I can zing a rainbow
by Naxos on January 24, 2020 at 12:00 am
I never tire of listening to the voice of Peggy Lee (1920-2002), the American jazz and popular music singer who was also a songwriter, composer and actress. And with an active career that spanned some six decades, it seems I’m not the only one in her fan club. Her unique vocal timbre was apposite to Read More ...
6 Classical Music Concerts to See in N.Y.C. This Weekend
by By David Allen on January 23, 2020 at 10:00 pm
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
SCRUTINY | Toronto Symphony Stop To Smell The Roses For Mozart 40
by Stephan Bonfield on January 23, 2020 at 9:05 pm
All you need to perform Mozart's Symphony No. 40 is 40 players, it turns out.
Regina Revisited: Becca Stevens Speaks
by Noah Fishman on January 23, 2020 at 4:16 pm
Becca Stevens, an artist who at The Jazz Gallery needs no introduction, will be returning to the Gallery stage for the Commissions Revisited Series. Always pushing in some way against her own limitations and boundaries as a songwriter and musician, Stevens used the commissioning series to create Regina, a collection of music that eventually became
A guide to Beethoven's Symphony No. 3 'Eroica'
by Freya Parr on January 23, 2020 at 10:00 am
Rating: 0 Premiere:Theater an der Wien, Vienna, 7 April 1805Like many artists of his generation, Beethoven drew powerful inspiration from the French Revolution, revelling in the collapse of an oppressive monarchy and in the new freedoms which the march of popular democracy appeared to promise. For Beethoven, himself a cussed individualist, the figure of Napoleon Bonaparte epitomised the new spirit of liberty and self-determination sweeping Europe.The Third Symphony was conceived as a tribute to the French military commander – until, that is, Napoleon declared himself Emperor of his country, prompting an enraged Beethoven to tear the title page of the finished manuscript, on which he had written ‘Bonaparte’, in two pieces. A new title was eventually adopted, less specific in its references: ‘Heroic Symphony, composed to celebrate the memory of a great man’. Beethoven: what did the 19th century think?Five essential works by Beethoven Such is the backstory of the Eroica Symphony. How important is it to the actual music? Fascinating as the Napoleon connection is, posterity has gradually shied away from viewing the work as a glorified piece of musical hero-worship. ‘Some say it is Napoleon, some Hitler, some Mussolini,’ as the conductor Toscanini tetchily put it. ‘For me it is simply Allegro con brio.’And while it’s true that vestiges of the Napoleonic element can easily be traced in the Eroica – the confident demeanour of the opening movement, the overtones of militaristic ceremonial in the Marcia funebre – they can easily obscure the extraordinary innovations in the piece, which one commentator calls ‘the greatest single step made by an individual in the historyof the symphony and in the history of music in general’. Beethoven's Eroica Symphony, performed by the West-Eastern Divan Orchestraunder Daniel Barenboim How did Beethoven cope with going deaf?The best recordings of Beethoven's Pastoral Symphony Scale:What exactly makes the Eroica so revolutionary? For early listeners, size was certainly a major issue. ‘I’ll give another Kreutzer if the thing will only stop!,’ one irritated audience member shouted at the first public performance. He would not have been alone in wondering why exactly Beethoven’s newest symphony had to be twice as long as any that preceded it.The reason was simple: Beethoven was bursting with musical ideas, and needed the broadest canvas on which to paint them. The development section of the opening movement is unprecedentedly fertile, introducing a new theme unheard in the exposition. The Marcia funebre has not one, but two interpolated episodes, one ringingly triumphant, the other gravely fugal. The finale’s variations become a major statement in themselves, not just a mood-lightening way to drop the curtain on a major-key symphony.Everywhere is plenitude, dynamism and surging energy, and a determination to use symphonic form to give these indomitable human qualities full expression. The Heiligenstadt crisis, barely over, had laid Beethoven low, but certainly not defeated him. In the Eroica Symphony he is resurgent; the composer himself is the ultimate hero of this extraordinary masterpiece. Six of the best: Beethoven's overlooked worksThe best recordings of Beethoven's Symphonies Recommended recording:When Rudolf Kempe made his Beethoven symphony cycle with the unfashionable Munich Philharmonic in the early 1970s, it was overshadowed by other, more glamorous interpretations, Herbert von Karajan’s in particular. But Kempe’s is a glorious Eroica, powerful and majestic, yet buoyed with lyricism and elegance. It remains a definitive point of reference.Münchner Philharmoniker/Rudolf KempeEMI 636 5552 Words by Terry Blain. This article first appeared in the December 2015 issue of BBC Music Magazine.
The great pretender: my tribute to Farinelli, the greatest castrato
by Cecilia Bartoli on January 23, 2020 at 8:00 am
My new album is dedicated to Farinelli, the celebrated castrato, who could not have grown a beard. So why am I pictured with kohled eyes, flyaway curls and facial hair? The picture on the front of my new album, Farinelli, features me in a beard. Perhaps some people will be surprised to see my cascading curls and kohl-rimmed eyes combined with neatly trimmed facial hair. But not me. Changing my appearance is simply a part of my profession. Like all performers, I take on a different guise every time I step out on to the stage.Farinelli is one of the most famous castratos of all time. His powerful and beautiful singing thrilled 18th-century Europe and soothed the depression of a Spanish king. He was by all accounts an exceptional human being: highly intelligent, kind, cultured, wise and politically astute. But did he have a beard? Certainly not. The impact of having been castrated as a boy on his physical development would have prevented him growing one. Continue reading...
