes, Erickson plays “with extraordinary dash and power and he never let[s] flamboyance obscure art.” For complete track listing and credits, please visit:
Jul 14, 2018
14167 PARMA Recordings - The Fifth Row
<img src="" alt="itunes pic" /><br />THE FIFTH ROW Stuart Weber Find your seat and settle in with THE FIFTH ROW, the latest album by guitarist Stuart Weber. These twelve compositions, recorded in several historic American theaters, employ Weber’s strong yet delicate guitar playing along with the acoustics of the rooms in which he recorded. Combining elements of classical and folk, Weber embraces the elegance of high-brow compositions as well as the grit of stripped-down Americana. Conversely, Weber’s interpretation of “America The Beautiful" cracks the hardened shell of the country’s staple song and exposes the pearl underneath that brings a brand new, marvelous way of looking at the classic. Weber’s folk and classical elements are diversified throughout the album. “Spanish Creek" combines elements of the tango and flamenco guitar, while the “Jefferson Waltz” maintains that triple time rhythm to inspire the famous gliding dance. Under the influence of the legendary Christopher Parkening, Weber finds his own sound through the humanizing element of folk in his compositions. He employs as much of an Andrés Segovia influence as he does a Jackson Browne influence. With Weber playing off of the acoustics in the performance halls in which he recorded the album, the experience of listening to this album feels as though the listener is sitting in the front row, hearing the pluck of every finger in real time.
Jul 12, 2018
14191 PARMA Recordings - Ineffable Tales
<img src="" alt="itunes pic" /><br />INEFFABLE TALES John Alan Rose Composer/Performer John Alan Rose presents INEFFABLE TALES, an album of four of his ensemble compositions, recorded at Reduta Hall in Olomouc, Czech Republic. In addition to renowned soloists Jungwon Choi (cello), Moni Simeonov (violin), the recording features the composer’s wife Sing Rose (soprano), and the composer himself (piano). The album also features the Moravian Philharmonic, under the direction of Miran Vaupotić. Rose stuns from the outset with his imaginative piano concerto “Tolkien Tale,” a programmatic fantasy with clear Eastern European folk elements. In the first movement “Setting out on a great adventure,” the listener, perhaps on a journey with famed hobbit Bilbo Baggins, is introduced to playful syncopations and pentatonic explorations -- perhaps in homage to folk explorations of Bartok, Brahms, Dvorak, and Prokofiev. The Earth and all its elements can be heard in Rose’s masterful orchestration, highlighting impressive writing for chimes and percussion. The warm “Lullaby,” the second movement, is a short interlude, a breathtaking look at tandem possibilities for keyboard instruments and woodwinds. Concluding the work is “March,” a continuation of the fanciful literary journey with musically atmospheric projections of things encountered along the way. The work is solid, accessible, and most of all memorable -- one that could work itself into standard orchestral repertoire for years to come. Next is “Old Father Time” for cello and orchestra, a nostalgic, yet timeless work demonstrating the composer’s mastery of the neo-Romantic style and the complexities of storytelling through music. Maestro Vaupotić has created such a purity in timbre and sonority that the listener will be astonished at how clearly critical every part is in creating a whole. As concertist Jungwon Choi (cello) humbly shares the stage as part of the orchestra. The two-minute violin introduction to “25,000 Years of Peace” is modern, seemingly improvisational and likewise experimental. The violinist somehow replicates the hollow breaths heard in folk woodwinds. It is meditative and almost religious. Direction is unclear. But then the grand orchestra enters and the listener is transported to the Western frontier in an Ives-like montage of New World folk tune, Native American chant, and Shaker hymnsong. The modern aesthetic is so seamlessly woven into the fabric, one wonders, at times, if Fleck and Wooten have entered the picturesque scene. LIsteners will enjoy “Ticket to the Theater” featuring soprano, Sing Rose and the dark comedic narration of actor Tyler Bunch (Sesame Street). John Alan Rose explains, “my goal was to contribute a new piece to the vocal/orchestral repertoire suggesting a grand operatic performance, but requiring only one performer, one narrator and no set. It is supposed to seem off-the-cuff, and since "invented" by a musician onstage, resorts to the barest of bones of a plot, without an identifiable lead character!” This album is brilliant in every way and is the work of a very thoughtful composer. INEFFABLE TALES makes the future of the orchestral canon quite bright. Quite bright indeed!
Jul 11, 2018
14166 PARMA Recordings - On and Between
<img src="" alt="itunes pic" /><br />ON & BETWEEN Lin Ma & Zhen Chen U.S. immigrants live in the dualities of cultures and identities. ON & BETWEEN is a musical exploration of the dualities and the accompanying anticipation, agony, pride and compromise – poignantly capturing the states of mind of an immigrant on the journey of home-seeking and assimilation. Award winning composer Zhen Chen explores new possibilities by weaving traditional Chinese music instruments and folk tone with piano and Western style chamber music. A sweeping and at times epic recording, ON & BETWEEN is a masterstroke of sophisticated storytelling performed by a stellar ensemble of musicians. Played by Lin Ma, the solo instrument and protagonist on this recording is the pipa (Chinese Lute), a traditional musical instrument with more than two thousand years of history. Collaborating artists include Grammy-nominees Cho-Liang Lin and Elmira Darvarova (violin), Manhattan School of Music’s David Geber (cello), the New York Philharmonic’s Liang Wang (oboe) and Howard Wall (French horn), MET Orchestra’s Shenghua Hu (violin) and Milan Milisavljević (viola). Jazz musicians Braxton Cook (saxophone) and Curtis Nowosad (drums) add yet another dimension to this multilayered recording. ON & BETWEEN’s first track, “Arrival,” deftly references the “Going Home” theme from the second movement of Dvorak’s New World Symphony to display the solemn respect and sense of promise the United States places in the hearts of new immigrants. The rolling piano figures and long cello phrases combine render a scene of the gradual landing of an airplane and the beginning of new life and discovery. “Lost in the Midtown” bursts forth with inspired personification of each instrument as they create a tango inspired arrangement depicting an immigrant’s fight against social institutions. The monotony of the cello represents a cold, harsh institutional structure, while the pipa displays an immigrant’s sense of stress and panic in navigating political bureaucracy. The music contracts into a vertigo like quiet section spreading out into a rapid glissando articulating depression, anguish, and helplessness. As the recording unfolds, we discover love at first sight (“Encounter”), the NYC nightlife (“Cocktails”), and a jazzy stroll through the city on “Walk on the Fifth” displaying our protagonist’s increased comfort in their new home. ON & BETWEEN’s concluding track, “Harmony,” revisits the opening “Going Home” motif. This time, played on the pipa, the foreign becomes familiar. Subtly showing the immigrant’s adoption of their new home while bringing the entire recording to a wholly satisfying and affirming close.
Jul 10, 2018
14190 The First Symphonies 13
<img src="" alt="itunes pic" /><br />Shostakovich: Symphony No. 1 in F minor, Op. 10 Prokofiev: Symphony No. 1 in D Major, Op. 25 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans
Jul 09, 2018
14165 PARMA Recordings - Bach - Sonatas and Partitas for Violin (Sei Solo)
<img src="" alt="itunes pic" /><br />SEI SOLO Bach’s Six Sonatas & Partitas for Violin Alone Thomas Bowes, violin Thomas Bowes' SEI SOLO shines the spotlight on the sonatas and partitas for solo violin composed by Johann Sebastian Bach in 1720. Bowes believes that these six stand-alone compositions, while each individually offering insight into Bach's genius reveal more when taken as one epic work - and especially when set against the tragedy in Bach’s life in the year of composition. The three discs in Bowes’ album contain a total of six tracks. Each disc starts with a sonata and concludes with a partita, moving through different keys. The sonatas showcase a larger, more abstract expression, while movements in the partitas are more focused on elements of the dance. Bowes views these six compositions as a vehicle for exploration into the existential, taking his cue from Bach’s cryptic title ‘sei solo’, which reads ‘you are alone’, punning on the Italian for ‘6’ and ‘you are’. Though the performer flies solo on all of the tracks, he reaches well beyond the limitations of just one instrument. The focus and attention the violinist brings to all six tracks draws the listener into a meditative state of mind. It’s almost as if Bowes is performing solely for each individual listener, providing an intimate experience that demands attention yet allows room for contemplation.
Jul 08, 2018
14176 R Strauss - The Egyptian Helen Op 75
<img src="" alt="itunes pic" /><br />Die ägyptische Helena (The Egyptian Helen), Op. 75, is an opera in two acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal. It premiered at the Dresden Semperoper on 6 June 1928. Strauss had written the title role with Maria Jeritza in mind but, creating quite a sensation at the time, the Dresden opera management refused to pay Jeritza's large fee and cast Elisabeth Rethberg instead as Helen of Troy. Jeritza eventually created the part in Vienna and New York City. As inspiration for the story, Hofmannsthal used sources from Euripides and Stesichorus. Strauss made changes to the opera in 1933, five years after the premiere, working with the director Lothar Wallenstein and the conductor Clemens Krauss. Joana Filipe Martinez - conductor/producer CMD Grand Opera Company of Barcelona Spain Download now at:
Jul 07, 2018
14164 PARMA Recordings - Cyberistan
<img src="" alt="itunes pic" /><br />CYBERISTAN: The Electro-Acoustic Music of Ken Walicki Dr. Ken Walicki is an American composer and director of the Composition Program at California State University, Fullerton. He is widely recognized and acknowledged for his dramatic and engaging music, often using innovative instrumentation. Walicki was one of the first composers to use turntables in his music. Walicki conveys the effects of globalization and increasing dependency on technology with CYBERISTAN, a Ravello Records release. Each piece contains its own environment and its own space. The natural acoustic sounds juxtaposed against man-made sounds of electronic instrumentation supports a dichotomy of two worlds vying for supremacy but inevitably merging into one homogenous identity. The compositions invoke many aspects of such a state, such as the spacious elegance of Black Water and the eponymous Cyberistan, the airy and hopeful Sabah, the verbose call and response of the bass and electronics in Light and a more primal piece, nada Brahma, commissioned and composed for the Kronos Quartet. Walicki brilliantly captures the awe of the exotic and contrasts it elegantly with the foreboding nature of modernity. In its entirety, CYBERISTAN is a snapshot of a world that is slowly succumbing to an indifferent sameness through a more connected, yet dehumanized world.
Jul 06, 2018
14163 PARMA Recordings - Simon Andrews
<img src="" alt="itunes pic" /><br />AND THAT MOMENT WHEN THE BIRD SINGS Simon Andrews Simon Andrews has earned a reputation as a creator of eloquent concert music that blends harmonic complexity and lyricism, introversion and broad gestures, and delicate timbres and bold statements. Here, on his recording debut, AND THE MOMENT WHEN THE BIRD SINGS, he offers up 10 compositions performed in a variety of configurations, from duos to trios and quintets, all of which emphasize his proficiency in both vocal and instrumental music. The opening track, Violin Dialogues I and II, presents violin and piano in conversation. The first Dialogue contrasts two sets of ideas, each instrument’s individual voice rising and falling until the two come together in a hard-won consensus. If Dialogue I is oppositional, Dialogue II is conversational, its narrative more about two characters who agree on the destination and differ only on the best way to reach it. The album’s title track, borrowed from the poem “Song” by Seamus Heaney is by turns lyrical and passionate, intimate and robust, as the five performers’ instruments weave their way through various combinings. The four movements of For the earth is hollow and I have touched the sky, performed by The Newstead Trio, is a musical response to a concert which the composer attended at the American Composers Orchestra of music by Frank Zappa. An even more pop-cultural reference is the composition’s title track and fourth movement, which is a musical representation of a quote from an episode of Star Trek, originally “…for the world is hollow and I have touched the sky.” The album’s first track to feature solo voice is My dove, my covey, an early lyrical poem by W.H. Auden, performed by a trio of oboe, violoncello and piano (played by Andrews,) After an extended violoncello solo, the piano presents a continuous stream of notes, giving the feeling of suspended time over which soprano Celeste Godin’s voice floats. In similar fashion, The heart has narrow banks, a beautiful poem written by Emily Dickenson, was chosen by the composer because it allowed him to create a more flexible harmonic language that could express lyrics such as “blue monotony” and “a wall of unattempted gauze” while keeping a consistent musical thread throughout. Inspired by a visit to New Mexico, Abiquiu Trio, performed the Trio Clavino, displays the impact of the desert landscape and the work of Georgia O’Keeffe on Andrews. The language of all three movements, which is not “programme music” in the strict sense of the term, is a response to different facets of those two influences. The music of the piece’s final movement, begun during a short stay at Christ in the Desert, a living monastery where church services are intoned to Gregorian chants, is a strong reminder that in addition to his more secular work, Andrews is also noted for his compositions of church music. Simon Andrews is an English composer who has lived and worked in the US for more than three decades. A winner of the 1985 Benjamin Britten Prize, Andrews’ music has been commissioned and performed to critical acclaim on both sides of the Atlantic. His multi-faceted career as a composer, conductor and teacher led him to undertake his own edition-completion of the Mozart Requiem, which has also been incredibly well-received. Andrews has also composed music for two documentaries, The Amish and Us and Saving Pennsylvania, for PBS.
Jul 04, 2018
14162 PARMA Recordings - Parts to Play
<img src="" alt="itunes pic" /><br />On PARTS TO PLAY, critically acclaimed violinist Moonkyung Lee turns from the symphonic environment of the critically lauded label debut, TCHAIKOVSKY, on which she performed with the London Symphony Orchestra, to a more intimate setting, with only pianist Martha Locker as her partner on a selection of works that include both stunning solo performances and intricate yet simple duets. Choosing to include Prokofiev’s “Sonata for Solo Violin” amid compositions from six contemporary composers who collectively represent three decades of works is indicative of Lee’s ability to tease out the subtle nuances of every piece she performs. The three-movement suite moves from the simplicity of Moderato’s Classical sonata format through the more lyrically, introverted Andante Dolce to the clever finale, Con Brio. Similarly, her transit through Benjamin Ellin’s composition for solo violin, “Three States at Play,” is a nuanced journey through three movements, in which the more serene second movement is bookended by two outer movements that are quite rhythmically active. When performing duets with Locker, such as on Rain Worthington’s “Jilted Tango,” Lee’s violin seamlessly integrates with the piano to create an atmosphere both spirited and poignant, capturing the “push and pull in a dance of love” implied by its title. Another sort of dance entirely is captured on the duo’s performance of the vibrant and upbeat “Grand Tartanella.” Moonkyung Lee’s career includes numerous accolades, awards and scholarships including the Yale Chamber Music Celebration, and an NYU/Steinhardt Doctoral Fellowship for Doctoral Studies, of which she was the first ever classical string performer recipient. Her extensive array of performances, both in Europe in the US, include collaborations with many eminent ensembles, conductors and performers. Among the venues at which she has performed are Lincoln Center. the Berlin Konzerthaus, Dvorak and Smetana Halls in Prague, and the Seoul Arts Center Recital Hall. Her PARMA label debut, TCHAIKOVSKY WORKS FOR VIOLIN AND ORCHESTRA, won the silver medal at the 2017 Global Music Awards and was chosen by Spotify for their Classical New Releases playlist. Pianist Martha Locker performs as both a soloist and chamber musician in both the United States and abroad. As a soloist she has performed with the Pittsburg Symphony Orchestra and the New Juilliard Ensemble; as a chamber musician and performer of contemporary music she performs throughout New York at such venues as Symphony Space and New York University. She has been a fellow of the Tanglewood Music Center and has been a guest artist at the Kyoto International Music Festival and the New York University Summer String Seminar, among many others.
Jul 02, 2018
14161 PARMA Recordings - Of Time and Place
<img src="" alt="itunes pic" /><br />OF TIME & PLACE Monica Houghton Composer Monica Houghton has a musical and academic resume that is made even more exceptional by her experiences as a true citizen of the world. Her travels around the globe have led her to incorporate non-Western instruments and musical practices into several of her compositions as well as to find inspiration trekking through Peru, or by exploring the remote and desolate areas of the American West. On CHAMBER WORKS, her debut on Navona Records, Houghton incorporates these influences along with many others to deliver eight stunning performances showcased in a variety of musical configurations. CHAMBER WORKS opens with “Andean Suite,” a four-movement piece, that gleans its inspiration from Houghton’s journey on foot through the mountains of Peru. The sense of freedom exhibited by the opening movement, “With the Condors,” is buoyed by the closing movement, “Dance,” which employs folk music idioms of the Andes to express pure joy. “The Twelve Causes from the Circle of Becoming” reflects the essence of Tibetan Buddhist Wheel of Life paintings. In the spirit of those paintings pianist James Winn delivers an intricate and powerful performance. The Argenta Trio brings the three movements of “Wilderness Portraits: Three Places in Nevada,” capturing Houghton’s quiet sense of awe at the beauty of the natural world. Three of the album’s pieces, “Three Songs without Words,” and “Stay Shadow,” and “Corpo Sonoro,” gather inspiration from poets as disparate in place and time as New Spain’s Sor Juana Inez de la Cruz, who worked in the mid-17th century and the Tang Dynasty poet Tu Fu. The four poetic pieces in “Corpo Sonoro” are here performed by pianist Halida Danova, for whom it was composed, and are based on poems by the Brazilian poet Maria Davico. Turning her creative gaze on Beethoven, Houghton composed “Epigram,” performed by the Cleveland Chamber Collective, in response to his last quartet. The album concludes with the floating, mysterious “Sky Signs” which is, the composer says, a fantasy inspired by the fluctuating changes so common in the natural world. With multiple awards testifying to her abilities as a composer, her works for large ensembles have been performed by an impressive array of orchestras, including the Cleveland Chamber Symphony. Among the distinguished ensembles who have commissioned, performed or recorded her chamber works are the Cleveland Chamber Collective, Cleveland Duo and James Umble, the Argenta Trio, and Panoramicos, all of which are featured on this album. Her works have been performed at festivals internationally, including the Virginia Arts Festival and Shanghai Spring International Music Festival, and presented in collaboration with the Cleveland Classical Guitar Society and the Nevada Museum of Art, among many others. In addition to her concert music, Houghton is the composer and co-librettist of an opera, The Big Bonanza, which won the New Music New England Concert Award from the Boston Metro Opera in 2010 and was premiered in a fully staged production with orchestra by Nevada Chamber Opera in April 2016.
Jun 30, 2018
14160 PARMA Recordings - Reason and Reverence
<img src="" alt="itunes pic" /><br />REASON & REVERENCE Christopher Keyes Diego Vega Ferdinando De Sena Willem van Twillert Andrew Schultz REASON AND REVERANCE represents an aural exploration of our world’s complexities. By comparing and contrasting present triumphs with past regrets, the composers on this album develop a compelling, philosophical reflection of the world we live in. Conducted by Petr Vronský, the Moravian Philharmonic Orchestra delivers a master class in cohesiveness while tackling a wildly diverse, yet wholly complete set of compositions. The album starts strong with Christopher Keyes’ An Inescapable Entanglement. Keyes binds minimalist elements with late 16th and early 17th century forms of concerto to create a controlled chaos of instruments and voices playing distinct parts simultaneously. In his intent to create an antiphonal sound, Keyes employs eight loudspeakers to project the music achieving a thickened, full texture. Red Rock is a symphonic poem commissioned by the Henderson Symphony and its music director, Taras Krysa, which premiered in the Fall of 2013. The music is based on the interaction of two musical materials, the first, calm and diatonic, presented by the French horns after the introduction and elaborated by the trumpets and the woodwinds; and the second, more angular and chromatic, also introduced by a solo French horn in the second section. Similar to a sonata form, these materials go through transformations and developments in the middle section, and return evolved and reconciled at the end of the movement. The piece suggests a gliding trip over the stunning landscape of the Red Rock canyon, with its sharp geological contrasts, its ever changing shapes, and its surprising colors. Fernidnando De Sena’s Deciphered Reverence explores the idea of divine presence and creates an interpretation through the consistent, triumphant swelling of the orchestra. De Sena’s piece captures the many moods, modes, and colors in the music to translate his vision of life and celebrate its ambiguity and omnipresence. Composed by Willem Van Twillert, multiple styles set the foundation for Branches of Singularity. Multiple developments transitions from one style to another -- from medieval, baroque, and renaissance, to romance, film and church music – create an enticing and evoloving piece. Andrew Schultz’ Symphony No. 2 – Ghosts of Reason ties the whole album together. Slowing the pace of the otherwise energetic album, Schultz’s composition paints a haunting atmosphere by drawing out the wistful bleakness of its wandering melodies. REASON AND REVERENCE wouldn’t feel complete without this track carrying a reminder that appreciating our phenomenal world comes with both the triumphs of the present and the hauntings of the past.