Bob Freedman: Jazz Themes
by Marc Myers on January 23, 2020 at 5:05 am
Bob Freedman was a wonderful arranger and ardent JazzWax reader. His finest arrangement was And We Listened for Maynard Ferguson's A Message From Newport (1958). He finest album was the little-known Jazz Themes From Anatomy of a Murder. The album... Related StoriesFive Videos: Duke EllingtonBob Freedman (1934-2018)Bob Freedman (1934-2019)
GIVEAWAY | Enter Now For A Chance To See Soundstreams’ The Lost Karaoke Tapes
by Ludwig Van on January 22, 2020 at 10:11 pm
Soundstreams presents The Lost Karaoke Tapes, January 30 at the historic GREAT HALL — enter now for a chance to win two free tickets.
THE SCOOP | Netflix Announces Leonard Bernstein Bio-Pic With Bradley Cooper Directing And Starring
by Anya Wassenberg on January 22, 2020 at 6:21 pm
Netflix has committed to a Leonard Bernstein bio-pic helmed by Bradley Cooper, with producers Martin Scorsese, Steven Spielberg, and Cooper’s partner in his Joint Effort company, Todd Phillips (who directed Joker), on board.
When a Critic Put on the ‘Best of All American Operas’
by By Anthony Tommasini on January 22, 2020 at 3:00 pm
Anthony Tommasini recalls organizing a student production of Virgil Thomson and Gertrude Stein’s “The Mother of Us All” in the early 1980s.
Vladimir Ashkenazy announces his retirement
by Music Freelance on January 22, 2020 at 11:10 am
Rating: 0 The pianist and conductor Vladimir Ashkenazy has announced that he is retiring with immediate effect.The 82-year-old is one of the most celebrated and versatile musicians of his generation, renowned for recording and performing an enormous and varied repertoire as both a pianist and a conductor over his 70-year career.Ashkenazy shot to fame in 1956 when he won the Queen Elisabeth Competition in Brussels, followed by the 1962 International Tchaikovsky Competition, an accolade he shared with pianist John Ogdon. Although Ashkenazy continued to perform and record as a pianist, he also began conducting after a chance encounter with Gennady Rozhdestvensky led to an impromptu lesson in the Soviet conductor’s apartment. He went on to hold prestigious positions across the globe with orchestras including the Deutsches Symphonie-Orchester Berlin (1988–96); Czech Philharmonic (1998–2003); the European Union Youth Orchestra (2000-2015); the NHK Symphony Orchestra in Tokyo (2004–7); the Sydney Symphony Orchestra (2009-2013); and the Philharmonia Orchestra. In 1963, Ashkenazy defected from the Soviet Union during a visit to England. His piano and orchestral performances of Rachmaninov, Sibelius and Scriabin demonstrate his love of Russian music. As Decca’s longest contracted artist, his discography - which ranges from Bach to Rautavaara - is a testament to the depth and breadth of his musical interest and ability. In total, his collected recordings exceed 100 hours of music, spanning 39 composers over 55 years.Speaking to BBC Music Magazine in 2017 about his enormous success and his famously intuitive approach to conducting, Ashkenazy remarked: ‘There are some things you cannot teach or understand. Just as we’ll never know why Beethoven was Beethoven or Mozart was Mozart. They were people just like you or I, and yet in their music they created something that is such a gift for us all. Incredible. It’s a mystery. We must be grateful for that.’ The 20 Greatest Conductors of all timeThe best living female conductors
Who is Nicola Benedetti?
by Freya Parr on January 22, 2020 at 10:00 am
Rating: 0 Scottish violinist Nicola Benedetti rose to fame in 2004, when she won BBC Young Musician at the age of 16, a competition she has remained an ambassador of ever since. She has released a number of acclaimed recordings, from concertos by Glazunov and Szymanowski to an album of Scottish music, which made her the first ever Scottish classical musician to enter the Top 20 of the Offiial UK Album Chart in 2014. The best recordings of Nicola Benedetti In the 2019 New Year Honours, Benedetti was awarded a CBA for services to music.She was nominated for a Grammy Award in 2020 for her premiere recording of Wynton Marsalis's Violin Concerto and his Fiddle Dance Suite, both dedicated to her by the composer.At the beginning of 2020, she launched the Benedetti Foundation, dedicated to putting music at the heart of UK society and bringing music to all children.
10 Jazz Piano Tracks
by Marc Myers on January 22, 2020 at 5:05 am
Midweek, deep into January. Too little sunlight, chilly, colorless and only February and its blizzard roulette to look forward to. What better way to warm up and recharge than 10 clips of jazz piano greats—some you know and others maybe... Related StoriesVideo: Bill Evans in Paris, 1972Erroll Garner: Four ReissuesVideo: Bill Evans Plays Nardis, '78
GUIDE | A Tour of Glenn Gould’s Toronto (Or, How I Visited Three Fran’s Locations In One Day)
by Michela Comparey on January 21, 2020 at 11:43 pm
Glenn Gould is one of Toronto’s most famous classical musicians and left his mark in many places around the city. This is what they’re like today.
It’s ‘Salome.’ But With Puppets.
by By A.J. Goldmann on January 21, 2020 at 8:50 pm
A new staging in Austria looks all the more unusual viewed side-by-side with the Vienna State Opera’s classic production.
Brisket for Brünnhilde
by By Florence Fabricant on January 21, 2020 at 7:36 pm
A nontraditional take on Wagner’s “The Ring” retells the magical saga as a country and western tale at Hill Country Barbecue.
Incontre: Massimo Biolcati Speaks
by Noah Fishman on January 21, 2020 at 11:00 am
For the first time in over a decade, Massimo Biolcati is releasing a new record as a bandleader. Biolcati is known as a producer, composer, sideman, co-founder of Gilfema (a trio featuring Ferenc Nemeth and Lionel Loueke), and developer of the iReal Pro app. The Swedish/Italian bassist has lived in New York for quite some
Free Download: Jonathan Biss plays Beethoven’s Piano Sonata No. 7
by Freya Parr on January 21, 2020 at 10:00 am
‘His performance is smooth and exquisitely expressive’ This week’s free download is the first movement, Presto, from Beethoven’s Piano Sonata No. 7, performed by Jonathan Biss and recorded on Orchid Classics. It was awarded five stars for both performance and recording in the January issue of BBC Music Magazine. DOWNLOAD INSTRUCTIONS:If you'd like to enjoy our free weekly download simply log in or sign up to our website.Once you've done that, return to this page and you'll be able to see a 'Download Now' button on the picture above – simply click on it to download your free track.If you experience any technical problems please email email@example.com. Please reference 'Classical Music Free Download', and include details of the system you are using and your location. If you are unsure of what details to include please take a screenshot of this page. read more
Jimmy Heath in 10 Tracks
by Marc Myers on January 21, 2020 at 5:05 am
The late Jimmy Heath had a crisp and deliberate sound on his tenor saxophone. His solos and double-and triple timing were fluid, seemingly effortless and never short on ideas. His soprano saxophone was insistent and his flute was divine. His... Related StoriesJimmy Heath (1926-2020)Jimmy Heath: Holland, 2012
SCRUTINY | Superlative Vocalism And Marvelous Conducting Make Barber Revival A Must-See
by Joseph So on January 20, 2020 at 8:17 pm
Maestro Speranza Scappucci conducted a superlative version of Rossini's comedic opera ‘The Barber of Seville’ with an ensemble cast that was without a weak link.
Carole d’Inverno & Monica Jane Frisell: Perceptions
by Kevin Laskey on January 20, 2020 at 5:02 pm
This Tuesday evening, January 21, The Jazz Gallery is pleased to open a new art exhibition featuring paintings by Carole d’Inverno and photographs by Monica Jane Frisell. Despite the contrast in medium—whimsically abstract canvases versus stark photographs—both artists’ work is rooted in a sense of American place. For d’Inverno, that means researching particular historical events
The BBC Music Magazine Playlist
by Freya Parr on January 20, 2020 at 3:37 pm
Rating: 0 Every Monday, the BBC Music Magazine team choose their favourite new recordings of the past week. The tracks are compiled into The Playlist, which can be accessed via the BBC Music Magazine Spotify page. An alternative version of The Playlist can be found on the BBC Music Magazine curator page on Apple Music. This week's playlist: The listings for previous playlists are featured below. Vol. 43Vaughan Williams The Lark Ascending (arr. Drayton for violin and chamber choir) (Jennifer Pike, Swedish Chamber Choir/Simon Phipps)Margaret Bonds The Ballad of the Brown King: IX. Alleluia (The Dessoff Choirs, The Dessoff Orchestra/Malcolm J Merriweather)Stravinsky 3 Movements from Petrushka: I. Danse russe (Beatrice Rana)Ives Symphony No. 4: IV. Finale (Largo maestoso) (San Francisco Symphony/Michael Tilson Thomas)CPE Bach Violin Sonata in C minor: II. Adagio ma non troppo (Tamsin Waley-Cohen, James Baillieu)Tartini Concerto in A minor: I. Andante cantabile – Allegro assai (Dmitry Sinkovsky, Il Pomo D’oro)Beethoven Symphony No. 5: I. Allegro con bio (Budapest Festival Orvhestra/Iván Fischer)Tchaikovsky Eugene Onegin: ‘Kuda, kuda, kuda vi udalilis’ (Benjamin Bernheim, PKF – Prague Philharmonia/Emmanuel Villaume)Trad Blow The Wind Southerly (arr. Kanneh-Mason) (Sheku Kanneh-Mason) Vol. 42Handel Music for the Royal Fireworks: I. Overture (Adagio) (Alison Balsom, Balsom Ensemble)Bryce Dessner Tenebre (Ensemble Resonanz, Moses Sumney)Scarlatti Il Pirro e Demetrio, Act 2: ‘Fra gl’assalti di Cupido’ (Jakub Józef Orliński, Il Pomo D’oro/Maxim Emelynaychev)Beethoven Symphony No. 9 ‘Choral’: I. Allegro ma non troppo (Bach Collegium Japan/Massaki Suzuki)Brahms