Jun 28, 2018
14159 Bruckner - Symphony No 5 in B-flat Major, WAB 105
<img src="" alt="itunes pic" /><br />Never heard by Bruckner in his lifetime and he never new of its acceptance by the one audience that heard it performed. Conducted by Sylvia Wagner CMD German Opera Company of Berlin Download at:
Jun 26, 2018
14158 PARMA Recordings - Reflets
<img src="" alt="itunes pic" /><br />REFLETS Eliane Rodrigues "In each of the Nocturnes, she plunges into their collective heart traversing their boundless emotional range with an aristocratic imperiousness that sets her interpretations apart from almost anyone else’s." -Raul de Gama, World Music Report (NOTTURNO) With two critically-lauded releases on Navona Records (NOTTURNO, performing works by Chopin, and a four-CD box set, BEETHOVEN – 8 CONCERTI) pianist Eliane Rodrigues returns with REFLETS showcasing the pianist’s nuanced and thoughtful performances of fifteen works by Claude Debussy. While it might seem that child prodigies are commonplace in the world of classical music, only a few truly make a lasting impact, one that lives on long after those prodigies have passed well into their adulthoods. Mozart began to play piano at the age of three, Beethoven did so at seven and a half, and Georges Bizet did so before his tenth birthday. Pianist Eliane Rodrigues, who began composing at three, played her first recital at five and first performed with an orchestra when she was just six years of age, can certainly be counted among those prodigious musicians, as evidenced on her latest recording, REFLETS. The album opens with “Suite Bergamasque,” one of Debussy’s most well-known piano suites. The dynamic contrasts in the moods of the suite’s four pieces are well suited to Rodrigues’ sensitive and vivid style. Debussy is credited as one of the ‘founders’ of Impressionist music, distinguished by its focus on suggestions and atmosphere, a world that Rodrigues also inhabits here, as evidenced by her cascading and powerfully textured performance of Debussy’s “Ballade.” “Pour le Piano,” certainly one of the composer’s most moving works for solo piano, features rapid, brilliant passages that fully emphasize the pianist’s virtuosity. That impressionistic ability to invoke a mood or a feeling carries on with “First Arabesque in E Major,” one of a pair composed early in Debussy’s career. “Images,” comprised of two ‘books’ of three pieces each, ranging from the subdued “Homage à Rameau” to the energy of “Mouvement,” marked by the torrent of notes in its finale. Eliane Rodrigues was born in Rio de Janiero, where the performances that she gave in her childhood bore fruit when she was awarded the Gina Bachauer prize at the Van Cliburn Competition in the United States at only 18 years of age. She has gone on to perform internationally, as well as to hold the position of professor at the Royal Conservatoire in Antwerp. She has also recorded more than 25 CDs, recorded both live and in the studio; REFLETS on which Rodrigues plays a Fazioli Concert Grand F728, was recorded in Belgium at Academy One Studios.
Jun 24, 2018
14157 PARMA Recordings - Coro del Mundo
<img src="" alt="itunes pic" /><br />Continuing in the series of Cuban recorded Ansonica Records projects comes CORO DEL MUNDO – choir of the world. With tracks ranging from sacred to secular, and from delicate to aggressive, the surprising cohesiveness of the composers’ work is astonishingly beautiful and impassioned. Schola Cantorum Coralina and Vocal Luna contribute exquisite vocals to the proceedings. L Peter Deutsch’s Dance to the Revolution, takes inspiration from the writing of Emma Goldman. Goldman was one of the seminal writers and activists in the development of early-20th-century anarchist thought. The composer explains, “what drew me to her writing was her inclusion of interpersonal relationships, not only political or economic ones, in the vision of ideal society.” Deutch’s Where Everything is Music transports the listener to Havana. Deutsch notes: “The lyrics for "Where Everything is Music" are excerpted from a poem by Rumi, the 13th-century Persian poet and mystic, in the classic and well-loved translation by Coleman Barks. As with much of Rumi's writing, the text asks us to recognize the greater reality of the spiritual compared with the physical world. I intend this piece, like some of my other work for voice and a single instrument, to be more of a dialogue between the chorus and the instrument than for "accompanied chorus." Schola Cantorum Coralina is featured on Canto del Bongó, Qué Rico É, and Gozando En La Habana. Conrado Monier’s Gozando En La Habana received mention in the Choral Music Contest sponsored by the Cuban Agency of Musical Copyright (ACDAM) and the Cuban Music Institute. Monier’s second composition on CORO DEL MUNDO, Gozando En La Habana (Enjoying Havana), is an a capella tour de force effortlessly conjuring up the sights and sounds of the City of Columns. Cuban composer and conductor Guido López-Gavilán’s Qué Rico É! is a shimmering choral mambo that leaves the listener breathless with the incomparable speed and precision of Schola Cantorum Coralina. Vocal Luna’s contribution to CORO DEL MUNDO is profound. On Cemento Ladrillo Y Arena, Murmullo, and Silencio their voices range from brassy brilliance to delicate, angelic whispers. Nowhere is this more apparent than their performance of Cynthia Folio’s four-part piece At the Edge of Great Quiet. The emotion they bring to each movement sits right at the surface of this elegiac composition. J.A. Kawarsky’s Sacred Rights, Sacred Song also shines with Vocal Luna’s participation. Sacred Rights, Sacred Song, a multi-movement piece, envisions Israel as a healthy Jewish democracy in which the spiritual civil rights of all Jews are protected; Judaism is expressed and celebrated freely and equally by men and women and in its myriad forms of observance; and matters of personal status and spirit are governed by a public Jewish Law that welcomes vibrancy and creativity. Michael Murray’s El Lunar (The Mole), based on a poem by Juan Clemente Zenea, depicts the adoration of a beautiful woman. Caminando (Walking), based Nicolás Guillén’s poem focuses on the extreme poverty and scarcity faced by many Cubans in the 1930’s. The extraordinary desperation and bleakness Guillén depicts is emphasized by the implication of cannibalism toward the end of the piece. Both of Murray’s pieces are lush with solemn, hypnotic tone. Meira Warshauer’s We Are Dreamers is an adaptation of the Jewish psalm Shir Hamalot (A Song of Ascents). In ancient times, the Shir Hamalot was sung as Jews walked into Jerusalem for festival holidays. Today it is most commonly chanted as part of the Birkat Hamazon (Grace After Meals) on Shabbat. Schola Cantorum Coralina takes this ancient psalm and, with Warshauer’s expansive, dreamlike arrangement, creates a wonderous, at times trance-like atmosphere. With its blend of religious and cultural influences, CORO DEL MUNDO is proof that different faiths and beliefs can sit together comfortably at the same musical table.
Jun 22, 2018
14156 PARMA Recordings - Fancy Colors
<img src="" alt="itunes pic" /><br />FANCY COLORS David Taddie David Taddie’s new album FANCY COLORS blurs the spectrum between acoustic and electronic music into an unorthodox wave of sound. In contrast to the primary characteristics of each type of music, Taddie creates sophisticated, complex compositions by blending the sounds of string and woodwind instruments with the influence of computer-generated effects. Written and recorded over two decades, FANCY COLORS is the result of Taddie’s exploration of timbre and space using the electronic medium. The eight tracks on the album expand the boundaries of the otherwise conventional sounds of instruments like the flute and piano to a grandiose level. The album’s debut track “Wayward Country” fuses together alto and bass saxophone samples as well as interactive electronics to process the sound in real-time to create a spontaneous, improvised sense of time and space. The composer’s arrangements evoke many emotions, mostly notably the little dramas and anticipations that get the listeners heart racing. Like the emotional “A Rift in Time,” the composition builds tension quickly, only to release it slowly through tender melody through the string section. “Triptych,” which runs over 13 minutes long, builds patiently. The composition buzzes and twinkles with gongs, bells, and anklets, the whispered vocals reciting poetry adding to the production. FANCY COLORS shows the listener just how far the sound of an instrument can really go when manipulated by electronics. The album offers an expansive palette for listeners who enjoy a little more depth to their art.
Jun 20, 2018
14155 PARMA Recordings - My Ancestor's Gift
<img src="" alt="itunes pic" /><br />MY ANCESTOR'S GIFT Carlos Simon On his Navona Records debut, composer Carlos Simon masterfully combines influences from jazz, gospel, and neoromanticism. MY ANCESTOR’S GIFT incorporates spoken word and historic recordings to craft a multifaceted program of musical works that are inspired as much by the past as they are the present. Launched by “Our Ancestor’s Legacy,” the composer’s personal introduction to the themes he will musically address throughout, MY ANCESTOR’S GIFT sets out to depict the evolution of black people in America through the lens of the black woman with “Portrait of a Queen.” Dramatic spoken word poetically reveals her thoughts and feelings of throughout various time periods, reflected by musical themes that draw on melodies, textures and rhythms of those eras. Simon provides breathing room between the intense topics he explores with several brief, often conversational “Interludes” that also serve to offer emotional or explanatory context for his longer compositions, such as the sorrowful and contemplative “Elegy,” dedicated to “those wrongfully murdered by an oppressive power.” He mines his personal family history with “Generations,” which includes audio clips of sermons given by his great-grandfather, his grandfather and his father, with musical elements that feature a processed Fender Rhodes that Simon inherited from his grandfather, and Hammond B3 organ. The melodic and meditative “Be Still and Know” appears in sharp contrast to “White Only, Colored Only,” which plays George Wallace’s infamous Segregation Now, Segregation Forever speech against free-flowing improvised lines and a consistent rhythm. Hope for change, however, is offered by the interlude “Change the World,” which concludes with a quote from Martin Luther King, and by the smooth R&B-tinged vocal track “I Feel It Somewhere,” before the album concludes with another tribute to his personal history, the whimsical “Lickety Split.” Download now at:
Jun 19, 2018
14154 PARMA Recordings - Light and Shadows Waves and Time
<img src="" alt="itunes pic" /><br />LIGHT AND SHADOWS, WAVES AND TIME Gregory Wanamaker An exploration of the unique timbral characteristics and technical extensions of wind instruments, Gregory Wanamaker’s LIGHT AND SHADOWS, WAVES AND TIME is comprised of eight compositions that collectively illustrate the composer’s ability to integrate various genre influences into a distinctive whole. His music has been lauded as “pure gold, shot through with tenderness and grace” by the San Francisco Chronicle and “achingly beautiful” by the Palm Beach Daily News. The album’s first track, “des ondes et les temps,” which translates to “of waves and time,” explores the saxophone’s full range of possibilities. A solo piece performed by Casey Grev, “des ondes et les temps” waxes and wanes and rises and falls, and refers back to the composer’s 1988 work “Two Movements for Solo Flute,” providing what is essentially a more mature third movement of that piece. Wanamaker expands to a quartet setting for “…unsettled, unphased…,” whose rhythmic roots can be found in genres ranging from Eastern European folk and dance music to jazz and progressive rock. Its animated propulsive motion is halted mid-stream by a vigorous interlude, before reaching a dynamic conclusion. The somber, poignant “Elegy,” written for and performed by the Akropolis Reed Quintet, was originally composed in memory of those who died in the September 11 attacks, while the virtuosic musical fantasy, “Ragahoro Breakdown” intricately weaves elements of North Indian Raga with characteristics of a Bulgarian Horo and subtle hints of American folk music. The track that represents the second half of the album’s title, “of Light and Shadows,” is a sonata in two very contrasting movements, the first a quiet nocturne, the second its polar opposite, each exploring the extended timbres of the saxophone and extreme ranges of the piano, while the dynamic “Out of Mind, Into Body” travels a similar path, albeit one taken by John Friedrich’s solo bass clarinet. While less than two minutes in length, the spirited “Counterpunch” effectively alternates elements of driving American-style minimalist with a fusion of jazz and funk. The album concludes with a concrète version of its opening track, transforming it into the form of experimental music in which sound identities – in this case those of the tenor saxophone – are intentionally manipulated to appear unconnected to their source, creating an ambient, layered soundscape.
Jun 18, 2018
14153 PARMA Recordings - The Life Before Us
<img src="" alt="itunes pic" /><br />THE LIFE BEFORE US Allan Crossman & John G. Bilotta Bearing musical witness to the versatile talents of two acclaimed northern California-based composers, THE LIFE BEFORE US combines works from John G. Bilotta and Allan Crossman. Bilotta’s cycle of Yeats Songs, performed by baritone Andrew R. White, highlights five of the poet’s shorter lyrics in predominantly bi-tonal or atonal settings. His collection of Renaissance Songs is based on the work of several Elizabethan poets, including John Donne and Thomas Lodge (whose poem “Rosalynde” was the source of Shakespeare’s As You Like It). They’re brilliantly delivered by tenor Justin Marsh. Bilotta draws on two American poets, Carl Sandburg and Edna St. Vincent Millay, for “Lost” and “Prayer to Persephone,” two songs united by a single poetic theme and elegantly performed by soprano Cass Panuska accompanied by pianist Hadley McCarroll, who are also featured on The Hippocampus’ Monologue, the closing aria from the first act of Bilotta’s opera Rosetta’s Stone. Allan Crossman’s ten songs on THE LIFE BEFORE US include four inspired by the Spanish poet Federico García Lorca and an international array of others: from Ireland (James Joyce), Germany (Hermann Claudius and Ricarda Huch), Russia (Alexander Scriabin), and America (Louis Phillips), performed by mezzo-soprano Megan Stetson and bass Richard Mix, with the composer himself at the piano. Crossman’s three-movement Sonata fLux, with pianist Keisuke Nakagoshi, flows from the energetic “Moto Atlantico” through the vibrating “fLight of the Firefly” to the swirling fluidity of “Rondo a Pollock” - inspired, as its title suggests, by Jackson Pollock’s ‘action painting’ technique - and brings the eclectic program to an impressive conclusion. Download now at:
Jun 17, 2018
14152 PARMA Recordings - Axioms
<img src="" alt="itunes pic" /><br />AXIOMS MOMENTS OF TRUTH Axiom Quartet An axiom is a self-evident truth. Everything on this album represents different aspects and shades of truth. On their debut recording, Axiom Quartet probes the soul and delivers a deeply satisfying statement on truth and inner fulfillment. Each track is a whirlwind journey of soul searching expression. From the bravado of “Insight” into the confounding swirl of “Hindsight,” and on to the profoundly elegant “Pur Ti Miro,” this recording turns tempo and style on a dime leaving the listener exhilarated. While “Insight” is the exhilarating realization of truth, “Little Lies” bends truth. Axiom Quartet’s arrangement of the Fleetwood Mac classic is a refined, yet provocative update that feels surprisingly at home in a chamber setting. An understated dignity adds depth to country-folk standard “Wagon Wheel,” with a delicate banjo dancing under the Quartet’s strings. In “Everything Means Nothing to Me” an artist painfully expresses the truth in his heart while Billie Holiday begs a lover to not tell her the truth in “Don’t Explain.” “Axiom” is a work about seeking truth and reason, only to have had the answers present from the beginning. Karl Blench wrote all of the arrangements and original compositions for this album. There are small moments of music, also original compositions of Karl Blench, between each of the longer sections of this album. They blend and blur the ideas of the music that comes before and after them to portray the grayer tones of truth. The Axiom Quartet includes violinists Dominika Dancewicz and Ingrid Gerling, violist Nina Bledsoe, and cellist Patrick Moore. Known for creating and performing programs that mix traditional string quartet repertoire and transcriptions of works from a variety of genres (including jazz, electronic, rock, indie, etc.), Axiom Quartet introduces audiences to extraordinary music from different genres and creates new fans of the classical repertoire. The Axiom Quartet serves as outreach ambassador for Chamber Music Houston, one of the Houston’s top chamber music presenters. The CMH sponsorship allows the group to perform their innovative programs in communities where access to live music is limited.