Concerto for Violin and Cello in A minor ‘Double Concerto’: Vivace non troppo (Maximilian Hornung, NDR Radiophilharmonie/Andrew Manze)Takemitsu I Hear the Water Dreaming (Emmanuel Pahud, Das Müncher Rundfunkorchester/Ivan Repušić)Hildur Guðnadóttir Call Me Joker Terterian Symphony No. 4, Pt. 3 (Bournemouth Symphony Orchestra/Kirill Karabits) Vol. 41Picchi Toccata (Andrea Buccarella)Judith Weir O mercy divine (Choir of King’s College, Cambridge/Stephen Cleobury)Howard Skempton Eternity’s Sunrise (Ensemble 360)Anna Meredith Sawbones (Anna Meredith)Liszt Csárdás obstinée No. 2 (Joseph Moog)Dvořák String Quartet No. 6: III. Poco adagio (Vogler String Quartet)Gary Schocker Piccolo Sonata No. 3 for piccolo and piano: III (Stefan de Schepper, Peter Verhoyen)Hiromi Spectrum (Hiromi)Judith Weir Nuits d’Afrique: IV. Le village (Hebrides Ensemble)Rebecca Clarke Piano Trio: I. Moderato ma appassionato (Neave Trio)Rachmaninov Vocalise Op. 34 No. 14 (arr. Trifonov for piano) (Daniil Trifonov) Vol. 40Hanns Eisler Leipzig Symphony: I. Vorspeil und Idylle (MDR Leipzig Radio Symphony/Jürgen Bruns)Smyth Mass in D: VI. Agnus Dei (Ben Johnson, BBC Symphony Orchestra/Sakari Oramo)Philip Glass Symphony No. 5: IX, Death (Choir of Trinity Wall Street, NOVUS NY, Trinity Youth Chorus, Downtown Voices, Trinity Wall Street/Julian Wachner)Fanny Mendelssohn Carpriccio in A-flat (Johannes Moser, Alasdair Beatson)Telemann Concerto in B-flat: III. Allegro (La Stagione Frankfurt/Michael Schneider)Anon My Body Rock ‘Long Fever (Boston Camerata/Anne Azéma)Schubert Fantasia in C: I. Andante molto – II. Allegretto (Ariadne Daskalakis, Michael Alexander Willens)Elgar Symphonic Study in C minor ‘Falstaff’: IIa. Falstaff’s March – The Return Through Gloucestershire (BBC National Orchestra of Wales/Andrew Constantine)Mozart 3 Songs from Sophiens Reise: Ich würd auf meinem Pfad (Robin Tritschler, Malcolm Martineau)CPE Bach Movements in G: VI. Menuet (Miklós Spányi)Handel Amadigi di Gaula, Act 2: ‘Pena tiranna’ (Jakub Józef Orliński, Maxim Emelyanychev, Il Pomo D’oro) Vol. 39John Adams Short Ride in a Fast Machine (Orchestre Symphonique de Montréal/Kent Nagano)Brahms Symphony No. 3: IV. Allegro (Bergen Philharmonic Orchestra/Edward Gardner)Tchaikovsky String Quartet No. 3: III. Andante funebre e doloroso, ma con moto (Quatuor Danel)Dobrinka Tabakova Of a Rose Sing We (Truro Cathedral Choir, Christopher Gray, Joseph Wicks)Bartók Bluebeard’s Castle: Oh! Virágok! (John Relyea, Michelle DeYoung, Bergen Philharmonic Orchestra/Edward Gardner)Mozart Piano Concerto No. 24: II. Larghetto (Benjamin Hochman, English Chamber Orchestra)Reinecke Ballade (Emmanuel Pahud, Das Müncher Rundfunkorchester/Ivan Repušić)Fanny Mendelssohn String Quartet: III. Romanze (Malin Broman, Simon Crawford-Hillips, Musica Vitae)Kaija Saariaho Circle Map: VI. Day and Night Music (Oslo Philharmonic Orchestra/Clément Mao-Takacs)Leclair Sonata No. 7: II. Allegro ma non troppo (Erik Bosgraaf, Francesco Corti) Vol. 38Stamitz Symphony Op. 3 No. 1: IV. Presto (Musica Viva/Alexander Rudin)Robert Schumann Fantasie in C Op. 17: II. Mässig. Durchaus energisch (Joseph Tong)Chabrier España – Rhapsody for Orchestra (L’Orchestre de la Suisse Romande)Stephen Hough Madam and her Madam (Jennifer Johnston, Alisdair Hogarth)Trojahn Rhapsodie pour clarinette et orchestra: I. Rêverie (Annelien van Wauwe, Orchestre National de Lille/Alexandre Bloch)JS Bach Wo sol lich fliehen hin, BMV 5: III. Aria: Ergieße dich reichlich (arr. for viola) (Antoine Tamestit, Masato Suzuki)Bruch 8 Pieces, Op. 83 (arr. for violin, viola and piano): No. 6, Nachtgesang (Natalia Lomeiko, Yuri Zhislin, Ivan Martin)Handel Concerto Op. 7 No. 4 in D minor: I. Adagio (arr. for organ) (Thomas Trotter) Vol. 37Korngold Symphony in F sharp: II. Scherzo. Allegro molto (Sinfonia of London/John Wilson)Charpentier Les arts florrisants. H. 487, Scene 5: Charmante paix (Aaron Sheehan, Molly Netter, Boston Early Music Festival Vocal Ensemble)Ravel Miroirs: IV. Alborada del gracioso (Imogen Cooper)Sibelius Violin Concerto: III. Allegro, ma non tanto (Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin/Robin Ticciati)Max Richter In the Garden (Angèle Dubeau, La Pietà)Gabriel Prokofiev Bass Drum Concerto: II. Largo Mesto (In the Steppes) (Joby Burgess, Ural Philharmonic Orchestra/Alexey Bogorad)Marais Suite in A: VI. Fantaisie (Robert Smith, Israel Golani, Olivier Fortin, Joshua Cheatham)Bartók Piano Quintet in C: II. Vivace. Scherzando (Vilde Frang, Barnabás Kelemen, Katalin Kokas, Nicolas Altstaedt, Alexander Lonquich)Gossec Symphony in D minor: II. Andante (German Chamber Academy Neuss/Simon Gaudenz) Vol. 36Beethoven Egmont, Op. 84: I. Overture (Live) (Elisabeth Breuer, Helsinki Baroque Orchestra/Aapo Hákkinen)Peter Lindroth Insensiblity (Yoriko Asahara, John Erik Eleby, Mats Jansson)Schnittke String Quartet No. 3: II. Agitato (Danish String Quartet)Stanford 4 Irish Dances, Op. 89, IV. Reel (Excerpts arr. Grainger (Alexander Karpeyev)Fogg Merok (BBC Philharmonic/Rumon Gamba)Michael Nyman Concerto for Amplified Harpsichord & Strings (Jory Vinikour, Chicago Philharmonic/Scott Speck)Vaughan Williams L’Amour de Moy (Roderick Williams, Kitty Whately, William Vann)Stephen Hough Madam and her Madam (Jennifer Johnston, Alisdair Hogarth) Vol. 35Hartmann Concerto funèbre for Violin and String Orchestra: II. Adagio (Patricia Kopatchinskaja, Camerata Bern)Piazzolla Histoire du tango (version for flute and guitar): I. Bordel 1900 (Lisa Friend, Craig Ogden)Rachmaninov Piano Concerto No. 2: I. Moderato (Dong Hyek Lim, BBC Symphony Orchestra/Alexander Vedernikov)Iiro Rantala September (Iiro Rantala)Handel Concerto grosso in A minor, Op. 6 No. 4: II. Allegro (Akademie für Alte Musik Berlin/Bernhard Forck)Gabriela Montero Piano Concerto No. 1 ‘Latin’: I. Mambo (Live) (Gabriela Montero, Orchestra of the Americas/Carlos Miguel Prieto)Donnacha Dennehy The Hunger – Black Potatoes (Alarm Will Sound/Alan Pierson)Sibelius Violin Concerto: III. Allegro, ma non tanto (Christian Tetzlaff, Deutsches Symphonie-Orchester Berlin/Robin Ticciati)Mascagni Cavalleria rusticana: Mamma, quel vino è generoso (Live) (Elena Zilio, Alexia Voulgaridou, Coro del Maggio Musicale Fiorentino) Vol. 34John Adams Short Ride in a Fast machine (Orchestre Symphonique de Montréal/Kent Nagano)DvořákIn Folk Tone Op. 73 (Kaspar Zehnder, Magdalena Kožená, Simon Rattle)Parry I Was Glad (Choir of King’s College, Cambridge/Stephen Cleobury)Myaskovsky Symphony No. 1: III. Allegro assai e molto risoluto (Ural Youth Symphony/Alexander Rudin)Phipps Clarinet Concerto: I. Adagio – Allegro moderato (Mark van de Wiel, Philharmonia Orchestra, London Chamber Orchestra/Christopher Warren-Green)Max Richter The Four Seasons Recomposed: Winter I (Fenella Humphreys, Covent Garden Sinfonia/Ben Palmer)Fauré Pavane Op. 50 (Sinfonieorchester Basel/Ivor Bolton)Beethoven Piano Sonata No. 14 in C sharp minor ‘Moonlight’: I. Adagio sostenuto (Igor Levit)Josquin des Prez Nymphes des bois (Dulces Exuviae, Romain Bockler, Bor Zuljan) Vol. 33Holst The Planets: IV. Jupiter, the Bringer of Jollity (Bergen Philharmonic Orchestra/Andrew Litton)Handel Riccardo Primo HWV 23: II. Volo così fido al dolce (Lucy Crowe, London Early Opera/Bridget Cunningham)Fanny Mendelssohn Capriccio in A-flat (Johannes Moser, Alasdair Beatson)Wynton Marsalis Violin Concerto: I. Rhapsody (Nicola Benedetti, Philadelphia Orchestra/Cristian Măcelaru)Henze Englische Liebeslieder: VI. Sonett (Anssi Kartuunen, BBC Symphony Orchestra/Oliver Knussen)Mason Bates Sirens: No. 1, From ‘The Odyssey’ (Book XII) (Cappella SF/Ragnar Bohlin)Dvořák Symphony No. 8: III. Allegretto grazioso (Bamberg Symphony/Jakub Hrůša)John Luther Adams Become Desert (Seattle Symphony Orchestra & Chorus/Ludovic Morlot) Vol. 32José Ferrer Sérénade espagnole, Op. 34 (Jørgen Skogmo, Jens Franke)Laura Kaminsky A Christmas Story (Sasha Cooke, Kelly Markgraf, Fry Street Quartet)Dustin O’Halloran Op. 28 (American Contemporary Music Ensemble)Piazzolla Milonga del angel (arr. Benítez for guitar) (Rupert Boyd)Debussy La Mer: III. Dialogue du vent et de la mer (L’Orchestre de la Suisse Romande, Paris Conservatoire Orchestra/Ernest Ansermet)JS Bach Christ lag in Todesbanden: II. Christ lag in Todesbanden (Vox Luminis/Lionel Meunier)Amir Mahyar Tafreshipour Broken Times (Darragh Morgan, Patrick Savage, Fiona Winning, Deirdre Cooper)Handel Brockes Passion: No. 5, Der Gott, dem alle Himmelskreise (Festspielorchester Göttingen/Laurence Cummings)Tchaikovsky Symphony No. 6 ‘Pathétique’: III. Allegro molto vivace (Berlin Philharmonic/Kirill