Jun 16, 2018
14151 PARMA Recordings - SHE
<img src="" alt="itunes pic" /><br />For her debut album on PARMA recordings SHE, Emily Sternfeld-Dunn serves as the voice of two of history’s strongest female characters. The poetic musings in the lyrics soar with Sternfeld-Dunn’s unmistakable soprano under the current of the tender, delicate melodies performed by pianist Amanda Pfenninger. Split into two mini-albums, SHE serves as a definitive recording that both showcases Sternfeld abilities as a vocalist and preserves the compositions for educational use. The first collection, titled “Too Few the Mornings Be (Eleven Songs for Soprano and Piano),” is composed by Ricky Ian Gordon. Gordon complimented his compositions with the poems of Emily Dickinson. Despite the relatively short run-times of these tracks, Sternfeld-Dunn takes the poet’s philosophical themes and wraps them in raw emotion as though pleading for answers to life’s biggest questions. The second half of this album “Eve-Song” features music by Jake Heggie and text by Philip Littell. Here, Heggie creates a moving soundtrack to Littell’s poems about the biblical Eve. The composition is a monodrama. The longer compositions allow time for Pfenninger to It also lets Sternfeld-Dunn truly harness the character of Eve. She employs her vocal melodies like ancient chants exploring moods and feelings of wonderment, yearning, and even humor. The power of SHE comes from the strength of its female performers. Sternfeld-Dunn and Pfenninger play off each other well to give life to these historically-renowned women, and translate their quests for life and purpose into a grand, new meaning. Digital Copy: Physical Copy (CD):
Jun 15, 2018
14150 PARMA Recordings - Grecian Urn
<img src="" alt="itunes pic" /><br />GRECIAN URN Mark G. Simon Composer and Clarinetist Mark G. Simon makes his PARMA debut with his first-ever recorded album, GRECIAN URN. All selections were composed by Simon, and he is the clarinetist on every track. “Anniversary Sonata” (1998) commemorates the 50th wedding anniversary of the composer’s parents. Movement 1, “With Restrained Energy,” is perhaps mis-named, given its sassy, Latin piano riffs (Aleeza Meir) syncopated against the melodic clarinet. “Angel Music,” is a bright, yet sympathetic Broadway-style ballad with running eighth-note phrases marked by sentimental modulations, inspired by the congeniality of the composer’s parents, his father’s vocation as a minister, and the G.K. Chesterton quote, “Angels can fly because they take themselves lightly.” Concluding the sonata is the progressive “Pleasant Hill,” a sweet treasure that could easily be set to words to conclude what is the lounge-style, popular work with innate chamber music tendencies. The composer writes: “‘Pleasant Hill,’ is based on a pop tune that came to me while visiting the quiet retirement community where my parents spent the last years of their lives.” This work is a true love song. “Un Buen Piola Porteño” (2001) is a tango/fantasia for clarinet and piano and fabulous in every way – from the transformative qualities of the clarinet’s voicing through different octaves to the smooth, indelible, charismatic melody of the tune itself, fleshed out with the glittering harmonies of the piano. Listen for the second of three tango melodies, through which the composer promises an “out of body experience.” In “Ode on a Grecian Urn,” Simon and Meir add soprano Linda Larson to their combo. In this setting of four of the five stanzas of the John Keats poem, in which the poet describes his visits to the British Museum, Simon reincarnates Keats’ experience noting that “The poem’s very existence to the power of art to affect people’s lives.” “Thou Still Unravished Bride,” is reminiscent of an Argento song--delicate and complex, yet unforgiving. “Heard Melodies” is a torrent of surface emotions transpired into a popular folk tune. “Coming to the Sacrifice,” is a haunting but spirited dance concluded with an extended instrumental fugue--in homage to J.S. Bach’s own Musical Sacrifice (BWV 1097). “O Attic Shape,” is an elegy directed to the Grecian Urn itself through which a harrowing soprano outcry lauds the Urn for its beauty. Purchase physical CD: Download Digital copy:
Jun 11, 2018
14149 Mozart at 22
<img src="" alt="itunes pic" /><br />The Little Nothings Ballet, K. 299b Symphony No. 31 in D Major, K. 297 CMD Philharmonic of Paris in Orleans Dominique Beaulieu, conductor Download now at:
Jun 09, 2018
14148 R Strauss - Intermezzo
<img src="" alt="itunes pic" /><br />Intermezzo, Op. 72, is an opera in two acts by Richard Strauss to his own German libretto, described as a Bürgerliche Komödie mit sinfonischen Zwischenspielen (bourgeois comedy with symphonic interludes). It premiered at the Dresden Semperoper on 4 November 1924, with sets that reproduced Strauss' home in Garmisch. The first Vienna performance was in January 1927. The story depicts fictionally the personalities of Strauss himself (as "Robert Storch") and his wife Pauline (as "Christine") and was based on real incidents in their lives. Pauline Strauss was not aware of the opera's subject before the first performance. After Lotte Lehmann had congratulated Pauline on this "marvelous present to you from your husband", Pauline's reply was reported as "I don't give a damn". The most celebrated music from the opera is the orchestral interludes between scenes. His usual librettist up to that time, Hugo von Hofmannsthal, refused to work on the opera and suggested that Strauss himself write the libretto, which he eventually did after having been refused by other writers. This is why the libretto is not in verse but in prose and even mimics the dialect used by the servants in the play, against the more polished German of the principals. The opera's title is intended to refer to the intermezzi that used to be staged during the intermissions of serious operas during the 18th century, sort of mini-comic-operas, easy to follow with themes usually about marital confusions and other light comedies. Joana Filipe Martinez - conductor/producer CMD Grand Opera Company of Barcelona Spain Download now at:
Jun 04, 2018
14147 Bruckner: Symphony No. 4 in E-flat Major, WAB 104
<img src="" alt="itunes pic" /><br />1874 version Bruckner's original version, published in an edition by Leopold Nowak in 1975, was composed between 2 January and 22 November 1874. This version was never performed or published during the composer's lifetime, though the Scherzo was played in Linz on 12 December 1909. The first complete performance was given in Linz more than a century after its composition on 20 September 1975 by the Munich Philharmonic Orchestra conducted by Kurt Wöss. Performed by the CMD German Opera Company of Berlin Orchestra Conducted by Sylvia Wagner 1878 version When he had completed the original version of the symphony, Bruckner turned to the composition of his Fifth Symphony. When he had completed that piece he resumed work on the Fourth, though it is possible that he made some revisions to the latter in 1876 or 1877. Between 18 January and 30 September 1878 he thoroughly revised the first two movements and replaced the original finale with a new movement entitled Volksfest ("Popular Festival"). This Volksfest finale was published as an appendix to Robert Haas's edition of 1936 and in a separate edition by Leopold Nowak in 1981. In December 1878 Bruckner replaced the original Scherzo with a completely new movement, which is sometimes called the "Hunt" Scherzo (Jagd-Scherzo). In a letter to the music critic Wilhelm Tappert (October 1878), Bruckner describes the new movement thus: "[the Scherzo] represents the hunt, whereas the Trio is a dance melody which is played to the hunters during their repast". The original title of the Trio reads: Tanzweise während der Mahlzeit auf der Jagd ("Dance melody during the hunters' meal"). Performed by the CMD Paris Philharmonic in Orleans Conducted by Dominique Beaulieu Download now at:
Jun 02, 2018
Sibelius: Symphony No. 2 in D Major, Op. 43
<img src="" alt="itunes pic" /><br />The Symphony No. 2 in D major, Op. 43, by Jean Sibelius was started in winter 1901 in Rapallo, Italy, shortly after the successful premiere of the popular Finlandia, and finished in 1902 in Finland. Sibelius said, "My second symphony is a confession of the soul." Dominique Beaulieu, conductor CMD Paris Philharmonic in Orleans Download the digital copy at:
May 27, 2018
14145 Bruckner: Symphony No. 3 in D minor, WAB 103, First Version
<img src="" alt="itunes pic" /><br />Anton Bruckner's Symphony No. 3 in D minor, WAB 103, was dedicated to Richard Wagner and is sometimes known as his "Wagner Symphony". It was written in 1873, revised in 1877 and again in 1889. The work has been characterised as "difficult", and is regarded by some as Bruckner's artistic breakthrough. According to Rudolf Kloiber, the third symphony "opens the sequence of Bruckner's masterpieces, in which his creativity meets monumental ability of symphonic construction." The work is notorious as the most-revised of Bruckner's symphonies, and there exist no fewer than six versions, with three of them being widely performed today. Purchase Digital Download now at:
May 22, 2018
14144 PARMA Cosmic Wheel of the Zodiac
<img src="" alt="itunes pic" /><br />So many of us wonder about the big picture questions in life. Why are we here? What is the best I can do in my lifetime? COSMIC WHEEL OF THE ZODIAC, with lyrics by astrologer Benita Rainer, presents a cosmic rumination for meditation upon these great questions. These songs guide you through the labyrinth of the Cosmos, which, as perfectly attested to in “As above, so below,” is also the labyrinth of your mind; as what is without has its genesis in what is within. Order CD at: Digital download at:
May 21, 2018
14143 Bruckner: Symphony No. 2 in C minor (first version)
<img src="" alt="itunes pic" /><br />Anton Bruckner’s Symphony No. 2 in C minor, sometimes known as the “Symphony of Pauses,” was completed in 1872. It was actually the fourth symphony composed by Bruckner, after the Study Symphony in F minor (1863), the Symphony No. 1 in C minor (1866), and the Symphony "No. 0" in D minor (1869). Conducted by Sylvia Wagner CMD German Opera Company of Berlin Orchestra Purchase the digital download now at:
May 20, 2018
14142 Leonard Bernstein - The Three Symphonies
<img src="" alt="itunes pic" /><br />Symphony No. 1 - Jeremiah Symphony No. 2 - The Age of Anxiety Symphony No. 3 - Kaddish Dominique Beaulieu and Joana Filipe Martinez, conductors CMD Paris Philharmonic of Orleans CMD Grand Opera Company of Barcelona Spain Joana Filipe Martinez, solo piano (Symphony No. 2) Purchase now at:
May 19, 2018
14141 Bruckner: Symphony No. 0 in D minor, WAB 100, "Nullte", Nowak Critical Edition
<img src="" alt="itunes pic" /><br />The Symphony in D minor, WAB 100, was composed by Anton Bruckner in 1869 between Symphony No. 1 (1866) and Symphony No. 2 (1872). In 1895 Bruckner declared that this symphony "gilt nicht" (does not count) and he did not assign a number to it. The work was published and premiered in 1924. Sylvia Wagner, conductor CMD German Opera Company of Berlin Orchestra Purchase now at:
May 15, 2018
14140 R Strauss - The Woman without a Shadow
<img src="" alt="itunes pic" /><br />Die Frau ohne Schatten (The Woman without a Shadow), Op. 65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal. It was written between 1911 and either 1915 or 1917. When it premiered in Vienna on 10 October 1919, critics and audiences were unenthusiastic. Many cited problems with Hofmannsthal's complicated and heavily symbolic libretto. However, it is now a standard part of the operatic repertoire. Joana Filipe Martinez - Conductor/Producer CMD Grand Opera Company of Barcelona Spain Purchase now at:
May 14, 2018
14139 PARMA Recordings - Casals Trio - Moto Bello
<img src="" alt="itunes pic" /><br />Navona Records and the acclaimed ensemble Trio Casals proudly present MOTO BELLO, the next chapter in the moving series that brought 2015’s MOTO CONTINUO and MOTO PERPETUO in 2013. Living up to its name, MOTO BELLO, or “beautiful motion,” is a collection celebrating the synergy of Trio Casals and the vibrant works of ten contemporary composers including Diane Jones, Beth Mehocic, David N. Stewart, Sidney Bailin, L Peter Deutsch, Giovanni Piacentini, Adrienne Albert, Clive Muncaster, Joanne D. Carey, and Bruce Babcock. MOTO BELLO is a journey through individual experience, international scenes, and philosophical pondering. Each piece is an exploration of movement and of the beauty in all forms of motion—dissonant and jagged, soft and freely flowing, or standing tentatively between the two. In some instances, the pieces are romantic and sweeping, as in Ondine, Nightfall, Palette No. 1, the beginning moments of Solo la Sombra. In others, the energetic experience is driven and leaping, as in Woman A/Part, Somewhere Between D and C#, Habanera, Lines, Hockets, and Riffs, and Imagined/Remembered. MOTO BELLO is a diverse tapestry of emotional, energetic, and imaginative listening experiences. Trio Casals demonstrates not only the imaginativeness of the composers, but also the group’s technical prowess as they communicate the unique meaning and motion behind each composition. On MOTO BELLO, the ensemble exists as the dynamic storyteller of each composer’s artistic statement, weaving each tale of beauty in motion with their own inspired story.
May 02, 2018
14138 PARMA Recordings - Jupiter Duo
<img src="" alt="itunes pic" /><br />First released in 2010, JUPITER DUO showcases music for cello/piano duo, solo piano, and for solo cello by Alla Elana Cohen. She and cellist Sebastian Baverstam make up Jupiter Duo, and have performed together for many years since Baverstam was 12 years old. They perform Cohen’s highly expressive music with an unbridled intensity, and have a reputation for having a close musical connection. 24Apr18 - fixed overdubbing error Purchase CD at: Purchase Digital Download at:
Apr 23, 2018
14137 PARMA Recordings - Emergence - Joanna Estelle
<img src="" alt="itunes pic" /><br />Composer/arranger/lyricist Joanna Estelle presents EMERGENCE: a compilation of works produced under her personal philosophy that “quality music uplifts humankind.” The album includes a generous list of collaborators: John Gordon Armstrong (arranger), Laurence Ewashko (baritone), Morgan Strickland, Susan Elizabeth Brown and Laura Dziubaniuk (soprano), Brandon Wilkie and Roland Gjernes (cello), Frédéric Lacroix (piano), and two choral ensembles, Ewashko Singers and Capital Chamber Choir. CD Purchase: Digital Download:
Apr 22, 2018
14136 PARMA Recordings - Returning to Heights Unseen
<img src="" alt="itunes pic" /><br />Flutist Lindsey Goodman presents her second album, RETURNING TO HEIGHTS UNSEEN, the follow up studio recording to 2016’s FOLLOWING HER REACH THROUGH THE SKY. Goodman is a budding composer’s dream -- interpreting new music with impeccable style and tenacity. Goodman grasps the listeners attention right away with Roger Dannenberg’s “Separation Logic” for flute and live computer processing (2013). In this futuristic work it is the listener’s responsibility to determine what is real and what is imagined as his ears are fed short melodic phrases that have been electronically manipulated. Every sound is crucial--even the echoes of the instrument’s keys clasping against their pads. It’s this sort of electronic genius that allows Goodman to play a duet with herself in the second track, David Stock’s “A Wedding Prayer” for 2 flutes (2004), stark and striking. In Tony Zilincik’s “I Asked You” for solo flute and mixed media, Goodman competes with samples of spoken text and percussion riffs in “Everything I Love.” “I Play Music” boasts a similar challenge, but without percussion and with the addition of the atmospheric pads of a modern synthesizer and the sound of ocean waves. The flute melody is a native chant of sorts and its meditative nature immediately sends all other sounds to the background. Goodman demonstrates dexterous lip-trills that rival the wing speed of a hummingbird. Elainie Lillios’s “Sleep’s Undulating Tide” for flute in C and live, interactive electroacoustics (2016) seems to be a continuation of the previous Zilincik track, until the entrance of a ghostly mezzo-soprano voice--the flutist’s herself. The listener is immediately transported into a dark tunnel or cave, and can hear, but not see, many unidentifiable creatures of the night. Next is Linda Kernohan’s “Demon:Daemon,” a performance art piece in which the flutist is both musician and actor as she is seemingly possessed by an evil spirit. Randall Woolf’s The Line of Purples for flute and pre-recorded electronics (2015) is the least harmonically experimental of the works so far, but perhaps the most complex to categorize. It begins as a popular rock anthem but journeys into a classical chamber work and then back again. Roger Zahab’s “Suspicion of Nakedness,” is perhaps a reference to the shameful moment after the Fall in the Garden of Eden when God asks Adam and Eve “who told you you were naked”? The awkwardness is felt through the tentative phrases of the flute melody interspersed with unsure pauses and rhythmic anxiety and hurriedness. This work ends abruptly to give way for Judith Shatin’s “For the Fallen” for amplified flute and electronics (2017). Here the listener must decide who is fallen--Adam and Eve? A young soldier? Or the listener herself? Here Goodman offers the entire spectrum of possible flute sounds and colors though an electronic backdrop of dark chimes, pipes, gongs, and cymbals. ​ This masterfully mixed album is a must-have for any new music or electronic music savant. Purchase now at:
Apr 21, 2018
14135 The First Symphonies 12
<img src="" alt="itunes pic" /><br />14135 The First Symphonies 12 Grechaninov: Symphony No. 1 in B minor, Op. 6 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Mahler: Symphony No. 1 in D Major CMD German Opera Company of Berlin Orchestra Conducted by Kenneth Hedgecock Purchase now at:
Apr 20, 2018
14134 La Musica Chamber Music Hour 56
<img src="" alt="itunes pic" /><br />APRIL 9, 2018 OPERA HOUSE CONCERT Program I Monday, April 9, 2018 8:00 p.m. Sarasota Opera House Mozart, String Quintet in G minor, K.516 Federico Agostini, Ruth Lenz, Bruno Giuranna, Daniel Palmizio, Erica Piccotti Glazunov, String Quintet in A major, Op. 39 Ruth Lenz, Federico Agostini, Daniel Palmizio, Erica Piccotti, Christine Lee Schubert, Piano Trio No. 2 in Eb major, Op. 100, D.929 Claudio Cruz, Antonio Meneses, Derek Han
Apr 17, 2018
14133 La Musica Chamber Music Hour 55
<img src="" alt="itunes pic" /><br />In this broadcast we preview the April 18, 2018 concert of La Musica International Chamber Music Festival. Bernstein, Piano Trio Federico Agostini, Christine Lee, Derek Han Brahms, Trio for Horn, Violin, and Piano in Eb major, Op. 40 (viola version) Ruth Lenz, Daniel Palmizio, Derek Han Schubert, String Quintet in C major, Op. 163, D.956 Federico Agostini, Ruth Lenz, Bruno Giuranna, Erica Piccotti, Antonio Meneses ~ James P. Roque, SunTrust Private Wealth Management, Corporate Season Sponsor ~ Herald-Tribune Media Group, Media Season Sponsor Order tickets now at:
Apr 10, 2018
14132 The First Symphonies 11
<img src="" alt="itunes pic" /><br />Halvorsen: Symphony No. 1 in C minor Grieg: Symphony in C minor Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans
Apr 09, 2018
14131 R Strauss - Ariadne auf Naxos
<img src="" alt="itunes pic" /><br />Ariadne auf Naxos (Ariadne on Naxos), Op. 60, is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal. Combining slapstick comedy and consummately beautiful music, the opera's theme is the competition between high and low art for the public's attention. Joana Filipe Martinez - conductor/producer CMD Grand Opera Company of Barcelona Spain
Apr 07, 2018
14130 PARMA Recordings Angelus Music for Organ
<img src="" alt="itunes pic" /><br />Zvonimir Nagy’s Angelus is a singular journey into a meditative state. Like the commemoration of annunciation, Nagy’s album features music for thoughtful contemplation, using solo organ to create delicate space for inner exploration throughout the life of the album. Themes of spiritual reflection are evident in most of the tracks. Inspired by Philippians 4:13, “Prayer" features a melody that is moody, melancholic, and mournful, a plea for forgiveness. Later on, in the back half of the album, the seven movements of the “Preludes for a Prayer" embrace the ambience created by Nagy’s solo organ performance. Angelus is Nagy’s foray into a unique blend of post-minimalism and traditional. The composer finds inspiration in both ends of the spectrum. The tender droning melodies ring in the eponymous track evoking ease and a soothing mood. In stark contrast, the five movements of “Litanies of the Soul" generate augmented power, creating the yin and yang of disturbing and recreating peace. While the album promotes the theme of internal investigation, the performance is by no means stream-of-consciousness. Despite its free-flowing feel, each composition is meticulously written. Rather than being a reactionary performance, the movements in Angelus feel like chapters in a document. Each one captures the shifts in dynamic and repetitive melodies that builds the complexity with each passing second until the explosion of the last movement arrives. Then, just as quietly as Angelus was born, the finale rings into a moment of closure and then ceases, completed.
Apr 04, 2018
14129 La Musica Chamber Music Hour 54
<img src="" alt="itunes pic" /><br />Program III Sunday, April 15, 2018 3:00 p.m. Sarasota Opera House Paganini, Terzetto Concertante in D major, MS 114 Daniel Palmizio, Christine Lee, Jason Vieaux Castelnuovo-Tedesco, Quintet for Guitar and String Quartet in F major, Op. 143 Jason Vieaux, Ruth Lenz, Claudio Cruz, Daniel Palmizio, Erica Piccotti Shostakovich, Piano Quintet in G minor, Op. 57 Federico Agostini, Ruth Lenz, Bruno Giuranna, Antonio Meneses, Derek Han ~ James P. Roque, SunTrust Private Wealth Management, Corporate Season Sponsor ~ Herald-Tribune Media Group, Media Season Sponsor Single concert price: $40.00 Order now at:
Apr 02, 2018
14128 The Music of Dan Locklair
<img src="" alt="itunes pic" /><br />Symphony No. 2 "America", 3 movements - 1. Independence Day; 2. Memorial Day; 3. Thanksgiving Day. Performance by The Western Piedmont Symphony, John Gordon Ross, Music Director Gloria for SATB choir, divisi, brass octet and percussion Performance by the Winchester Chapel College Choir and Portsmouth Grammar School Chamber Choir, conducted by Malcolm Archer. In Memory H.H.L. for orchestra Performance by the Slovak Radio Symphony Orchestra, Kirk Trevor, conductor. Dan Locklair's music is widely performed throughout the U.S. and around the world. His catalog includes symphonic works, a ballet, an opera, chamber, instrumental, vocal and choral compositions. Locklair's commissioned compositions have been performed by musicians worldwide, including the Helsinki Philharmonic, the Buffalo Philharmonic, the Kansas City Symphony, the St. Louis Orchestra, the Saint Thomas Choir of Men and Boys of New York City and the Saint Paul’s Cathedral Choir of London. Broadcasts of it have included Vatican Radio, Czech Radio, Radio Finland, NPR, the BBC and the CBC. Recent CDs include the critically acclaimed Tapestries, Choral Music of Dan Locklair on MSR Classics (MS 1463) and Gloria (Sacred Choral Works) on Convivium Records (CD033). Recordings of his works are also available on Naxos, Ondine, Koch, Albany, Loft, Priory (UK) and other labels. His primary publishers are Ricordi and Subito. Dan Locklair is Composer-in-Residence and Professor of Music at Wake Forest University in Winston-Salem, North Carolina. More information about him, including a bio, list of works and discography at
Mar 27, 2018
14127 La Musica Chamber Music Hour 53
<img src="" alt="itunes pic" /><br />Preview of April 12, 2018 concert at the Sarasota Opera House Program II Thursday, April 12, 2018 8:00 p.m. Sarasota Opera House Mendelssohn, String Quintet No. 2 in Bb major, Op. 87 Federico Agostini, Ruth Lenz, Bruno Giuranna, Daniel Palmizio, Christine Lee Popper, Requiem in F# minor for Three Cellos and Piano, Op. 66 Christine Lee, Erica Piccotti, Antonio Meneses, Derek Han Rachmaninoff, Trio Elegiaque No. 2 in D minor, Op. 9 Claudio Cruz, Antonio Meneses, Derek Han Purchase tickets at:
Mar 26, 2018
14126 The First Symphonies 10
<img src="" alt="itunes pic" /><br />Schubert: ​Symphony No. 1 in D major, D. 82 Brahms: Symphony No. 1 in C minor, Op. 68 ​Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Mar 24, 2018
14125 La Musica Chamber Music Hour 52
<img src="" alt="itunes pic" /><br />A look ahead to the opening 2018 concert of La Musica International Chamber Music Festival. APRIL 9, 2018 OPERA HOUSE CONCERT Program I Monday, April 9, 2018 8:00 p.m. Sarasota Opera House Mozart, String Quintet in G minor, K.516 Federico Agostini, Ruth Lenz, Bruno Giuranna, Daniel Palmizio, Erica Piccotti Glazunov, String Quintet in A major, Op. 39 Ruth Lenz, Federico Agostini, Daniel Palmizio, Erica Piccotti, Christine Lee Schubert, Piano Trio No. 2 in Eb major, Op. 100, D.929 Claudio Cruz, Antonio Meneses, Derek Han ~ James P. Roque, SunTrust Private Wealth Management, Corporate Season Sponsor ~ Herald-Tribune Media Group, Media Season Sponsor Single concert price: $40.00
Mar 24, 2018
14124 The First Symphonies 9
<img src="" alt="itunes pic" /><br />Bruckner: Symphony No. 00 Study Symphony in F minor Meij: Symphony No. 1 The Lord of the Rings Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Mar 16, 2018
14123 Verdi - Oberto
<img src="" alt="itunes pic" /><br />Oberto, Conte di San Bonifacio is an opera in two acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on an existing libretto by Antonio Piazza probably called Rocester. It was Verdi's first opera, written over a period of four years and was first performed at the Teatro alla Scala, Milan, on 17 November 1839. The La Scala production enjoyed "a fair success" and the theatre's impresario, Bartolomeo Merelli, commissioned two further operas from the young composer. Performed by the CMD Grand Opera Company of Venice Recorded by CMD Recordings Purchase now at :
Mar 13, 2018
14122 La Musica Chamber Music Hour 51
<img src="" alt="itunes pic" /><br />Mozart: Piano Quartet in G minor, K. 478 Rossini: Sonata a quattro No. 5 in E-flat Schoenberg: Transfigured Night
Mar 12, 2018
14121 Mahler - Songs of a Wayfarer
<img src="" alt="itunes pic" /><br />Lieder eines fahrenden Gesellen ( Songs of a Wayfarer ) is a song cycle by Gustav Mahler on his own texts. The cycle of four songs for medium voice (oft Performed by women as well as men) what written around 1884-85 in the wake of Mahler's unhappy love for soprano Johanna Richter , whom he met while conductor of the opera house in Kassel , Germany and orchestrated and revised in the 1890s. Natalie Schoenberg, mezzo-soprano Dominique Beaulieu, conductor ​CMD Paris Philharmonic in Orleans Order now at:
Mar 10, 2018
14120 R Strauss - Der Rosenkavalier, Op. 59
<img src="" alt="itunes pic" /><br />Richard Strauss' most popular comedic opera. Joana Filipe Martinez, conductor/producer CMD Grand Opera Company of Barcelona Purchase now at:
Mar 09, 2018
14119 The Chamber Music of James Cohn
<img src="" alt="itunes pic" /><br />JAMES COHN was born in 1928, in Newark, New Jersey. He attended the Juilliard School of Music in New York City graduating with two degrees in Composition. He is listed in Who’s Who in America and Who’s Who in World Jewry. He has written solo, chamber, choral and orchestral works, and his catalog includes 4 string quartets, 5 piano sonatas and 9 symphonies. Some have won awards, including a Queen Elisabeth of Belgium Prize. Jim, who will be celebrating his 90th birthday on February 12th, 2018, is still composing. His major commission in 2016 was for a Concerto for English Horn and String Orchestra for Pedro Diaz, Principal English Horn of the Metropolitan Opera Orchestra in New York. This work will be premiered in summer of 2018 in Costa Rica and will be repeated at the International Double Reed Society Convention in Granada Spain. Jim has received 9 new commissions in 2017. Dance Suite for Violin & Guitar by Romulo Benavides & David Galvez, A Clarinet Quartet for the Brownstone Quartet in New York by Don Payne, a Concerto for Violin and Orchestra by Amadi Azikiwe, the KAM Trio,(Clarinet, Piano and Cello), honoring Korean, American and Moldavian musicians – Sonna Kim, Joseph Rosen and Taisya Pushkar, a new work for the Claribel Clarinet Choir from Oostende, Belgium, a new work (3 Portraits) for the American Soprano, April Armstrong, for Voice and String Quartet, String Quartet #4 for the Johnson Quartet in Philadelphia, a new work for the Cante Libra Chamber Ensemble for Flute, Harp, Violin, Viola and Cello and a new work for Clarinet and Piano – Klezmer themes - for Caroline Hartig – President of the International Clarinet Association for a recording project in 2018. Jim’s 2nd Violin Concerto for Amadi Azikiwe (Afro-American Echoes) will be premiered in summer of 2018 in South Africa and he is currently working on the new Suite (Serenade) for the Cante Libra Music Ensemble. Jim’s music is available on the XLNT Music label, The Naxos American Classics label and the MSR Music Classics label. Purchase Digital Download now at:
Mar 08, 2018
14118 PARMA Recordings - PRISMA Contemporary Works for Orchestra
<img src="" alt="itunes pic" /><br />Navona Records is proud to present PRISMA, a compilation featuring four contemporary composers from the United States and England including Lionel Sainsbury, Clive Muncaster, Patricia Julien, and J. A. Kawarsky. PRISMA spans the spectrum of unique styles of composition, from the grandiose and triumphant to the fragile and tender. This compilation captures a journey through colorful orchestral elements in a singular listening experience that builds into a thrilling sound. Order CD at: Purchase Digital Download at:
Mar 07, 2018
14117 The First Symphonies 8
<img src="" alt="itunes pic" /><br />Kalinnikov: Symphony No. 1 in G minor Rimsky-Korsakov: Symphony No. 1 in E minor, Op. 1 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Kalinnikov: Finale from Symphony No. 1 in G minor Ken Hedgecock, conductor (age 15) Kansas State University Symphonic Wind Ensemble Purchase now at:
Mar 06, 2018
14116 La Musica Chamber Music Hour 50
<img src="" alt="itunes pic" /><br />Our landmark 50th edition of La Musica Chamber Music Hour from our sponsor, La Musica International Chamber Music Festival. Mozart: Serenade No. 13 for Strings in G Major, K. 525 "Eine kleine Nachtmusik" Beethoven: String Quartet No. 11 in F minor, Op. 95 Schubert: Piano Quintet in A major, D. 667 "Trout Quintet" For more information on La Musica International Chamber Music Festival, please visit:
Mar 05, 2018
14115 PARMA Recordings - Music in the Listening Place
<img src="" alt="itunes pic" /><br />MUSIC IN THE LISTENING PLACE Vanderbilt Chorale Tucker Biddlecombe Conductor We welcome Tucker Biddlecombe to the PARMA Recordings family with the debut of Music In The Listening Place, a collection of choral works performed by the Vanderbilt University Chorale and conducted by Biddlecombe. Biddlecombe demonstrates masterful programming in his ability to curate a modern listening experience based on mostly classical texts. Of particular note is Three Songs of Faith, an elegant collection of settings of e.e. cummings texts by Eric Whitacre. In a similar vein are the delicate Trois Chansons of Maurice Ravel. A particular gem is Three Settings of Ezra Pound, composed by PARMA artist Michael Slayton. Eliza Gilkyson’s “Requiem” is unlike any other. Sweet and nostalgic, this hymn for the departed draws innocence from the youthful voices of the Chorale. Another highlight is David Dickau’s exquisite setting of If Music Be the Food of Love, through which the Chorale expresses remarkable balance and dynamic facility. Also included on the album are several text settings by composer Jonathan Dove; an arrangement of the traditional Indodana, as well as settings by Alf Houkum, Daniel Read, and James Mulholland.Truly, Biddlecombe captures the joy and sophistication of all things choral with this enchanting recording. Purchase CD: Purchase Digital Download:
Feb 28, 2018
14114 The First Symphonies 7
<img src="" alt="itunes pic" /><br />Stravinsky: Symphony in E-flat Major, Op. 1 Mendelssohn: Symphony No. 1 in C minor, Op. 11 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Feb 27, 2018
14113 Minkus: Don Quixote
<img src="" alt="itunes pic" /><br />Don Quixote is a ballet in four acts and eight scenes, based on episodes taken from the famous novel Don Quixote de la Mancha by Miguel de Cervantes. It was originally choreographed by Marius Petipa to the music of Ludwig Minkus and first presented by the Ballet of the Imperial Bolshoi Theatre of Moscow, Russia on 26 December 1869. Petipa and Minkus revised the ballet into a far more expanded and elaborated edition in five acts and eleven scenes for the Imperial Ballet, first presented on 21 November 1871 at the Imperial Bolshoi Kamenny Theatre of St. Petersburg. ​ All modern productions of the Petipa/Minkus ballet are derived from the version staged by Alexander Gorsky for the Bolshoi Theatre of Moscow in 1900, a production the ballet master staged for the Imperial Ballet of St. Petersburg in 1902. Performed by the Sofia National Opera Orchestra Conducted by Nayden Todorov Purchase now at: Prologue Don Quixote's Study Bachelor Sanson Carrasco is seen covering a bookcase with wallpaper, while Antonina is putting some rusty old armour and a helmet made of pasteboard into a cupboard. Don Quixote de la Mancha enters, reading a book. He goes to the bookcase and, not finding it, believes it has been stolen by evil magicians. Then he settles into an armchair and continues reading. He delights in stories of brave knights, fabulous giants and other fantastical creatures, but most of all Don Quixote dreams of his beloved Dulcinea, a woman that he believes to be so lovely and noble that she must be divinity. Gradually he nods and falls asleep to dream of their romantic adventures. Darkness falls. Suddenly his servant, Sancho Panza, climbs hurriedly through the window. In pursuit are several angry women from the market from whom he has stolen bread and a chicken. Awakened by the commotion, Don Quixote sends the women away. Don Quixote tells Sancho that he is determined to seek adventures as a knight-errant, all the while searching for his beloved Dulcinea. He shows him the pasteboard helmet, which, with one sweep from his sword, becomes a shapeless mass on the floor. Antonina suggests that he should use a shaving basin instead, which would make a splendid helmet. Don Quixote enthusiastically agrees and, placing it on his head, orders Sancho to bring him his armour, sword and spear, and to make ready his horse, Rocinante. Act I A market-place in Barcelona Kitri, an inn-keeper's daughter, steals out of her house to meet her beloved, the barber Basilio. Her father, Lorenzo, sees the lovers and sends Basilio away, bringing Kitri to tears. Now comes the rich nobleman Gamache, who, likewise in love with Kitri, goes to Lorenzo and asks for his daughter's hand. The innkeeper accepts with delight but Kitri, appalled at the thought of wedding the foppish nobleman, runs away. Dancing begins in the square and some toreadors try to kidnap the girls they fancy, but their relatives and lovers hasten to their aid. At this moment Don Quixote arrives mounted on Rocinante, followed by Sancho, who is riding a donkey. At his master's command Sancho sounds his rusted horn, causing the townspeople to cover their ears. Lorenzo runs out of his inn, and Don Quixote, taking him for the lord of a famous castle, dismounts Rocinante and, falling to his knees, begs to be allowed to serve him. Charmed, Lorenzo invites the knight to sit on his balcony. Sancho remains in the square where he is surrounded by girls who induce him to take part in a game of blind man's bluff. Then some boys bring in a blanket on which they place Sancho and proceed to toss him into the air. Don Quixote hurries to his assistance and sets him free. Peasants gather in the square and dancing resumes. Kitri returns and, noticing her, Don Quixote acclaims her as his Dulcinea, whom evil magicians have reduced to human form. Becoming jealous of her affection for Basilio, Don Quixote attempts to woo her by partnering her in a minuet. Lorenzo berates Kitri for carrying on with Basilio. Kitri and Basilio then run away, and Lorenzo and Gamache follow them. Don Quixote orders Sancho to bring Rocinante, so that he may also set out in pursuit. Act II Scene 1 – A camp of gypsies among the windmills outside the village Kitri, disguised as a boy is seen walking with Harlequin from a troupe of travelling actors. They guess she is a girl and ask her to stay with them. Scene 2 - The Puppet Theatre A clown is seen walking with Graziosa, the gypsy chief's daughter. A gypsy tells the chief of the approach of Don Quixote. The chief plans a trick for his benefit and, putting on a mantle crown, sits down as though he were a king on a throne. Don Quixote is deceived and kneels to the chief in homage. The chief bids that he sit beside him and orders a festival to be given in his honor. This begins with Gypsy dances and is followed by a performance of the marionette theatre. Don Quixote is delighted with the entertainment but, mistaking the heroine for his Dulcinea and the marionettes for soldiers attacking her, he rises to assault them. The gypsies are terrified. At this moment the clown and Graziosa run away. Scene 3 - The Windmills Flushed with victory, the knight kneels and renders thanks to heaven. Seeing the moon, he takes it for his Dulcinea and tries to get to her. As he approaches the windmills he can see the moon no longer and thinks that evil magicians have hidden his beloved mistress. So, spear in hand, he tilts at the wings of the windmill, which he mistakes for a giant. Alas, the knight is caught by one of the wings and flung into the air. He falls unconscious at Sancho's feet. Scene 4 – A forest Through the trees appears Sancho leading Rocinante, upon which sits the wounded Don Quixote. The servant lifts his master down and places him on the grass, so that he may rest. Then, tying up the horse, he goes to sleep. Don Quixote also tries to sleep, but is troubled by fantastic dreams. Scene 5 – The enchanted Garden of Dulcinea Fairies appear surrounded by gnomes and Don Quixote finds himself dressed in shining armor. Then comes a succession of fearsome monsters, the last being a gigantic spider, who spins a web. The knight attacks the spider, which he slashes in half with his sword. At that same moment the spider's web vanishes to reveal a beautiful garden, filled with dryads and beautiful women, presided over by the Queen of the Dryads and Amor. Among them is Dulcinea and Don Quixote kneels before his beloved. At this moment everything vanishes. Act III The Square Back at the square, Kitri and Basilio join those who are dancing. At the height of the merriment, Lorenzo and Gamache arrive, followed by Don Quixote and Sancho. Seeing his daughter, Lorenzo decides to give his blessing to her union with the nobleman Gamache. Basilio becomes annoyed and, reproaching Kitri for her unfaithfulness, draws a sword and stabs himself. As he lies dying he begs Lorenzo to unite him with Kitri, but Lorenzo and Gamache refuse. Don Quixote approaches Gamache and challenges him to a duel for having refused a dying man's wish. Gamache declines to fight and the merrymakers drive him out of the inn. Taking pity, Lorenzo agrees to unite Basilio and Kitri. At this moment, Basilio pulls out the sword and tells everyone it was a joke. Act IV The Tavern A magnificent feast is held in honour of Don Quixote. Suddenly the Knight of the Silver Moon challenges him to a duel, which results in the latter being vanquished. The victorious knight proves to be none other than Bachelor Sanson Carrasco, who forces Don Quixote to vow that he will not unsheathe his sword for a whole year. The sorrowful knight, true to his vow, takes up his warlike gear and, followed by Sancho, sets out for home.
Feb 25, 2018
14112 Leo Tolstoy's Anna Karenina Movie Soundtrack
<img src="" alt="itunes pic" /><br />Music skated to by Olympic Silver medalist, Yevgenia Medvedeva. Symphony No. 6 in B Minor, op. 74 (Pathetique) Written by Pyotr Ilyich Tchaikovsky (as Peter Ilyich Tchaikovsky) Performed by The St. Petersburg Philharmonic Orchestra Conducted by Georg Solti (as Sir Georg Solti) Courtesy of Icon Records and London Records Swan Lake Written by Pyotr Ilyich Tchaikovsky (as Peter Ilyich Tchaikovsky) Performed by The St. Petersburg Philharmonic Orchestra Conducted by Georg Solti (as Sir Georg Solti) Courtesy of Icon Records and London Records Eugene Onegin Written by Pyotr Ilyich Tchaikovsky (as Peter Ilyich Tchaikovsky) Performed by The St. Petersburg Philharmonic Orchestra Conducted by Georg Solti (as Sir Georg Solti) Galina Gorchakova, soprano Galina Gorchakova appears courtesy of Philips Classics Productions Courtesy of Icon Records and London Records Violin Concerto in D Major, op. 35 Written by Pyotr Ilyich Tchaikovsky (as Peter Ilyich Tchaikovsky) Performed by The St. Petersburg Philharmonic Orchestra Conducted by Georg Solti (as Sir Georg Solti) Maxim Vengerov, violin Maxim Vengerov appears courtesy of Teldec Classics GmbH Hamburg Courtesy of Icon Records and London Records Vespers, Op. 37/2 Written by Sergei Rachmaninoff Performed by St. Petersburg Chamber Choir Conducted by Nikolai Kornev (as Nikolai Korniev) Courtesy of Icon Records and London Records Vespers, Op. 37/5 Written by Sergei Rachmaninoff Performed by St. Petersburg Chamber Choir Conducted by Nikolai Kornev (as Nikolai Korniev) Courtesy of Icon Records and London Records Song About Alexander Nevsky Written by Sergei Prokofiev Performed by The St. Petersburg Philharmonic Orchestra amd The St. Petersburg Chamber Choir Conducted by Georg Solti (as Sir Georg Solti) Courtesy of Icon Records and London Records Harvesting the Field Performed by Natasha Alymova, Zhenya Kirichenko, Zhenya Morozova, Masha Shpakovskaya Courtesy of Icon Records and London Records Cavalry Officers' Party Performed by Radmila Ivanova, Viktor Rapotikhin, Yura Schchukin, Yura Slatsov, Maria Vengelevskaya, Rada Vengelevskaya Courtesy of Icon Records and London Records Trio Élégiaque No. 1 in G Minor Written by Sergei Rachmaninoff Performed by Beaux Arts Trio Courtesy of Philips Classics by arrangement with PolyGram Film & TV Licensing Elegie, Op. 3/1 Written by Sergei Rachmaninoff Performed by Howard Shelley Courtesy of Hyperion Records by arrangement with Source/Q Piano Sonata No. 2 in B Flat Minor, Op. 36 Written by Sergei Rachmaninoff Performed by Howard Shelley Courtesy of Hyperion Records by arrangement with Source/Q Prelude in F Sharp Minor, Op. 23/1 Written by Sergei Rachmaninoff Performed by Howard Shelley Courtesy of Hyperion Records by arrangement with Source/Q Purchase now at:
Feb 24, 2018
14111 Holst - The Planets
<img src="" alt="itunes pic" /><br />The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. Sylvia Wagner, conductor CMD German Opera Company of Berlin Orchestra Purchase now at:
Feb 22, 2018
14110 The First Symphonies #6
<img src="" alt="itunes pic" /><br />Rachmaninoff: Symphony No. 1 in D minor, Op. 13 Rachmaninoff: Symphony Movement in D minor, "Youth Symphony" Balakirev: Symphony No. 1 in C Major Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Feb 19, 2018
14109 Mozart Flute Commissions
<img src="" alt="itunes pic" /><br />Flute Quartet No. 1 in D Major, K. 285 Flute Quartet No. 2 in G Major, K. 285a Flute Quartet No. 3 in C Major, K. 285b Flute Concerto No. 1 in G, K. 313 Purchase now at:
Feb 16, 2018
14108 Valentine's Day
<img src="" alt="itunes pic" /><br />For this show, we take a small time out in celebration of Valentine's Day. 95 minutes of some of our favorite music for Valentine's Day. Nothing more, nothing less.