Petrenko) Vol. 31Honegger Symphony No. 2 for string orchestra and trumpet: III. Vivace non troppo (Baltic Chamber Orchestra/Emmanuel Leducq-Baromé)Mozart Piano Concerto No. 27, Arr. for accordion and chamber orchestra: II. Larghetto (Viviane Chassot, Camerata Bern)Janáček On an Overgrown Path: No. 10, The Barn Owl Has Not Flown Away! Andante (Jan Bartoš)Wolfram Buchenberg Dum medium silentium (Cantabile Regensburg/Matthias Beckert)Elgar Soliloquy for oboe and orchestra (Albrecht Mayer, Bamberg Symphony/Jakub Hrůša)Schubert Die schöne Müllerin: No. 8, Morgengruß (Roderick Williams, Iain Burnside)Heinrich Bach Ich danke dir Gott (Vox Luminix/Lionel Meunier)Erika Fox Café Warsaw 1944: I. Prologue (Goldfield Ensemble/Richard Uttley)Salieri Tarare, Act 5 Scene 4 ‘Atar, defends-nous’ (Les Talens Lyriques/Christophe Rousset)Korngold String Quartet No. 2: IV. Waltz (Finale) (Jerusalem Quartet) Vol. 30Verdi La Traviata – Act 1: ‘Libiamo ne’ lieti calici’ (Brindisi) (Luciano Pavarotti, Joan Sutherland, The London Opera Chorus, National Philharmonic Orchestra/Richard Ronynge)Philip Glass Vertigo (Arctic Philharmonic Orchestra)Britten A Ceremony of Carols, Op. 28: This little Babe (The Sixteen/Harry Christophers)Prokofiev Visions fugitives, Op. 22: XIV. Feroce (Ostrobothnian Chamber Orchestra/Sakari Oramo)Howells Te Deum and Jubilate ‘Collegium Regale’: Te Deum (Choir of King’s College, Cambridge/Stephen Cleobury)Hartmann Concerto funebre: IV. Choral. Langsamer Marsch (Fabiola Kim, Müncher Symphoniker/Kevin John Edusei)Praetorius Dixit Dominus (David Skinner, Stephen Farr)Gregson Sequence (Four) for Solo Violin and String Orchestra divisi (Mari Samuelsen, Konzerthausorchester Berlin/Jonathan Stockhammer)Bartók The Wooden Prince, Op. 13: IX. The Princess is Curious (Helsinki Philharmonic Orchestra/Susanna Mälkki)Get It Straight – Live(Dan Berglund, Charenee Wade, Iiro Rantala, Anton Eger, Ernie Watts, Angelika Niescier) Vol. 29Mozart Piano Concerto No. 20: III. Allegro assai (Jean-Efflam Bavouzet, Manchester Camerata/Gábor Takács-Nagy)Elgar String Quartet in E minoe: Piacevole. Poco andante (Brodsky Quartet)Jonathan Dove Airport Scenes (Orchestral Suite from ‘Flight’): II. Storm (BBC Philharmonic/Timothy Redmond)Kaija Saariaho Ciel d’hiver (After ‘Orion’ Movement II) (Finnish Radio Symphony Orchestra/Hannu Lintu)Josquin des Prez Nymphes des bois (La déploration de la mort de Johannes Ockeghem (Il Giardino Armonico/Giovanni Antonini)Daniel Elms Islandia (Christian Barraclough, Jonathan French, Tomas Klement, Tereza Privatska, Julia Loucks, Tom Hankey, Adam Szabo)Vivaldi arr. Max Richter The Four Seasons Recomposed: Summer I (Fenella Humphreys, Covent Garden Sinfonia/Ben Palmer)Dvořák Piano Trio No. 1: IV. Finale. Allegro vivace (The Busch Trio)Suk Pohádka, Op. 16: III. Funeral Music (Czech Philharmonic Orchestra/Jiří Bělohlávek)JS Bach Es erhub sich ein Streit, BWV 19: I. Es erhub sich ein Streit (Gaechinger Cantorey, David Franke, Hans-Christoph Rademann) Vol. 28Qigang Chen The Joy of Suffering: IV. Thrilled by illusions (Maxim Vengerov, Shanghai Symphony Orchestra/Long YuDavid Robertson Movement I. St Louis to New Orleans (Wynton Marsalis, Jazz at Lincoln Center Orchestra/David Robertson)Geminiani Concerto per flauto in G: I. Preludio. Adagio (Maurice Steger, La Cetra)James MacMillan Cecilia virgo (The Elysian Singers/Sam Laughton)Chopin Nocturne No. 20 in C-sharp minor (Charles Richard-Hamelin, Orchestre Symphonique de Montréal/Kent Nagano Striggio Ecce Beatam Lucem à 40 (Armonico Consort, Choir of Gonville & Caius College, Cambridge/Christopher Monks)Weinberg Symphony No. 21 ‘Kaddish’: II. Allegro molto (City of Birmingham Symphony Orchestra/Mirga Gražinytė-Tyla)Wagner Siegfried: Siegfried’s Horn Call (Ben Goldscheider, Hallé/Mark Elder)Monteverdi Vespers of 1610: Deus in adiutorium meum intende (The Sixteen/Harry Christophers)Sibelius Lemminkäinen Suite ‘4 Legends: IV. Lemminkäinen’s Return (BBC Symphony Orchestra/Sakari Oramo) Vol. 27Jón Leifs Edda Pt. 2 Op. 42 ‘The Lives of the Gods’: VI. Warriors (Schola Cantorum Reykjavicensis, Iceland Symphony Orchestra/Hermann Bäumer)Philip Glass Perpetulum: Part 1 (Third Coast Percussion)Richard Strauss Violin Concerto: III. Rondo (Tasmin Little, BBC Symphony Orchestra/Michael Collins)Jolivet Serenade