Feb 14, 2018
14107 PARMA Recordings - Nouvelle Vie
<img src="" alt="itunes pic" /><br />NOUVELLE VIE: A REDISCOVERY OF FRENCH FLUTE MUSIC Michelle Batty Stanley flute Margaret McDonald piano On her new album NOUVELLE VIE, flutist Michelle Batty Stanley and pianist Margaret McDonald breathe new life into classic 19th and 20th century compositions. The duo dream up new interpretations of both familiar French favorites as well as works by lesser known composers. The compositions Stanley and McDonald chose for NOUVELLE VIE were written either for the Paris Conservatory Flute Studio as end of the year projects or as small concert pieces. The album is reminiscent of the opera-like qualities of that specific era of music, a time when the flute became the star instrument. The duo create a dynamic interplay with melody lines that stretch through time back to that fruitful era of flute music. Rene De Boisdeffre’s Canzonetta. Op 39. No. 8 is light and airy, while the grandiose Romance. Op 33 by Emile Bernard fills every possible air pocket with sound. Stanley and McDonald create music so full, you might imagine you were listening to an orchestra. Elegance and grace flow from this album, provoking a sense of waking. You hear the dawn rise in NOUVELLE VIE, a dawn presumably once felt by those 19th and 20th century composers who changed the history of flute music forever. Purchase now at:
Feb 13, 2018
14106 The First Symphonies #5
<img src="" alt="itunes pic" /><br />Barber: First Symphony, Op. 9 Sibelius: Symphony No. 7 in C, Op. 105 Sibelius: Symphony No. 1 in E minor, Op. 39 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Feb 12, 2018
14105 JS Bach Cello Suites on the Cretan Lyra
<img src="" alt="itunes pic" /><br />Yiorgos Kaloudis interprets on the four-string Cretan lyra, selected parts of one of the most important works of J.S.Bach, the Suites for Solo Cello. Cellist, lyra player, improviser and composer, Yiorgos Kaloudis created a new interpretive approach, adding a fourth string on the Cretan lyra and transcribing this work of Bach in the authentic tonalities of the composer. Yiorgos Kaloudis: 4-string Cretan Lyra with sympathetic strings Purchase now at:
Feb 10, 2018
14104 The First Symphonies #4
<img src="" alt="itunes pic" /><br />Walton: Symphony No. 1 in B♭ minor Bizet: Symphony in C Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Purchase now at:
Feb 09, 2018
14103 Mozart - Oops! I Did It Again!
<img src="" alt="itunes pic" /><br />Adagio in E for Violin and Orchestra, K. 261 Rondo in B-flat for Violin and Orchestra, K. 269 Serenade for 4 Orchestras in D minor, K. 286 Dominique Beaulieu, conductor and solo violinist CMD Philharmonic of Paris in Orleans Chartres Community Orchestra Orleans Community Orchestra Bourges Community Orchestra Purchase now at:
Feb 08, 2018
14102 PARMA Recordings - East of the Sun and West of the Moon
<img src="" alt="itunes pic" /><br />Navona Records is proud to announce the release of Daniel Crozier’s enchanting East of The Sun and West of The Moon, orchestral album. Using music, rather than words, to tell his story, Crozier’s music is full of startling detail and narrative. The two pieces comprising this album serve as windows into Crozier’s theory of musical story telling. Listeners are challenged to find a better narrative voice than the delicate oboe positioned against the profound strings. Specifically, one feels this texture in Ballade: A Tale after the Brothers Grimm, rendered exquisitely by the Slovak National Philharmonic Orchestra conducted by Stanislav Vavrínek. The piece flows with scenery and drama experienced through, what Crozier has referred to as, “three ideas” representing characters whose interaction creates the story of the piece. His compositions have been praised by both The New York Times and The Wall Street Journal. The Baltimore Sun wrote, “Composer Crozier has responded … with music of extraordinary depth and power.” Crozier’s movement, “Capriccio” (performed by the Seattle Symphony Orchestra and conducted by Gerard Schwarz) was awarded first prize in the Jacksonville Symphony Orchestra’s Fresh Ink competition for Florida composers. ​ Crozier has been a recipient of grants or awards from organizations including the Florida Department of State, the Ernst & Elfriede Frank Foundation, ASCAP, and the National Opera Asscociation. Explore the magical world East of The Sun and West of The Moon, and let your imagination show you the stories therein. Purchase now at:
Feb 07, 2018
14101 The First Symphonies #3
<img src="" alt="itunes pic" /><br />Bruckner: Symphony No. 1 in C minor, WAB 101 Borodin: Symphony No. 1 in C-flat Major Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orlean Purchase now at:
Feb 06, 2018
14100 R Strauss - Elektra
<img src="" alt="itunes pic" /><br />Elektra, Op. 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama Elektra. The opera was the first of many collaborations between Strauss and Hofmannsthal. It was first performed at the Dresden State Opera on 25 January 1909. It was dedicated to his friends Natalie and Willy Levin. Joana Filipe Martinez - producer/director/conductor ​CMD Grand Opera Company of Barcelona Purchase now at: Synopsis: Mycenae, ancient Greece. In the courtyard of the royal palace, servant girls comment on the wild behavior of Elektra, the eldest daughter of the late king Agamemnon. After they have left, Elektra appears, dressed in rags (“Allein! Weh, ganz, allein”). She is obsessed with thoughts of her father’s murder at the hands of her mother, Klytämnestra, and her mother’s lover, Aegisth. Calling on her father’s spirit, she renews her vow of vengeance. Her tirade is interrupted by her younger sister, Chrysothemis, who urges Elektra to give up her obsession with revenge so they both can lead normal lives. Elektra mocks Chrysothemis, who runs off as noises from within the palace announce the approach of Klytämnestra. The queen staggers in. Drugs, loss of sleep, and fear of retribution for her husband’s murder have made a wreck of her (“Ich habe keine guten Nächte”). Surprised that Elektra will talk to her, she appeals to her daughter’s intelligence and demands to know what she needs to do to find peace of mind. A sacrifice has to be made, Elektra replies. When Klytämnestra fails to comprehend what her daughter is hinting at, Elektra screams at her that it is Klytämnestra herself who must die and that she and her banished brother Orest will kill her (“Was bluten muss?”). Klytämnestra is horrified, but when her confidante runs in and whispers something, her mood changes abruptly. Laughing maniacally, she disappears into the palace. Her behavior is explained when Chrysothemis reappears with news that Orest is dead. Stunned, Elektra at first refuses to believe her, then tells her sister that she must now help kill Klytämnestra and Aegisth. Chrysothemis runs off in terror. As Elektra frantically starts digging for the buried axe that killed Agamemnon, a stranger appears. She asks him what he wants and he calmly replies that he has been sent to bring news of Orest’s death (“Was willst du, fremder Mensch?”). But when Elektra reveals that she is Agamemnon’s daughter, he tells her Orest lives. Suddenly servants appear, kissing his hands and feet. Frightened, Elektra asks who he is. The dogs in the courtyard know me, the stranger replies, but not my own sister? Crying his name, Elektra gives in to her unspeakable joy and declares she has lived only to avenge their father’s murder. When Orest’s guardian tells him the queen waits inside, the men enter the palace. Elektra waits anxiously and when a scream is heard she knows Orest has killed their mother. Aegisth arrives, having heard the news of Orest’s death, and Elektra lights his way into the palace with sarcastic courtesy. A moment later he reappears at a window, crying for help, before he is dragged inside and killed. While tumultuous confusion spreads through the palace and courtyard, Elektra, in a state of ecstasy, begins a triumphal dance. Chrysothemis returns but Elektra doesn’t hear her and at the climax of the dance falls dead.
Feb 05, 2018
14099 James Cohn
<img src="" alt="itunes pic" /><br />JAMES COHN was born in 1928, in Newark, New Jersey. He attended the Juilliard School of Music in New York City graduating with two degrees in Composition. He is listed in Who’s Who in America and Who’s Who in World Jewry. He has written solo, chamber, choral and orchestral works, and his catalog includes 4 string quartets, 5 piano sonatas and 9 symphonies. Some have won awards, including a Queen Elisabeth of Belgium Prize. Jim, who will be celebrating his 90th birthday on February 12th, 2018, is still composing. His major commission in 2016 was for a Concerto for English Horn and String Orchestra for Pedro Diaz, Principal English Horn of the Metropolitan Opera Orchestra in New York. This work will be premiered in summer of 2018 in Costa Rica and will be repeated at the International Double Reed Society Convention in Granada Spain. Jim has received 9 new commissions in 2017. Dance Suite for Violin & Guitar by Romulo Benavides & David Galvez, A Clarinet Quartet for the Brownstone Quartet in New York by Don Payne, a Concerto for Violin and Orchestra by Amadi Azikiwe, the KAM Trio,(Clarinet, Piano and Cello), honoring Korean, American and Moldavian musicians – Sonna Kim, Joseph Rosen and Taisya Pushkar, a new work for the Claribel Clarinet Choir from Oostende, Belgium, a new work (3 Portraits) for the American Soprano, April Armstrong, for Voice and String Quartet, String Quartet #4 for the Johnson Quartet in Philadelphia, a new work for the Cante Libra Chamber Ensemble for Flute, Harp, Violin, Viola and Cello and a new work for Clarinet and Piano – Klezmer themes - for Caroline Hartig – President of the International Clarinet Association for a recording project in 2018. Jim’s 2nd Violin Concerto for Amadi Azikiwe (Afro-American Echoes) will be premiered in summer of 2018 in South Africa and he is currently working on the new Suite (Serenade) for the Cante Libra Music Ensemble. Jim’s music is available on the XLNT Music label, The Naxos American Classics label and the MSR Music Classics label.
Feb 03, 2018
14098 Mozart - All Mixed-Up
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Mass in C, K. 257 "Credo" <br />Missa brevis in C, K. 258 "Spaur" <br />Missa brevis in C, K. 259 "Organ Solo" </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Conducted by Dominique Beaulieu <br />CMD Chorus and Philharmonic of Paris in Orlean </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank"> Purchase now at</a></span></p>
Feb 02, 2018
14097 PARMA Recordings - Shadow Etchings
<img src="" alt="itunes pic" /><br /><p><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">SHADOW ETCHINGS </span></strong><br /><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> NEW MUSIC FOR FLUTE </span></strong><br /><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Orlando Cela </span></strong></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Orlando Cela demonstrates his ingenious ability to navigate complexities of postmodernism in chamber music and the avant garde with this rich recording of flute and piccolo treasures for the curious ear. Operating with a creative vision inspired by Frederic Chopin that &ldquo;simplicity is the final achievement,&rdquo; Cela invites the listener on a journey of experimental music beginning with Besingrand&rsquo;s &ldquo;Le soupir du roseau dans les bras du vent&rdquo; in which the flutist explores the unexpected possibilities for creating sound with his instrument. Cela furthers the investigation with &ldquo;Winter Variations,&rdquo; by Lou Bunk (&ldquo;featuring John Cage&rdquo;), investigating, too, the possible extremes in lower dynamics. In Robert Gross&rsquo; &ldquo;Variations on a Schenker Graph of Gesualdo,&rdquo; Cela challenges the listener to decipher what is real from what is imagined. Dana Kaufman&rsquo;s &ldquo;Hang Down Your Head,&rdquo; is the most ethnographic work on the recording, alluding to an ambiguous folk setting. It could be Nebraska; it could be Mars. The minimalism in composition lets the listener decide as Cela's flawless delivery leads the way. Shadow Etchings is unapologetically unconventional yet simultaneously accessible to even the untrained ear. If you are looking to expand your horizons, this is the place to start. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank"> Purchase now at</a></span></p>
Feb 01, 2018
14096 The First Symphonies Series #2
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Schumann: Symphony No. 1 in B-flat Major, Op. 38 "Spring Symphony" <br />Tchaikovsky: Symphony No 1 in G minor, Op. 13 "Winter Dreams" </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Dominique Beaulieu, conductor <br />CMD Paris Philharmonic in Orlean</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank">Purchase now at</a></span></p>
Jan 31, 2018
14095 The First Symphonies Series #1
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Haydn: Symphony No. 1 in D Major <br />​Mozart: Symphony No. 1 in E-flat, K. 16 <br />​Krommer: Symphony No 1 in F Major, Op. 12 </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Dominique Beaulieu, conductor ​<br />CMD Philharmonic of Paris in Orlean</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank">Purchase now at</a></span></p>
Jan 30, 2018
14094 Mahler: Das Lied von der Erde
<img src="" alt="itunes pic" /><br /><p><span style="font-size: small; font-family: &quot;comic sans ms&quot;, sans-serif;"><strong>Das Lied von der Erde ("The Song of the Earth")</strong> is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six songs for two singers who alternate movements. Mahler specified the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available. </span></p> <p><span style="font-size: small; font-family: &quot;comic sans ms&quot;, sans-serif;">Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation. </span></p> <p><span style="font-size: small; font-family: &quot;comic sans ms&quot;, sans-serif;"> Danielle Stein, alto <br />Randall Bloomquist, tenor <br />Joana Filipe Martinez, producer/conductor <br />CMD Grand Opera Company of Barcelona Orchestra </span></p> <p><span style="font-size: small; font-family: &quot;comic sans ms&quot;, sans-serif;"><a href="" target="_blank"> Available now at</a></span></p>
Jan 27, 2018
14093 Mahler: Kindertotenlieder
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><strong><span style="font-size: medium;">Kindertotenlieder (Songs on the Death of Children)</span></strong> is a song cycle (1904) for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich R&uuml;ckert. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Natalie Schoenberg, Mezzo-Soprano <br />Dominique Beaulieu, conductor <br />CMD Philharmonic of Paris in Orlean </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank"> Purchase now at</a></span></p>
Jan 26, 2018
14092 Mozart: Concerto for 3 Pianos/Piano Concerto 8
<img src="" alt="itunes pic" /><br /><p><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: medium;">Concerto for 3 Pianos in F Major, K. 242 "Lodron" </span></strong><br /><strong><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: medium;">Piano Concerto No. 8 in C Major, K. 246 "Lutzow" </span></strong></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Joana Filipe Martinez, piano </span><br /><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Dominique Beaulieu, piano/conductor ​</span><br /><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">CMD Philharmonic of Paris in Orlean </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank"> Purchase now at</a></span></p>
Jan 25, 2018
PARMA Recordings - No Enemy But Winter and Rough Weather
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Even the most fearful of the cold will draw warmth from Joe Summer&rsquo;s comforting No Enemy But Winter and Rough Weather, the sixth album honoring The Shakespeare Concert Series, of which he is founder and executive director. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Purchase now at <a href="" target="_blank"></a></span></p>
Jan 24, 2018
Mahler: Symphony No. 10 in F-sharp minor
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Symphony No. 10 by Gustav Mahler was written in the summer of 1910, and was his final composition. At the time of Mahler's death the composition was substantially complete in the form of a continuous draft, but not fully elaborated or orchestrated, and thus not performable. Only the first movement is regarded as reasonably complete and performable as Mahler intended. Perhaps as a reflection of the inner turmoil he was undergoing at the time (Mahler knew he had a failing heart and his wife had been unfaithful), the 10th Symphony is arguably his most dissonant work. </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">CMD German Opera Company of Berlin Orchestra ​<br /></span><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Conducted by Kenneth Hedgecock</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Purchase now at <a href="" target="_blank"></a></span></p>
Jan 23, 2018
14089 Mozart: Piano Concerto No. 6 and Serenade No. 6
<img src="" alt="itunes pic" /><br />Piano Concerto No. 6 in B-flat major, K. 238 Serenade No. 6 for Orchestra in D major K. 239 Dominique Beaulieu - conductor and pianist CMD Philharmonic of Paris in Orlean Purchase now at:
Jan 18, 2018
14088 Mahler: Symphony No. 9 in D Major
<img src="" alt="itunes pic" /><br />Gustav Mahler's last completed symphony and his most emotional work. CMD German Opera Company of Berlin Orchestra Conducted by Kenneth Hedgecock Purchase now at:
Jan 17, 2018
14087 PARMA Recordings - Three Orchestra Works
<img src="" alt="itunes pic" /><br />THREE ORCHESTRAL WORKS BY DWIGHT BECKHAM, SR. marks a tremendous sample of American composer Dwight Beckham’s lyrical style and command of the orchestra. Based in Kansas, Beckham is part of an important generation of composers who, in the latter half of the twentieth century, persisted in their pursuit of a classically Romantic aesthetic. To this end, Beckham’s orchestral music is stalwartly thematic, crisply orchestrated, and centered on dramatic melodic and harmonic ideas. Purchase now at:
Jan 16, 2018
14086 Scott Joplin: Treemonisha
<img src="" alt="itunes pic" /><br />Scott Joplin's 2nd and final opera. This landmark first ever recording of this opera will surprise you! Listed as a "ragtime opera" this description couldn't be further from the truth. This is more in line with a Gilbert and Sullivan production and includes an excellent morality story and also some "pre-blues" numbers. Performed by the Houston Grand Opera Company. Purchase now at:
Jan 15, 2018
14085 Lost Stravinsky
<img src="" alt="itunes pic" /><br />Riccardo Chailly makes his debut recording with the Lucerne Festival Orchestra with the first ever recording of Stravinsky’s ‘Chant Funèbre’ (Funeral Song), a piece everyone believed lost forever. Purchase now at:
Jan 13, 2018
14084 Joana Filipe Martinez Plays Scott Joplin
<img src="" alt="itunes pic" /><br />Joana has played the rags of Scott Joplin since she was 5 years old and has the complete library of Scott Joplin Rags committed to memory. This broadcast features 10 rags from her new CMD release: The Complete Rags of Scott Joplin Purchase now, for only $2.99, at:
Jan 12, 2018
14083 Brahms: Hungarian Dances 1-21
<img src="" alt="itunes pic" /><br />The Hungarian Dances by Johannes Brahms, are a set of 21 lively dance tunes based mostly on Hungarian themes, completed in 1869. ​ They vary from about a minute to five minutes in length. They are among Brahms's most popular works, and were certainly the most profitable for him. Each dance has been arranged for a wide variety of instruments and ensembles. Brahms originally wrote the version for piano four hands and later arranged the first 10 dances for solo piano. CMD German Opera Company of Berlin Orchestra ​Sylvia Wagner, conductor Purchase now at:
Jan 11, 2018
14082 La Musica Chamber Music Hour #49
<img src="" alt="itunes pic" /><br />Mozart: Piano Quartet No. 1 in G minor, K. 478 Rossini: Sonata a quattro No. 5 in E-flat Schoenberg: Transfigured Night, Op. 4 For more information on La Musica International Chamber Music Festival, please visit their website at:
Jan 10, 2018
14081 PARMA Recordings - Ask the Moon
<img src="" alt="itunes pic" /><br />Composer Garth Baxter makes his PARMA debut with a collection of his exquisite works for voice entitled Ask the Moon. This album is about the human condition and the pursuit of light in darkness. Purchase now at:
Jan 09, 2018
14080 Salieri: Les Danaïdes
<img src="" alt="itunes pic" /><br />Les Danaïdes is an opera by Antonio Salieri, in 5 acts: more specifically, it is a tragédie lyrique. The opera was set to a libretto by François-Louis Gand Le Bland Du Roullet and Louis-Théodore de Tschudi, who in turn adapted the work of Ranieri de' Calzabigi (without permission). Calzabigi originally wrote the libretto of Les Danaïdes for Christoph Willibald Gluck, but the aged composer, who had just experienced a stroke, was unable to meet the Opéra's schedule and so asked Salieri to take it over. ​ The plot of the opera is based on Greek tragedy and revolves around the deeds of the mythological characters Danaus and Hypermnestra. Dominique Beaulieu, conductor CMD Paris Philharmonic and Chorus of Orleans Purchase now at:
Jan 09, 2018
14079 R Strauss: Salome
<img src="" alt="itunes pic" /><br />Salome, Op. 54, is an opera in one act by Richard Strauss to a German libretto by the composer, based on Hedwig Lachmann's German translation of the French play Salomé by Oscar Wilde. Strauss dedicated the opera to his friend Sir Edgar Speyer. The opera is famous (at the time of its premiere, infamous) for its "Dance of the Seven Veils". The final scene is frequently heard as a concert-piece for dramatic sopranos. Producer, Director and Conductor - Joana Filipe Martinez CMD Grand Opera Company of Barcelona
Jan 06, 2018
14078 Beethoven: Fidelio, Op. 72
<img src="" alt="itunes pic" /><br />Fidelio (originally titled Leonore, oder Der Triumph der ehelichen Liebe; English: Leonore, or The Triumph of Marital Love), Op. 72, is Ludwig van Beethoven's only opera. The German libretto was originally prepared by Joseph Sonnleithner from the French of Jean-Nicolas Bouilly, with the work premiering at Vienna's Theater an der Wien on 20 November 1805. The following year, Stephan von Breuning helped shorten the work from three acts to two. After further work on the libretto by Georg Friedrich Treitschke, a final version was performed at the Kärntnertortheater on 23 May 1814. By convention, both of the first two versions are referred to as Leonore. Sylvia Wagner, conductor CMD German Opera Company of Berlin
Jan 04, 2018
14077 Piano Sonata Celebration
<img src="" alt="itunes pic" /><br />CMD Conductors Joana Filipe Martinez and Dominique Beaulieu perform: Beethoven: Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 "Moonlight" Beethoven: Piano Sonata No. 8 in C minor, Op. 13 "Pathetique" Mozart: Piano Sonata No. 14 in C minor, K. 457 Beethoven: Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" Beethoven: Piano Sonata No. 29 in B-flat, Op. 106 "Hammerklavier"
Jan 03, 2018
14068 Beethoven: Symphony No. 9 in D minor, Op. 125 "Choral"
<img src="" alt="itunes pic" /><br />The Symphony No. 9 in D minor, Op. 125, is the final complete symphony by the German composer Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. The symphony is one of the best-known works in common practice music. It is widely viewed by critics as one of Beethoven's greatest works, the pinnacle of musical Classicism, and one of the greatest compositions in the western musical canon. The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with text additions made by the composer. In the 2010s, it stands as one of the most performed symphonies in the world. In 2001, Beethoven's original, hand-written manuscript of the score, held by the Berlin State Library, was added to the United Nations Memory of the World Programme Heritage list, becoming the first musical score so honoured. Purchase now at:
Dec 31, 2017
14076 Beethoven: Symphony No. 8 in F Major, Op. 93
<img src="" alt="itunes pic" /><br />The Symphony No. 8 in F Major, Op. 93 is a symphony in four movements composed by Ludwig van Beethoven in 1812. Beethoven fondly referred to it as "my little Symphony in F," distinguishing it from his Sixth Symphony, a longer work also in F. ​ The Eighth Symphony is generally light-hearted, though not lightweight, and in many places cheerfully loud, with many accented notes. Various passages in the symphony are heard by some listeners to be musical jokes. As with various other Beethoven works such as the Opus 27 piano sonatas, the symphony deviates from Classical tradition in making the last movement the weightiest of the four. CMD German Opera Company of Berlin Orchestra ​Conducted by Sylvia Wagner Purchase now at:
Jan 02, 2018
14075 Beethoven: Symphony No 7 in A Major, Op. 92 and Wellington's Victory, Op. 91
<img src="" alt="itunes pic" /><br />The Symphony No. 7 in A major, Op. 92, is a symphony in four movements composed by Ludwig van Beethoven between 1811 and 1812, while improving his health in the Bohemian spa town of Teplice. The work is dedicated to Count Moritz von Fries. At its première, Beethoven was noted as remarking that it was one of his best works. The second movement, Allegretto, was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony. Wellington's Victory, or, the Battle of Vitoria, Op. 91, is a minor 15-minute-long orchestral work composed by Ludwig van Beethoven to commemorate the Duke of Wellington's victory over Joseph Bonaparte at the Battle of Vitoria in Spain on 21 June 1813. It is known sometimes as "The Battle Symphony" or "The Battle of Vitoria", and was dedicated to the Prince Regent, later King George IV. Composition stretched from August to first week of October 1813, and the piece proved to be a substantial moneymaker for Beethoven. CMD German Opera Company of Berlin Orchestra Sylvia Wagner, conductor Purchase now at:
Jan 01, 2018
14074 Beethoven: Symphony No. 6 in F Major, Op 68 "Pastoral"
<img src="" alt="itunes pic" /><br />The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony, is a symphony composed by Ludwig van Beethoven, and completed in 1808. One of Beethoven's few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four-hour concert. CMD German Opera Company of Berlin, Orchestra ​Sylvia Wagner, conductor Purchase now at:
Dec 30, 2017
14073 Beethoven: Symphony No. 5 in C minor, Op 67
<img src="" alt="itunes pic" /><br />The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between 1804–1808. It is one of the best-known compositions in classical music, and one of the most frequently played symphonies. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". The symphony consists of four movements. The first movement is Allegro con brio; the second movement is Andante con moto; the third movement is a Scherzo Allegro; the fourth movement is Allegro. CMD German Opera Company of Berlin Orchestra ​Conducted by Sylvia Wagner Purchase now at:
Dec 29, 2017
14072 Beethoven: Symphony No. 4 in B-flat Major, Op. 60
<img src="" alt="itunes pic" /><br />The Symphony No. 4 in B-flat major, Op. 60, is a symphony in four movements composed by Ludwig van Beethoven in the summer of 1806. It was premièred in March 1807 at a private concert at the home of Joseph Franz von Lobkowitz. ​CMD German Opera Company of Berlin Orchestra ​Sylvia Wagner, conductor Purchase now at:
Dec 28, 2017
14071 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 "Eroica"
<img src="" alt="itunes pic" /><br />The Symphony No. 3 in E-flat major, Op. 55, (also Italian Sinfonia Eroica, Heroic Symphony) is a symphony in four movements by Ludwig van Beethoven. One of the composer's most celebrated works, the Eroica symphony is a large-scale composition that marked the beginning of Beethoven's creative middle-period. ​ Composed mainly in 1803–1804, the work is grounded in the Classical symphonic tradition while also stretching boundaries of form, length, harmony, and perceived emotional content. It has therefore widely been considered an important landmark in the transition between the Classical period and the Romantic era. CMD German Opera Company of Berlin ​Sylvia Wagner, conductor Order now at:
Dec 27, 2017
14070 Beethoven: Symphony No. 2 in D Major, Op 36
<img src="" alt="itunes pic" /><br />The Symphony No. 2 in D major, Op. 36, is a symphony in four movements written by Ludwig van Beethoven between 1801 and 1802. The work is dedicated to Karl Alois, Prince Lichnowsky. Performed by the CMD German Opera Company of Berlin Dominique Beaulieu, conductor Purchase now at:
Dec 26, 2017
14069 Beethoven: Symphony No. 1 in C Major, Op. 21
<img src="" alt="itunes pic" /><br />Ludwig van Beethoven's Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. The piece was published in 1801 by Hoffmeister & Kühnel of Leipzig. It is not known exactly when Beethoven finished writing this work, but sketches of the finale were found to be from 1795. Purchase now at:
Dec 25, 2017
14067 Alfred Burt Christmas Carols
<img src="" alt="itunes pic" /><br />Restored by Classical Music Discoveries from the original 1954 master recordings. Sung by the King Family Singers. Purchase now at:
Dec 24, 2017
14066 The Glory of Christmas
<img src="" alt="itunes pic" /><br />A dramatization of the Nativity with familiar beloved Christmas carols lovingly and beautifully rearranged. This production will become a staple for your Christmas tradition. Purchase now at: Please note: Since this broadcast deals exclusively with the birth of our Lord and Savior, Jesus Christ, this broadcast may be offensive to some people. If you believe this topic may offend you, then please, don't listen!
Dec 23, 2017
14065 Fritz, the Reindeer
<img src="" alt="itunes pic" /><br />Back by popular demand is our entirely family created story of Fritz, the Reindeer. This has become a holiday classic here at Classical Music Discoveries enjoyed by families the world over. An original story by Ken Hedgecock. The character was created by his son Daniel. Music and dramatization performed by friends and the Hedgecock family. This sweet story of a bumbling reindeer and his bullied keeper, Candy Cane, has become a worldwide holiday classic. Purchase now at:
Dec 22, 2017
14064 Tchaikovsky: Snow Maiden, Op. 12
<img src="" alt="itunes pic" /><br />Tchaikovsky's incidental music to the play "Snow Maiden" Sylvia Wagner, conductor CMD German Opera Company of Berlin Purchase now at:
Dec 21, 2017
14063 Sandy's Favorite Christmas Music 2
<img src="" alt="itunes pic" /><br />Our broadcast of "Sandy's Favorite Christmas Music" has been a favorite of our listeners for years. Now we are proud to present a follow-up broadcast which we are sure will also become a favorite of our listeners year after year. Songs in this broadcast are: 1. Hark, the Herald Angels Sing 2. It's the Most Wonderful Time of the Year 3. What is This Lovely Fragrance? 4. 12 Days of Christmas 5. It's Christmas Time 6. Pine Cones and Holly Berries 7. The Christmas Wish 8. How Far is It To Bethlehem? 9. O Holy Night 10. There is Faint Music 11. Where Are You Christmas? 12. Caroling, Caroling 13. Peace on Earth/Little Drummer Boy 14. A Christmas to Remember 15. Sleigh Ride Purchase now at:
Dec 20, 2017
14062 Sandy's Favorite Christmas Music 1
<img src="" alt="itunes pic" /><br />CMD Hostess Sandy Hedgecock plays her favorite Christmas music. Tracks are: 1. I'll Be Home for Christmas 2. Merry Christmas Darling 3. The Peace Carol 4. Somewhere in My Memory 5. The Best Gift 6. The Secret of Christmas 7. Have Yourself a Merry Little Christmas 8. The Innkeeper (Let Him In) 9. Candlelight Carol 10. Shepherd's Pipe Carol 11. A Song and a Christmas Tree 12. I Saw Three Ships 13. When Christmas Comes to Town 14. Come, Dear Children 15. Merry Christmas, Merry Christmas Purchase now at:
Dec 19, 2017
14061 PARMA Recordings Decade Zero
<img src="" alt="itunes pic" /><br />New from Ravello Records is DECADE ZERO, a compilation of works for instruments and electronics by Christopher Biggs. The works integrate traditional instruments with live electronic processing and sound files. Biggs’ compositions focus on environmental, political, and scientific extra-musical concepts relevant to today’s world. Featuring the Western Brass Quintet, the title track, Decade Zero explores the last period in time when humanity can take decisive action to combat climate change without facing irrevocable changes to our world. Purchase now at:
Dec 18, 2017
14058 Menotti: Amahl and the Night Visitors
<img src="" alt="itunes pic" /><br />Amahl and the Night Visitors is an opera in one act by Gian Carlo Menotti with an original English libretto by the composer.[1] It was commissioned by NBC and first performed by the NBC Opera Theatre on December 24, 1951, in New York City at NBC studio 8H in Rockefeller Center, where it was broadcast live on television from that venue as the debut production of the Hallmark Hall of Fame. It was the first opera specifically composed for television in America. Purchase now at:
Dec 13, 2017
14057 Mara Gibson: Sky-Born
<img src="" alt="itunes pic" /><br />Shocking, gripping, and thought-provoking, Mara Gibson's new album SKY-BORN conjures a flurry of emotions through its moody music. In one moment, the busy strings create a fury of anxious, energetic sounds; the next, the strike of a lone piano chord paints a brooding soundscape. SKY-BORN is Gibson's sophomore album, and the first to be released on Navona Records. She has worked at UMKC Conservatory of Music and Dance for over ten years and will also be teaching this fall at Louisiana State University this year. Gibson's album features compositions performed by UMKC fellow faculty members, the Cascade Quartet, violist Michael Hall, mezzo-soprano Megan Ihnen, and pianist Holly Roadfeldt. Gibson drew her inspiration from a variety of artistic mediums. The piano preludes, which are interspersed throughout the album, were inspired by paintings from Jim Condron (, each piece extracting a beautifully haunting soundtrack from a series of abstract art. Gibson also used poems as the foundation for her compositions. The eerie One Voice reflected the writings of the Michigan-based poet Hannah Ensor, while The Folium Cubed is Gibson's response to Luisa Sello's Let Clover Be Aid. Sky-born sets Emerson’s “Music” for four soloists, full of idealism and hope, in the ugliness, and in the reality, something we do not share enough. The 15-minute epic Blackbird carries the reader along a journey of grace and violence invigorated by Thirteen Ways of Looking at a Blackbird, a poem by Wallace Stevens. Though influenced by literary works, SKY-BORN breeds nothing but visceral energy and harrowing emotion that resonates with the listener right down to the last note of the viola. Purchase now at:
Dec 11, 2017
14054 Humperdinck: Hansel and Gretel
<img src="" alt="itunes pic" /><br />Hansel and Gretel (German: Hänsel und Gretel) is an opera by nineteenth-century composer Engelbert Humperdinck, who described it as a Märchenoper (fairy-tale opera). The libretto was written by Humperdinck's sister, Adelheid Wette, based on the Grimm brothers' fairy tale "Hansel and Gretel". It is much admired for its folk music-inspired themes, one of the most famous being the "Abendsegen" ("Evening Benediction") from act 2. The idea for the opera was proposed to Humperdinck by his sister, who approached him about writing music for songs that she had written for her children for Christmas based on "Hansel and Gretel". After several revisions, the musical sketches and the songs were turned into a full-scale opera. Humperdinck composed Hansel and Gretel in Frankfurt in 1891 and 1892. The opera was first performed in Hoftheater in Weimar on 23 December 1893, conducted by Richard Strauss. It has been associated with Christmas since its earliest performances and today it is still most often performed at Christmas time. Jennifer Larmore Rebecca Evans Jane Henschel Sir Charles Mackerras, conductor Philharmonic Orchestra ​Sung in English Purchase now at:
Dec 06, 2017
14053 PARMA Recordings - The Mitten
<img src="" alt="itunes pic" /><br />Based on the Ukrainian folktale of the same name, THE MITTEN presents a world built using simple narration as its foundation and a complex composition creating the surrounding universe. Composer Mona Lyn Reese needs only to speak a few short sentences from a children’s tale in each track, and then lets the performers in the Moravian Philharmonic Orchestra carry the details of the story deep into the imagination. THE MITTEN is the tale of a child who loses a mitten in the woods. Various animals find the garment and seek refuge inside of it, each animal growing larger and more absurd than the last. When composing the piece, Reese assigned each animal a unique instrument; the clarinet scurries like a mouse, the violin soars like the owl, the tuba bumbles like the boar, and so on. The composition starts off coy, curious with innocent trots of the clarinet as the boy loses his mitten and leaves the forest. When the animals continue to squeeze into the garment for shelter, the orchestral tips balance and crescendos into chaos. The weight of each instrument piles on top of one other inflating into an anxious, busy sound until the orchestra explodes into an exciting climax. THE MITTEN contains three different versions with an English narration, Spanish narration, and an instrumental version. Though the compositions don’t change, listening to each one feels like a brand-new journey, ensuring that the Reese’s work can be just as timeless as the folktale. Purchase now at:
Dec 04, 2017
14042 Warmer in the Winter
<img src="" alt="itunes pic" /><br />Our favorite NEW Christmas album of 2017. Lindsey Stirling's first Christmas album "Warmer in the Winter" Dance of the Sugar Plum Fairy You're a Mean One, Mr. Grinch Christmas C'mon Carol of the Bells Angels We Have Heard on High I Saw Three Ships Let It Snow Warmer in the Winter What Child Is This? All I Want For Christmas Time To Fall in Love Jingle Bell Rock Silent Night This album is available now at Itunes, Amazon and at:
Dec 02, 2017
14051 Dickens: A Christmas Carol
<img src="" alt="itunes pic" /><br />Charles Dickens' A Christmas Carol as acted by the CMD Players of London
Dec 01, 2017
14049 PARMA Recordings - Ancestral Voices
<img src="" alt="itunes pic" /><br />Navona Records presents ANCESTRAL VOICES, the Apollo Chamber Players’ next installment in their 20x2020 project. 20x2020 is an initiative to commission 20 new folk music-inspired and multicultural works by the end of the decade. This fiery release comprises four 20x2020 works from composers Gilad Cohen, Arthur Gottschalk, Malek Jandali, and Javier Farias. Purchase now at:
Nov 29, 2017
14047 Christmas Music for Newspaper Carriers
<img src="" alt="itunes pic" /><br />Our most requested Christmas broadcast returns! "Christmas Music for Newspaper Carriers" helps newspaper carriers everywhere relieve the enormous tension and stress put on them during the holiday season (non-carriers have NO idea!). Newspaper customers, PLEASE tip your carriers generously at this time of year. They can sure use the help! Thank you. Purchase this show for only $1 at:
Nov 27, 2017
14045 Prokofiev Violin Concerti 1 and 2
<img src="" alt="itunes pic" /><br />Violin Concerto No. 1 in D, Op. 19 Violin Concerto No. 2 in G minor, Op. 63 Sergei Prokofiev Diana Semenova, violin Sylvia Wagner, conductor CMD German Opera Company of Berlin Purchase now at:
Nov 23, 2017
14044 Mahler Symphony No. 8
<img src="" alt="itunes pic" /><br />The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. Because it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer did not sanction that name. The work was composed in a single inspired burst, at Maiernigg in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910. Performed by: CMD German Opera Company of Berlin CMD Grand Opera Company of Venice CMD Chorus and Philharmonic of Paris in Orlean CMD Boy's Choir of Vienna Conducted by Kenneth Hedgecock Purchase now at:
Nov 25, 2017
14043 Mozart Violin Concerti 4 and 5
<img src="" alt="itunes pic" /><br />Violin Concerto No. 4 in D, K. 218 Violin Concerto No. 5 in A, K. 219 Performed and conducted by Dominique Beaulieu ​CMD Philharmonic of Paris in Orlean Purchase now at:
Nov 22, 2017
14042 PARMA Recordings - Scott Pender Music for Woodwinds
<img src="" alt="itunes pic" /><br />Navona Records proudly presents MUSIC FOR WOODWINDS from composer Scott Pender, his fourth appearance on the label. On this album, Pender showcases his chamber works for woodwinds from the last thirty years in ensemble combinations both common and unfamiliar. Purchase now at:
Nov 20, 2017
14041 Mozart Violin Concerti 2 and 3
<img src="" alt="itunes pic" /><br />Violin Concerto No. 2 in D, K. 211 ​​Violin Concerto No. 3 in G, "Straßburg", K. 216 Dominique Beaulieu, conductor and violin soloist CMD Philharmonic of Paris in Orlean Purchase now at:
Nov 18, 2017
14040 PARMA Recordings - Mozart Beethoven
<img src="" alt="itunes pic" /><br />Award winning cellist Carmine Miranda and violinist Boris Abramov’s new Navona release Mozart / Beethoven: Violin and Cello Duets is an intimate gem of delightful chamber music from the Classical Period. Drawn from various duos by Beethoven and Mozart, this album is substantive, and showcases a wide stylistic breadth of late eighteenth century German instrumental music, from the sumptuous levity of the divertimento, to the full brilliance of sonata form. In this recording both performers balance concepts of classical performance, musical research and virtuosic dexterity combined with a high-definition audio engineering in order to create the most realistic sound and definitive version of these works. The pieces in this recording have never been paired together. Their unique styles, and carefully researched interpretations by Miranda and Abramov, create exceptional recordings with equal parts nuance and bravado. Purchase now at:
Nov 15, 2017
14039 Beautiful World
<img src="" alt="itunes pic" /><br />Beautiful World CD 11 original contemplative harPoems for small band Artist : Anne Vanschothorst - landscape music composer Release Date : summer 2017 Label : HSM (harp and soul music) Catalog ref. : HSM170522 13Nov17 - corrected rendering errors
Nov 13, 2017
14038 La Musica Chamber Music Hour #48
<img src="" alt="itunes pic" /><br />Francaix: String Trio Beethoven: Piano Trio in G Major, Op. 1, No. 2 Dvorak: String Quintet in E-flat Major, Op. 97 For more information on La Musica's 2018 Season, please visit:
Nov 11, 2017
14037 Mozart Age 18 Finale
<img src="" alt="itunes pic" /><br />The final works composed by Mozart when he was 18 years old. Mozart: Violin Concerto No 1 in B-flat Major, K. 207 Dominique Beaulieu, violin soloist and conductor CMD Philharmonic of Paris in Orlean Piano Sonata No. 6 in D, K. 284 ​Joana Filipe Martinez, pianist Purchase the digital download now at:
Nov 10, 2017
14036 Music to Deliver Newspapers 1
<img src="" alt="itunes pic" /><br />Our #1 show from Season 12. 4 hours of soundtrack, pop, old vocals and classical music to keep newspaper carriers alert while delivering their morning papers.
Nov 09, 2017
14035 Verdi: Macbeth
<img src="" alt="itunes pic" /><br />Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera and first given on 14 March 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865. After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1850 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893). The first version of Macbeth was completed during the time which Verdi described as his "galley years" which ranged over a period 16 years, and one which saw the composer produce 22 operas. By the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter about two weeks after the premiere: “ I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you. ” The 1865 revision, produced in a French translation and with several additions was first given on 19 April of that year. It was less successful, and the opera largely faded from public view until the mid-20th century revivals. Performed by the CMD Grand Opera Company of Venice Recorded by Classical Music Discoveries Purchase now at:
Nov 08, 2017
14034 PARMA Recordings - Notturno
<img src="" alt="itunes pic" /><br />Navona Records’ NOTTURNO: The Complete Nocturnes and Ballades of Chopin is a fresh look at some of the Polish composer’s most expressive works. The nocturnes and ballades are also some of Chopin’s most innovative works, displaying exciting advancements in harmony, rhythm, and form—all renewed in pianist Eliane Rodrigues’s nuanced, thoughtful performances, recorded in Sacilie, Italy’s acoustically advanced Fazioli Concert Hall. Although he didn’t invent the piano nocturne, Chopin popularized it and certainly improved it beyond a mere character piece. He was heavily influenced by the sensuous melodies of bel canto opera arias, and developed a freer sense of rhythm and expression—as a result, the nocturnes exude an abstract mood or atmosphere. Chopin did, however, invent the piano ballade—a genre with its own distinct forms and qualities. His four ballades most directly contrast the nocturnes in their abstract narrative style—very different from “mood” pieces, they were likely inspired by poems by Adam Mickiewicz. Taking a page from Chopin’s own unwritten ballade narratives, Rodrigues includes text by Jantien Brys to accompany each nocturne, each one telling a sort of story without sacrificing the essential atmospheric nature of the nocturne. She writes, “For me, the Nocturnes are like a diary of Chopin, so Jantien wrote the texts as if they were excerpts from a fictional diary of his.” Rodrigues’s performances, influenced by these new texts, bring the listener a new kind of emotional connection to Chopin and music. Purchase now at:
Nov 07, 2017
14033 Lalo Schifrin Piano Works
<img src="" alt="itunes pic" /><br />Internationally renowned, New York-based pianist Mirian Conti has recorded Lalo Schifrin – Piano Works, a collection of solo piano music by Grammy© Winning and Academy Award© Nominated Composer Lalo Schifrin. The collection of World Premieres will be released on November 1 by the Naxos Grand Piano label (GP776). Ms. Conti will present a special CD launch concert on November 30 at the Consulate General of Argentina, 12 West 56th Street, New York, NY. Works recorded are a new arrangement of Schifrin’s Mission: Impossible: Main Theme (Version For Piano) (1973/2016); Tango: Main Theme, Tango Del Atardecer (Version For Piano) (1997/2016) ; 3 Pampas (Version For Piano) (2009/2016); Jazz Piano Sonata, Op. 1 (1963/2016), Danza De Los Montes (Version For Piano) (2005/2016); Theme And 10 Variations On An Original Theme (2016); Tango A Borges (Version For Piano) (2005/2016); La Calle Y La Luna (Version For Piano) (2005/2016) and Lullaby For Jack (2016). Purchase now at:
Nov 06, 2017
14032 R Strauss: Feuersnot, Op. 50
<img src="" alt="itunes pic" /><br />Feuersnot (Need for (or lack of) fire), Op. 50, is a Singgedicht (sung poem) or opera in one act by Richard Strauss. The German libretto was written by Ernst von Wolzogen, based on J. Ketel's report "Das erloschene Feuer zu Audenaerde". It was Strauss' second opera. Thematically, the opera has been interpreted as a parody of Richard Wagner's idea of "redemption through love", with the character of Kunrad representing Strauss himself. The conceptual framework for the opera stems from the Nietzschean perspective that had inspired Strauss in his tone poems Till Eulenspiegel and Also sprach Zarathustra. Strauss and von Wolzogen shared the view that the source of inspiration was material not transcendental: in Feuersnot it is "redemption through sex" which relights the creative fire. Joana Filipe Martinez, conductor/producer CMD Grand Opera Company of Barcelona Order now at:
Nov 04, 2017
14031 R Strauss: Symphonia Domestica, Op. 53
<img src="" alt="itunes pic" /><br />Symphonia Domestica (Domestic Symphony), Op. 53, is a tone poem for large orchestra by Richard Strauss. The work is a musical reflection of the secure domestic life so valued by the composer himself and, as such, harmoniously conveys daily events and family life. Joana Filipe Martinez, conductor CMD Grand Opera Company of Barcelona Spain Orchestra Purchase now at:
Nov 03, 2017
14030 Mozart: Il re pastore, K. 208
<img src="" alt="itunes pic" /><br />Il re pastore (The Shepherd King) is an opera, K. 208, written by Wolfgang Amadeus Mozart to an Italian libretto by Metastasio, edited by Giambattista Varesco. It is an opera seria. The opera was first performed on 23 April 1775 in Salzburg, at the Palace of the Archbishop Count Hieronymus von Colloredo. In 1775 the opera was commissioned for a visit by the Archduke Maximilian Francis of Austria, the youngest son of Empress Maria Theresa, to Salzburg. Mozart spent six weeks working on the opera. It consists of two acts and runs for approximately 107 minutes. Metastasio wrote the libretto in 1751, basing it on a work by Torquato Tasso called Aminta. The libretto was picked up when Mozart (just 19 at the time) and his father saw a performance of it set to music composed by Felice Giardini – Mozart's version, however was two acts rather than Giardini's three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto. It is often referred to not as an opera, but as a serenata, a type of dramatic cantata. The appearance of a quartet of lovers (Aminta and Elisa, Agenore and Tamiri) of somewhat dubious fidelity automatically puts a modern audience in mind of Così fan tutte. The principal psychological theme of the opera is, however, the demands of love against the demands of kingship, as Aminta, the shepherd-king, tussles with his conscience, and in this Il re pastore is closer in theme to Idomeneo than any other of Mozart's operas. Indeed, Idomeneo was the next completed opera that Mozart wrote after Il re pastore, after his six-year-long break from the stage. Furthermore, the theme of qualities for kingship appears in another opera, La clemenza di Tito, his last one. Dominique Beaulieu, conductor CMD Philharmonic and Chorus of Paris in Orlean France Purchase now at:
Nov 02, 2017
14029 PARMA Recordings - Verdi's Guitar
<img src="" alt="itunes pic" /><br />Ravello Records proudly presents VERDI’S GUITAR, an album by guitarist Alan Rinehart made up of six fantasies for solo guitar by 19th-century composer guitarist/composer Josef (Johann) Kaspar Mertz. Each fantasy is based on an opera of the great Giuseppe Verdi, including such famous works as Nabucco, Rigoletto, Il Trovatore, and La Traviata. The six Verdi fantasies are taken from a larger Mertz collection of 34 similar pieces based on operas, called Opern-Revue (Op.8). These “revues” were not unlike works for piano by composers such as Liszt, which were arrangements of or fantasies on popular operatic arias. Both these and Mertz’s revues responded to the popular demand of the opera “experience” adapted for a small, private setting. Mertz’s revues are more ambitious, however—they adapt not just a single aria, but the entire opera, compressing a large-scale, 2–3 hour production into a 10–15 minute piece medley for solo guitar. Each revue is essentially a medley consisting of an introduction, arias (with variation), and dramatic high points. Mertz’s Verdi fantasies are even more impressive, considering Verdi’s mid-19th century status as a leading composer of dramatic opera. Mertz retains Verdi’s drama and flair, but also adds an element of intimacy by distilling the operas down to minimal voices in the solo guitar. Rinehart navigates both of these qualities in his historically-informed performances. His interpretations embrace the free lyricism afforded to a solo piece, resulting in new perspectives on Verdi’s masterpieces. Purchase now at:
Nov 01, 2017
14028 Mozart: Requiem in D minor, K. 626
<img src="" alt="itunes pic" /><br />The Requiem in D minor, K. 626, is a requiem mass by Wolfgang Amadeus Mozart. Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a Requiem service to commemorate the anniversary of his wife's death on 14 February. Syliva Wagner, conductor CMD German Opera Company of Berlin Purchase now at:
Oct 31, 2017
14027 Verdi: Messa da Requiem
<img src="" alt="itunes pic" /><br />The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni, an Italian poet and novelist whom Verdi admired. The first performance, at the San Marco church in Milan on 22 May 1874, marked the first anniversary of Manzoni's death. The work was at one time called the Manzoni Requiem. It is rarely performed in liturgy, but rather in concert form of around 85–90 minutes in length. Musicologist David Rosen calls it 'probably the most frequently performed major choral work composed since the compilation of Mozart's Requiem' Joana Filipe Martinez, conductor CMD Grand Opera Company of Barcelona Purchase now at:
Oct 30, 2017
14026 Salieri: Requiem in C minor
<img src="" alt="itunes pic" /><br />Salieri was committed to medical care and suffered dementia for the last year and a half of his life. He died in Vienna on 7 May 1825, aged 74 and was buried in the Matzleinsdorfer Friedhof on 10 May. At his memorial service on 22 June 1825 his own Requiem in C minor – composed in 1804 – was performed for the first time. His remains were later transferred to the Zentralfriedhof. His monument is adorned by a poem written by Joseph Weigl, one of his pupils: Rest in peace! Uncovered by dust Eternity shall bloom for you. Rest in peace! In eternal harmonies Your spirit now is set free. It expressed itself in enchanting notes, Now it is floating to everlasting beauty. Performed by the CMD Philharmonic and Chorus of Paris. Conducted by Dominique Beaulieu Purchase this rare recording now at:
Oct 29, 2017
14025 Mahler: Symphony No. 7
<img src="" alt="itunes pic" /><br />Symphony No. 7 by Gustav Mahler was written in 1904–05, with repeated revisions to the scoring. It is sometimes referred to by the title Song of the Night (German: Lied der Nacht), which Mahler never knew (and certainly would be unlikely to have sanctioned). Although the symphony is often described as being in the key of E minor, its tonal scheme is more complicated. The symphony's first movement moves from B minor (introduction) to E minor, and the work ends with a rondo finale in C major. Thus, as Dika Newlin has pointed out, "in this symphony Mahler returns to the ideal of 'progressive tonality' which he had abandoned in the Sixth". The complexity of the work's tonal scheme was analysed in terms of "interlocking structures" by Graham George. Conducted by Kenneth Hedgecock CMD German Opera Company of Berlin
Oct 28, 2017
14024 Berlioz: Grande Messe Des Morts - Requiem, Op. 5
<img src="" alt="itunes pic" /><br />The Grande Messe des morts (or Requiem), Op. 5, by Hector Berlioz was composed in 1837. The Grande Messe des Morts is one of Berlioz's best-known works, with a tremendous orchestration of woodwind and brass instruments, including four antiphonal off-stage brass ensembles placed at the corners of the concert stage. The work derives its text from the traditional Latin Requiem Mass. ​ Dominique Beaulieu, conductor ​CMD Philharmonic and Chorus of Paris
Oct 27, 2017
14023 Benjamin Britten: War Requiem, Op. 66
<img src="" alt="itunes pic" /><br />The War Requiem, Op. 66, is a large-scale, non-liturgical setting of the Requiem composed by Benjamin Britten mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with settings of poems by Wilfred Owen, written in World War I. ​The work is scored for soprano, tenor and baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. CMD German Opera Company of Berlin ​Sylvia Wagner, conductor Purchase now at:
Oct 26, 2017
14022 Franz von Suppé: Requiem in D minor
<img src="" alt="itunes pic" /><br />Requiem in D minor (1855) is for soli, choir and orchestra. Despite his success in the operetta world, Suppé repeatedly strove to leave his mark in other, completely different, musical domains. We can see this especially in his sacred works, many of which he composed in his later years. The Requiem in D minor can be regarded as the apotheosis of his sacred oeuvre. He dedicated the work to his friend and mentor Franz Pokorny, who directed several theaters simultaneously (in Vienna, Baden, Oedenburg and Pressburg). In 1855, five years after Pokorny's death, Suppé completed the Requiem and had it performed in November of the same year at a commemorative mass in honor of his friend held at Vienna's Piarist Church. Although the work was performed several times over the next years and drew great acclaim from the public, it gradually became caught in the crossfire of the critics. The branded the Requiem "Italian style" as too operetta-like, and felt that the character of the piece was too cheerful and lacking in seriousness. Performed by the CMD German Opera Company of Berlin Conducted by Sylvia Wagner Purchase now at:
Oct 25, 2017
14021 Durante: Requiem in C minor
<img src="" alt="itunes pic" /><br />The most popular requiem of the 18th century. CMD Grand Opera Company of Venice Conducted by Dominique Beaulieu Performed and recorded at ​Cathedral of the Holy Cross of Orléans Purchase now at:
Oct 24, 2017
14020 PARMA Recordings - Shostakovich
<img src="" alt="itunes pic" /><br />Following their debut release DRESS CODE on Navona Records, Altius Quartet returns with a drastically different set of repertoire on SHOSTAKOVICH STRING QUARTETS 7, 8 & 9 but is played with the same passion and meticulous dedication one could expect from the group. The quartet notes that through studying these works the group was able to find their artistic voices both as individuals as well as an ensemble. Through listening to their performances, one can really get a sense of their personal connection to these pieces, and that reverence only helps to highlight the personal connection Shostakovich felt to these quartets as well. In fact, these three quartets are each written in honor of different person or group he felt a close connection to. Purchase now at:
Oct 23, 2017
14019 La Musica Chamber Music Hour 47
<img src="" alt="itunes pic" /><br />Arinsky: String Quartet No. 2 in A Major, Op. 35 Rossini: Duo for Cello and Double Bass Shostakovich: Piano Quintet in G minor, Op. 57 Visit La Musica International Chamber Music Festival at:
Oct 22, 2017
14018 Brahms: A German Requiem
<img src="" alt="itunes pic" /><br />A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: ''Ein deutsches Requiem, nach Worten der heiligen Schrift'') by Johannes Brahms, is a large-scale work for chorus, orchestra, a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language. CMD German Opera Company of Berlin ​Conducted by Sylvia Wagner Purchase now at:
Oct 21, 2017
14017 Rutter: Requiem
<img src="" alt="itunes pic" /><br />John Rutter's Requiem is a musical setting of parts of the Latin Requiem with added psalms and biblical verses in English, completed in 1985. It is scored for soprano, mixed choir and orchestra or chamber ensemble. ​ Five of its seven movements are based on text from the Latin Requiem Mass, while the second movement is a setting of "Out of the deep" (Psalm 130) and the sixth movement is an anthem The Lord is my Shepherd (Psalm 23) which Rutter had earlier written. The first movement combines the Introit and Kyrie, the third is Pie Jesu, with soprano solo. The central movement is a lively Sanctus, followed by Agnus Dei and finally Lux aeterna. In the Agnus Dei and Lux aeterna, Rutter combines the liturgical Latin text with English biblical verses. Dominique Beaulieu, conductor ​CMD Philharmonic and Chorus of Paris Purchase now at:
Oct 20, 2017
14016 Durufle: Requiem
<img src="" alt="itunes pic" /><br />The SATB choir and organ version of Maurice Duruflé's Requiem, Op. 9 was published in 1948 by the French firm Durand. It had been commissioned six years earlier under the collaborationist Vichy regime, but Duruflé was still working on it in 1944 when the regime collapsed and in fact did not complete it until the year of publication. The composer dedicated the Requiem to the memory of his father. ​ The work is for SATB choir with brief mezzo-soprano and baritone solos. It exists in versions for organ alone; for organ with string orchestra and optional trumpets, harp and timpani; and for organ and full orchestra. ​ At the time of commission, Duruflé was working on an organ suite using themes from Gregorian chants. He incorporated his sketches for that work into the Requiem, which uses numerous themes from the Gregorian "Mass for the Dead." Nearly all the thematic material in the work comes from chant. CMD Chorus and Philharmonic of Paris Dominique Beaulieu, conductor Purchase this recording now at:
Oct 19, 2017
14015 Gabriel Fauré: Requiem in D minor, Op. 48
<img src="" alt="itunes pic" /><br />Gabriel Fauré composed his Requiem in D minor, Op. 48, between 1887 and 1890. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation. Fauré's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He composed the work in the late 1880s and revised it in the 1890s, finishing it in 1900. ​ In seven movements, the work is scored for soprano and baritone soloists, mixed choir, orchestra and organ. Different from typical Requiem settings, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. The final movement In Paradisum is based on a text that is not part of the liturgy of the funeral mass but of the burial. ​ Fauré wrote of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest." ​ The piece premiered in its first version in 1888 in La Madeleine in Paris for a funeral mass. A performance takes about 35 minutes. This performance is by the CMD Paris Chorus and Philharmonic. Conducted by Dominique Beaulieu Purchase now at:
Oct 18, 2017
14014 PARMA Recordings - Morphic Resonance
<img src="" alt="itunes pic" /><br />Composer Steve Rouse constructs unique and indelible sound worlds on his album MORPHIC RESONANCE, his first release with PARMA Recordings. The album is a revue of Rouse’s chamber music from the last two decades and beyond, and the works featured on MORPHIC RESONANCE demonstrate Rouse’s powerful gifts to create compelling and idiosyncratic musical statements. Purchase now at:
Oct 17, 2017
14013 Victoria: Requiem Mass, 1605
<img src="" alt="itunes pic" /><br />Tomás Luis de Victoria’s requiem mass for six voices, written in 1603 and published in 1605, is an absolute masterpiece from the Renaissance Period. It is one of a handful of large-scale works which enjoys mainstream appeal in the 21st century. For many, it represents what Renaissance polyphony is, what it sounds and feels like, and how expressive it can be. This work is heard best in a darkened room while you relax and let the music flow over and through you. This performance is by the CMD Grand Opera Company of Barcelona Chorus and is produced and conducted by Joana Filipe Martinez. This recording is available now at Purchase now at:
Oct 16, 2017
14012 Miklós Rózsa: Ben-Hur Complete Restored Soundtrack
<img src="" alt="itunes pic" /><br />Tadlow Music is proud to announce the release of the classic film music event of the decade – a special collector’s edition of one of the greatest film scores of all time – Ben-Hur composed by Miklós Rózsa. The complete 157-minute score, including previously unreleased music, has been re-recorded in stunning and dynamic 24-Bit 96kHz digital sound, performed by the award-winning City of Prague Philharmonic, conducted by Nic Raine and produced by label founder James Fitzpatrick. Purchase now at:
Oct 14, 2017
14011 R Strauss: Ein Heldenleben
<img src="" alt="itunes pic" /><br />Ein Heldenleben (A Hero's Life), Op. 40 is a tone poem by Richard Strauss. The work was completed in 1898. It was his eighth work in the genre, and exceeded any of its predecessors in its orchestral demands. Generally agreed to be autobiographical in nature, despite contradictory statements on the matter by the composer, the work contains more than thirty quotations from Strauss's earlier works, including Also sprach Zarathustra, Till Eulenspiegel, and Death and Transfiguration. ​ Produced and Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Spain Purchase now at:
Oct 13, 2017
14010 Ravel: Daphnis et Chloé
<img src="" alt="itunes pic" /><br />Daphnis et Chloé is a ballet in one act with three parts by Maurice Ravel described as a choreographic symphony. The story concerns the love between the goat herd Daphnis and the shepherdess Chloé. ​ Ravel began work on the score in 1909. It was premiered on June 8, 1912. At almost an hour long, Daphnis et Chloé is Ravel's longest work. In spite of the ballet's duration, four discernable leitmotifs give musical unity to the score. The music, some of the composer's most passionate, is widely regarded as some of Ravel's best, with extraordinarily lush harmonies typical of the impressionist movement in music. Even during the composer's lifetime, contemporary commentators described this ballet as his masterpiece for orchestra. When the complete work is performed live, it is more often performed in concerts than in staged productions. Conducted by Joana Filipe Martinez CMD Grand Opera Company of Barcelona Purchase now at:
Oct 12, 2017
14009 Mozart - Working at the Webers
<img src="" alt="itunes pic" /><br />Symphony No. 28 in C Major, K. 200 Tantum ergo in D, K. 197 Sparrow Mass in C Major, K. 220 Purchase now at:
Oct 11, 2017
14008 PARMA Recordings - Warrior Monks
<img src="" alt="itunes pic" /><br />WARRIOR MONKS is a collection of two clarinet concerti and a trumpet concerto by Carl Vollrath that span topics of war, solace, fascination, and reverence among many others. “And Bugles Sang” drew inspiration from the unique juxtapositions in Benjamin Britten’s “War Requiem” and explores the many ways the trumpet is used as a symbol throughout human history. At times the trumpet is brash and lyrical, expressing ecstasy; in other instances it is strident and rhythmic perhaps reflecting charges into battle; and yet in an instant it reappears low and mellow in what could be heard as a faux-lullaby. The virtuosity in this piece is not to be understated. The next two concerti were inspired by a trip Vollrath took to China and his powerful impression of “a complex culture which contained an old traditional heritage with a new contemporary injection.” He expresses this fusion especially in “Land of Lanterns” in which he uses various layers of melodies to create rich harmonies and active polyphony; the moments in which the solo clarinet returns to a pure pentatonic are especially poignant. “Dragon Land” further explores Vollrath’s time in China, approaching his experience with a heightened sense of drama. Angular clarinet melodies, quick dynamic changes, and flashes of folk melodies present vignettes that reflect a society where ancient practices and modern influences coexist, at times in discord and at times in harmony. Coincidentally, the final movement of this piece was inspired by warrior monks and became the impetus for the album. A warrior monk is a person trained deeply in both spiritual studies and martial arts; they are engrained with a vast knowledge of their culture and entrust that heritage to the pupils they train. At the same time, they are equipped with the skills to defend it at all costs. This duality inspired Vollrath to create this collection of works, dedicated to those who strive to cultivate acceptance and respect for other cultures. Moreover, it is dedicated to the memory of those who have sacrificed their lives to do so. Purchase now at:
Oct 10, 2017
14007 Mozart - Stolen Opera
<img src="" alt="itunes pic" /><br />“The Pretend Garden-Girl” is an Italian opera and was mentally copied from Mozart’s hearing of the 1774 opera of the same name by Pasquale Anfossi which Mozart heard while at the Weber’s in Munich. This amazing mental feat of hearing an entire opera, only one time, then improving and copying the entire opera to paper as his own opera, shows just how brilliant Mozart’s natural music talent was. Also, amazingly, the opera was written to paper, parts and scores in less than a week and was performed for the first time on January 13, 1775. There is no doubt that the entire Weber family helped Mozart with the copying. The story follows Count Belfiore and the Marchioness Violante Onesti (or the Violent but Honest Marchioness), who were lovers before Belfiore stabbed Violante in a fit of rage. The story begins with the revived Violante and her servant Roberto disguised as "Sandrina" and "Nardo," and quietly working in the mansion of the town Podestà. Violante discovers that Belfiore has become engaged to Arminda, the niece of the Podestà, and when Belfiore confesses his lingering love for Violante, Arminda jealously conspires to abduct the other woman. When Violante is found, she and Belfiore lose their minds and believe themselves to be Greek gods. When they regain their senses Violante forgives the Count and they fly to each other's arms. Arminda returns to Cavalier Ramiro, her spurned suitor, and Roberto finds love with Serpetta, another servant of the Podestà. This performance is by the CMD Grand Opera Company of Venice and is conducted by Dominique Beaulieu. Purchase now at:
Oct 09, 2017
14006 R Strauss: Don Quixote, Op. 35
<img src="" alt="itunes pic" /><br />The misadventures of the Knight of the Woeful Countenance as only Richard Strauss could illustrate through music. Joana Filipe Martinez, conductor/producer CMD Grand Opera Company of Barcelona Orchestra Purchase this digital download now at:
Oct 07, 2017
14005 Verdi: Nabucco (rebroadcast)
<img src="" alt="itunes pic" /><br />Nabucco is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical stories from the Book of Jeremiah and the Book of Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, although Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842. Nabucco is the opera which is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star". It follows the plight of the Jews as they are assaulted, conquered and subsequently exiled from their homeland by the Babylonian King Nabucco (in English, Nebuchadnezzar II). The historical events are used as background for a romantic and political plot. The best-known number from the opera is the "Chorus of the Hebrew Slaves", Va, pensiero, sull'ali dorate / "Fly, thought, on golden wings", a chorus which is regularly given an encore in many opera houses when performed today. CMD Grand Opera Company of Venice Recorded by CMD Recordings Purchase now at:
Oct 06, 2017
14004 Mozart - Runaway
<img src="" alt="itunes pic" /><br />Sonata No. 1 in C Major, K. 279 Sonata No. 2 in F Major, K. 280 Sonata No. 3 in B-flat Major, K. 281 Sonata No. 4 in E-flat Major, K. 282 Sonata No. 5 in G Major, K. 283 Joana Filipe Martinez, piano Purchase now at:
Oct 05, 2017
14003 PARMA Recordings - Quickening
<img src="" alt="itunes pic" /><br />British composer Robert Hugill’s new release QUICKENING is an enthralling and intimate showcase of contemporary art song. Across the album, Hugill demonstrates an exceptional sensitivity to text and melody, both of which shine through his clear and lyrical musical language. The four sets of songs on the album are consummate modern lieder, and one can easily imagine hearing them at a private vocal recital alongside the Romantic song cycles of the nineteenth century. Purchase now at:
Oct 04, 2017
14002 Prokofiev: Piano Concerto No. 3 in C, Op. 25
<img src="" alt="itunes pic" /><br />The World's Most Difficult Piano Concertos Prokofiev: PIano Concerto No. 3 in C, Op. 25 Joana Filipe Martinez, soloist and conductor CMD Grand Opera Company of Barcelona Orchestra Facebook Purchase now at:
Oct 03, 2017
14001 R Strauss: Guntram
<img src="" alt="itunes pic" /><br /><p><span style="font-family: verdana, geneva; font-size: small;">Set in medieval Germany, the triangular Wagnerian-style story of love and redemption is about the minstrel Guntram, the evil Duke Robert and his saintly wife Freihild. </span></p> <p><span style="font-family: verdana, geneva; font-size: small;">Produced and Conducted by Joana Filipe Martinez Performed by the CMD Grand Opera Company of Barcelona. This project was funded by Martinez Estates. </span></p> <p><span style="font-family: verdana, geneva; font-size: small;"><a href="" target="_blank">Click HERE to purchase this digital download for $5.99</a><a href="" target="_blank">&nbsp;at</a></span></p>
Oct 02, 2017
1336 Wagner: Parsifal (rebroadcast)
<img src="" alt="itunes pic" /><br />The final opera in our Wagner Opera Series, sponsored by Flowers.FM Parsifal is an opera in three acts by German composer Richard Wagner. It is loosely based on Parzival by Wolfram von Eschenbach, a 13th-century epic poem of the Arthurian knight Parzival and his quest for the Holy Grail. Wagner first conceived the work in April 1857 but did not finish it until twenty-five years later. It was Wagner's last completed opera and in composing it he took advantage of the particular acoustics of his Bayreuth Festival. Parsifal was first produced at the second Bayreuth Festival in 1882. The Bayreuth Festival maintained a monopoly on Parsifal productions until 1903, when the opera was performed at the Metropolitan Opera in New York. Wagner described Parsifal not as an opera, but as "A Festival Play for the Consecration of the Stage.” At Bayreuth a tradition has arisen that there be no applause after the first act of the opera. This performance is by the CMD German Opera Company of Berlin and conducted by Kenneth Hedgecock. Purchase now at:
Sep 30, 2017
1349 R Strauss: Eulenspiegel and Zarathustra
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Till Eulenspiegel's Merry Pranks, Op. 28 <br />Also sprach Zarathustra, Op. 30 </span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"> Produced and Conducted by Joana Filipe Martinez ​<br /></span><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">CMD Grand Opera Company of Barcelona Orchestra</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank"> Purchase now at</a></span></p>
Sep 29, 2017
1333 Wagner: Die Meistersinger von Nürnberg (rebroadcast)
<img src="" alt="itunes pic" /><br />Die Meistersinger von Nürnberg is a music drama in three acts, written and composed by Richard Wagner. It is among the longest operas commonly performed, usually taking around four and a half hours. It was first performed at the Bavarian State Opera, in Munich, on June 21, 1868. The conductor at the premiere was Hans von Bülow. The story is set in Nuremberg in the mid-16th century. At the time, Nuremberg was a free imperial city and one of the centers of the Renaissance in Northern Europe. The story revolves around the city's guild of Master Singers, an association of amateur poets and musicians who were primarily master craftsmen of various trades. The master singers had developed a craftsman like approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its atmosphere from its depiction of the Nuremberg of the era and the traditions of the master-singer guild. One of the main characters, the cobbler-poet Hans Sachs, is based on a historical figure, Hans Sachs, the most famous of the master singers. Die Meistersinger von Nürnberg occupies a unique place in Wagner's oeuvre. It is the only comedy among his mature operas, and is also unusual among his works in being set in a historically well-defined time and place rather than in a mythical or legendary setting. It is the only mature Wagner opera based on an entirely original story, devised by Wagner himself, and in which no supernatural or magical powers or events are in evidence. It incorporates all of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a quintet, and even a ballet. This performance by the CMD German Opera Company of Berlin and conducted by Dominique Beaulieu. Purchase now at:
Sep 28, 2017
13361 PARMA Recordings - Elegia
<img src="" alt="itunes pic" /><br /><p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;">Clarinetist Christopher Nichols makes his PARMA and Navona Records debut with <em><strong>ELEGIA</strong></em>, a compilation of Italian, French, and American clarinet works spanning two centuries. These works include repertoire standards, little-recorded rarities, and recent music from contemporary composer Kevin Cope. Collaborative pianist Julie Nishimura joins Nichols for these recordings.</span></p> <p><span style="font-family: &quot;comic sans ms&quot;, sans-serif; font-size: small;"><a href="" target="_blank">Purchase at</a></span></p>
Sep 27, 2017
1328 Wagner: Tristan und Isolde (rebroadcast)
<img src="" alt="itunes pic" /><br />Wagner’s “Tristan and Isolde”, an opera in 3 acts based on a libretto by the composer, was composed between 1857 and 1859. The opera’s premiere was at the National Theater in Munich on June 10, 1865. Wagner referred to the work not as an opera, but as an “action.” This opera is widely considered as one of Wagner’s peaks as the opera makes unprecedented use of chromaticism, tonality, orchestral color and harmonic suspension. This opera, or action, was enormously influential among Western classical composers such as Gustav Mahler, Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Benjamin Britten, Max Steiner and many others. “Tristan and Isolde” continues to be the driving influence for almost all of today’s composers in classical music. Wagner’s libretto also heavily influenced symbolist poets of the 19th and 20th centuries. Due to it’s influence, “Tristan and Isolde” is considered the greatest work by Wagner ever composed. This “action” also, interestingly enough carries somewhat of a morbid history with it. The original premiere had to be postponed until the lead soprano recovered from a hoarseness. The original tenor, who sang the role of Tristan died after the 4th performance, prompting speculation that the part was too stressful to sing. This “stress” also claimed the lives of conductors Felix Motti in 1911 and Joseph Keilberth in 1968. Both conductors died while conducting the 2nd act of the opera. Also noteworthy is that for many years, it was traditional that the roles of Tristan and Isolde were only sung by husband and wife teams. This performance, conducted by Kenneth Hedgecock and performed by the CMD German Opera Company of Berlin, is available now at:
Sep 26, 2017
1348 R Strauss: Macbeth - Death and Transfiguration
<img src="" alt="itunes pic" /><br />Macbeth, Op. 23 Death and Transfiguration, Op. 24 Joana Filipe Martinez, conductor ​CMD Grand Opera Company of Barcelona Orchestra Purchase now at:
Sep 25, 2017
1347 La Musica Chamber Music Hour 46
<img src="" alt="itunes pic" /><br />Rossini: Sonata for String Quartet, No. 1 in G Major Beethoven: Piano Trio in B-flat Major, Op. 97 "Archduke Trio" Mendelssohn: Octet in E-flat Major, Op. 20 For more information on La Musica International Chamber Music Festival, please visit their website at:
Sep 23, 2017
Wagner: Götterdämmerung (rebroadcast)
<img src="" alt="itunes pic" /><br />Götterdämmerung or Twilight of the Gods, WWV 86D, is the last in Richard Wagner's Ring cycle. It received its premiere at the Bayreuth Festspielhaus on August 17, 1876, as part of the first complete performance of the Ring. The title is a translation into German of the Old Norse phrase Ragnarök, which in Norse mythology refers to a prophesied war among various beings and gods that ultimately results in the burning, immersion in water, and renewal of the world. However, as with the rest of the Ring, Wagner's account diverges significantly from his Old Norse sources. This performance by the CMD German Opera Company of Berlin Purchase now at:
Sep 22, 2017
13360 PARMA Recordings - Tomorrow's Air
<img src="" alt="itunes pic" /><br />Navona Records is proud to present TOMORROW’S AIR, a collection of contemporary music for large ensemble, written by composers in a variety of styles and genres. Listeners will recognize several names as PARMA regulars, including Daniel Perttu, Hans Bakker, and Paul Osterfield. Purchase now at:
Sep 21, 2017
1320 Wagner: Siegfried (rebroadcast)
<img src="" alt="itunes pic" /><br />Siegfried, WWV 86C, is the third of the four music dramas that constitute Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. It premiered at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring cycle. Complete opera CMD German Opera Company of Berlin Dominique Beaulieu, conductor Purchase now at:
Sep 20, 2017
13149 Mozart - Colloredo or Bust
<img src="" alt="itunes pic" /><br />March in D, K. 237 Serenade in D, K. 203 Young 18-year-old Mozart tries, for the final time, to get in the graces of Archbishop Colloredo by composing Serenade in D, K. 203. 3 of the movements would feature the Archbishop as the violin soloist. Performed by the CMD Philharmonic of Paris Conducted by Dominique Beaulieu Diana Semenova, violin Helen Chase, bassoon Purchase now at:
Sep 19, 2017
1316 Wagner: Die Walküre (rebroadcast)
<img src="" alt="itunes pic" /><br />Die Walküre (The Valkyrie), 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 Der Ring des Nibelungen (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 at the Königliches Hof- und National-Theater 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. Purchase now at:
Sep 18, 2017
1310 Wagner: Das Rheingold (rebroadcast)
<img src="" alt="itunes pic" /><br />Das Rheingold, WWV 86A, is the first of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen, or in English, 'The Ring of the Nibelung'. Das Rheingold premiered at the National Theatre Munich on 22 September 1869, with August Kindermann in the role of Wotan, Heinrich Vogl as Loge, and Karl Fischer as Alberich. Wagner wanted this work to premiere as part of the entire cycle, but was forced to allow the performance at the insistence of his patron King Ludwig II of Bavaria. The work was first performed as part of the complete cycle on 13 August 1876, in the Bayreuth Festspielhaus. While praised, it is not as widely acclaimed as the other three works in the Ring Cycle. Performed by the CMD German Opera Company of Berlin Conducted by Dominique Beaulieu Purchase now at:
Sep 16, 2017
1203 Rimsky-Korsakov: Scheherazade (rebroadcast)
<img src="" alt="itunes pic" /><br />Rimsky-Korsakov's best known work. An excellent example of outstanding orchestration and melody. This work is a MUST for every classical music library. Purchase now at:
Sep 15, 2017
1201 Verdi: Il Corsaro (rebroadcast)
<img src="" alt="itunes pic" /><br />A rebroadcast from Season 12. Pirates, intrigue and a harem for good measure. This rarely performed masterpiece is a must for any true fan of Giuseppe Verdi. Performed by the CMD Grand Opera Company of Venice. Recorded by Classical Music Discoveries. Purchase now at:
Sep 14, 2017
1306 Wagner: Lohengrin (rebroadcast)
<img src="" alt="itunes pic" /><br />Lohengrin, WWV 75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. The opera has inspired other works of art. King Ludwig II of Bavaria named his fairy-tale castle "New Swan Castle", or "Neuschwanstein", after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle The Ring of the Nibelung. The most popular and recognizable part of the opera is the Bridal Chorus, better known as "Here Comes the Bride", often played as a processional at weddings in the West. This broadcast is made possible by Flowers.FM. Please utilize Flowers.FM for all of your floral needs. CMD German Opera Company of Berlin Conducted by Kenneth Hedgecock Purchase now at:
Sep 13, 2017
1305 Berlioz: Symphonie Fantastique (rebroadcast)
<img src="" alt="itunes pic" /><br />Fantastic Symphony: An Episode in the Life of an Artist, Opus 14, is one of the landmark programmed works of the early Romantic era. Leonard Bernstein described the symphony as the first musical expedition into psychedelic drugs because of its hallucinatory and dream-like nature. Also the symphony suggests that Hector Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, “Berlioz tells it like it is. You take a trip and you wind up screaming at your own funeral.” This work first interested Ken when he was 15 years old. Ken liked the erratic nature of the rhythms and the offbeat syncopated passages. He also loved Berlioz’s description of what music should be like when he appeared in court to defend his compositions. Berlioz testified that music was meant to be felt and not just heard. Ken is sure many of today’s rock and roll musicians can also agree with Berlioz. So here is Fantastic Symphony, Op. 14 by Hector Berlioz as performed by the CMD German Opera Orchestra of Berlin and conducted by Kenneth Hedgecock. Purchase now at:
Sep 12, 2017
13359 PARMA Recordings: Fleeting Realms