for Wind Quintet: II. Caprice (Jolivet, Les Vents Français)Beethoven Cello Sonata in F Op. 17: I. Allegro moderato (Leonard Elschenbroich, Alexei Grynyuk)Mendelssohn Piano Concerto No. 2: III. Finale (Kristian Bezuidenhout, Freiburger Barockorchester/Pablo Heras-Casado)Corelli Violin Sonata in D minor, Op. 5 No. 7 (arr. for harpsichord): III. Sarabande (Sophie Yates)Richard Rodney Bennett Symphony No. 1: III. Molto vivace (BBC Scottish Symphony Orchestra/John Wilson)Fauré Piano Quartet No. 1 in C minor, Op. 15: III. Adagio (Evgeny Kissin, Emerson String Quartet)Eric Vloiemans Crazy Witches (Calefax Reed Quintet)Rachmaninov 13 Préludes, Op. 32: No. 5 in G. Moderato (Boris Giltburg) Vol. 26Jonathan Dove Seek Him That Maketh the Seven Stars (Choir of St John’s College, Cambridge/Andrew Nethsingha)Glière Horn Concerto: III. Moderato (Markus Maskuniitty, Royal Stockholm Philharmonic Orchestra/Sakari Oramo)Porpora David e Bersabea: Dolce è su queste alte mie logge a sera (Giueseppina Bridelli, Le Concert de l’Hostel Dieu/Franck-Emmanuel Comte)Haydn Die Sieben letzten Worte unseres Erlösers am Kreuze, Hob. XX: I. Introduzione. Maestoso ed adagio (Ensemble Resonanz/Riccardo Minasi)Hindemith Violin Sonata Op. 11 No. 1: I. Frisch (Roman Mints, Alexander Kobrin)Schubert Rosamunde Op. 26: IIIa. Entr’acte No. 2 (Andante) (Copenhagen Philharmonic Orchestra/Lawrence Foster)Robert Schumann Liederkreis Op. 39: V. Mondnacht (arr. Clara Schumann) (Isata Kanneh-Mason)Debussy Préludes, Book 1: No. 8 La fille aux cheveux de lin (Lisa Friend, Rohan de Silva)Beethoven Triple Concerto: II. Largo (Laurence Equilbey, Alexandra Conunova, David Kadouch, Natalie Clein, Insula Orchestra)Clara Schumann 3 Romances, Op. 11: II. Andante – Allegro passionate – Andante (Eric Le Sage) Vol. 25Duruflé Messe ‘Cum Jubilo’ pour choeur de barytons et orgue, Op. 11: II. Gloria (Ken Cowan, Houston Chamber Choir/Robert Simpson)Mahler Symphony No. 10 (arr. Castelletti for chamber orchestra): II. Sherzo (Lapland Symphony Orchestra/John Storgårds)Brahms Piano Quartet No. 1: II. Intermezzo (Skride Piano Quartet)Tavener The Protecting Veil: I. The Protecting Veil (Matthew Barley, Sinfonietta Riga/Sukhvinder Singh Pinky)Gibbons The Silver Swan (Apollo5)Victoria Bond Instruments of Revelation: III. The Fool (Chicago Pro musica)Schumann Dichterliebe: VII. Ich grolle nicht (Stella Doufexis, Daniel Heide)Annie Lennox (Hesperiidae) (Annie Lennox) Vol. 24Offenbach Madame Favart: Overture (Brandenburgisches Staatsorchester Frankfurt/Howard Griffiths)JS Bach Cello Suite No. 4 in E-flat: V. Bourée (trans. Rachel Podger for violin) (Rachel Podger)Björk Vespertine: Aurora (Live) (Women’s Choir of Nationaltheater Mannheim, Orchestra of Nationaltheater Mannheim)Gershwin Lullaby for String Quartet (Chiaroscuro)John Williams Hedwig’s Theme – from ‘Harry Potter and the Philosopher’s Stone (Anne-Sophie Mutter, The Recording Arts Orchestra of Los Angeles)Khachaturian Cello Concerto: III. Allegro battula (Torleif Thedéen, Staatsorchester Rheinische Philharmonie/Daniel Raiskin)Debussy Chansons de Bilitis, L. 90: No. 1, La flute de Pan (Carolyn Sampson, Joseph Middleton)Weber Clarinet Concerto No. 1: II. Adagio ma non troppo (Andreas Ottensamer, Yuja Wang, Berlin Philharmonic/Mariss Jansons)Daniel Tarrab Prelude (Nester Marconi, Pablo Agri, Daniel Tarrab, Orquesta Filarmonica Nacional) Vol. 23Svante Henryson Black Run (Andrei Ionita)Schubert 4 Impromptus: No. 1 in C minor (Khatia Buniatishvili)Donizetti L’Ange de Nisida, Act 1: ‘Et vous Mesdames’ (Orchestra of the Royal Opera House/Mark Elder)Beethoven Symphony No. 3 ‘Eroica’: II. Marcia funebre (London Philharmonic/Kurt MasurRichard Strauss Malven, TrV 297 (Arr. Rihm) (Lise Davidsen, Philharmonia Orchestra/Esa-Pekka Salonen)Gounod Symphony No. 2: III. Scherzo (Iceland Symphony Orchestra/Yan Pascal Tortelier)Beethoven Piano Sonata No. 22: I. In tempo d’un menuetto (Jonathan Biss)Weinberg Capriccio Op. 11 (Quatuor Capriccio)Ives Piano Sonata No. 1: IVb. Allegro – Presto (Tamara Stefanovich)Prokofiev Cello Sonata in C Op. 119: II. Moderato – Andante dolce (Mstislav Rostropovich) JS Bach Fuge G-Moll BWV 578 (Olivier Latry)Beethoven String Quartet No. 10: III. Presto (Cuarteto Casals)Howells Lady Audrey’s Suite, Op. 19: I. The Four Sleepy Golliwogs’ Dance (Dante Quartet) Vol. 22JS Bach Concerto for Violin and Oboe in C minor: I. Allegro (Isabelle Faust, Xenia Löffler, Akademie für Alte Musik Berlin/Bernhard Forck)Messiaen Preludes for Piano: VII. Plainte calme (Alexandra Dariescu)Purcell Hear My Prayer, O Lord (Gabrieli Consort/Paul McCreesh)Mahler Symphony No. 7: III. Scherzo, Schattenhaft (Budapest Festival Orchestra/Iván Fischer)Arensky Piano Trio No. 1: III. Elegia (Smetana Trio)Brad Mehldau The GardenStravinsky Le Sacre du Printemps, Pt 1: L’Adoration de la Terre: Rondes printanières (New York Philharmonic/Jaap van Zweden)Elgar Variations on an Original Theme, Op. 36, ‘Enigma’: XIV. Finale: Allegro Presto ‘E.D.U’ (Royal Liverpool Philharmonic Orchestra/Vasily Petrenko)Massanet Le Poète et la Fantôme (Sandrine Piau, Le Concert de la Loge/Julien Chauvin)Esa-Pekka Salonen Cello Concerto: III. (Yo-Yo Ma, Los Angeles Philharmonic/Esa-Pekka Salonen)Britten 3 Divertimenti: II. Waltz. Allegretto (Doric String Quartet) Vol. 21Gesualdo O vos omnes (Monteverdi Choir/John Eliot Gardiner)William Alwyn 3 Winter Poems: No. 1, Winter Landscape (Tippett Quartet)JS Bach Cello Suite No. 2 in D minor, BWV 1008 (Transcribed by Rachel Podger for violin) (Rachel Podger)Prokofiev Piano Sonata No. 7 in B-flat: I. Allegro inquieto – Andantino (Martin James Bartlett)Shostakovich Symphony No. 7 ‘Leningrad’: II. Moderato (poco allegretto) (Live at Symphony Hall, Boston) (Boston Symphony Orchestra/Andris Nelsons)John Sheppard Missa Cantate: Gloria (The Sixteen/Harry Christophers)Busoni Piano Concerto: II. Pezzo giocoso (Live) (Kirill Gerstein, Boston Symphony Orchestra/Sakari Oramo)JS Bach The Well-Tempered Clavier, Book 1: Fugue No. 15 in G (Steven Devine)Kaija Saariaho Petals (Wilhemina Smith, Kaija Saariaho)Mozart Piano Sonata No. 13 in B-flat ‘Linz’: I. Allegro (Lars Vogt) Vol. 20James MacMillan Saxophone Concerto: III. Jigs (Amy Dickson, Adelaide Symphony Orchetra/Nicholas Carter)Steve Reich Clapping Music (Live (Colin Currie, Steve Reich)Stravinsky Three Movements from Petrushka: II. Petrushka’s Room (Alexander Ullman)Raaf Hekkema Dido’s Lament (Eric Vloeimans, Calefax Reed Quintet, Jasper van Hulten, Gulli Gudmundsson)Gabriel Jackson The Passion of Our Lord Jesus Christ: II. Anointing at Bethany (Emma Tring, Choir of Merton College, Oxford, Oxford Contemporary Sinfonia/Benjamin Nicholas)Poulenc Flute Sonata (arr. for flute and organ): I. Allegretto malincolico (Erica Nygård, Niels Burgmann)Roxanna Panufnik Love Abide – I. Love is the Master (Colla Voce Singers, London Mozart Players)Niels Rosing-Schow #ViolaSounds (Rafael Altino)Eric Whitacre Sainte-Chapelle (The Sixteen/Harry Christophers)Couperin Pièces de viole, deuxième Suite: III. La Pompoe funèbre (Christophe Rousset, Atsushi Sakaï, Marion Martineau) Vol. 19Mendelssohn Piano Concerto No. 2: III. Finale. Presto scherzando (Kristian Bezuidenhout, Freiburger Braockorchester/Pablo Heras-CasadoMahler Symphony No. 3: Part II, No. 5. Lustig im Tempo und keck im Ausdruck (Sara Mingardo, Gürzenich-Orchester Köln/François-Xavier Roth)Bach BWV 974 – II Adagio (Rework) (Víkingur Ólafsson, Ryuichi Sakatmoto)Bach Violin Concerto in D minor, BWV 1052R: III. Allegro (Isabelle Faust, Akademie für Alte Musik Berlin/Bernhard Forck)Bruckner Locus iste (Choir of St John’s College, Cambridge/Andrew Nethsingha)Mozart Symphony No. 40 in G minor: I. Molto allegro (Live) (NDR Radiophilharmonie/Andrew Manze)Myaskovsky Cello Sonata No. 1 in D, Op. 12: I. Adagio – Andante (Bruno Philippe, Jérôme Ducros)Falla La vida breve, Act 1: Ah, ande la tarea, que hay que trabajar! (Gustavo Pena, Cristina Faus, Spanish Radio and Television Chorus, BBC Philharmonic Orchestra/Juanjo Mena)Victoria Alma redemptoris mater (I Fagiolini/Robert Hollingworth)John Harle RANT! (Jess Gillam, BBC Concert Orchestra/Jessica Cottis) Vol. 18John Williams The Raiders March (from ‘Raiders of The Lost Ark’) (Los Angeles Philharmonic/Gustavo Dudamel)Robert Schumann Adagio and Allegro, Op. 70 (Richard Watkins, Julius Drake)Edmund Finnis The Air, Turning (BBS Scottish Symphony Orchestra/Ilan VolkovWill Todd Songs of Renewal: I. Me renovare (Bath Camerata, Benjamin GoodsonRachmaninov String Quratet No. 1: I. Romance (Orava Quartet)Richard Barbieri Vibra (Richard Barbieri)Offenbach Les Bavards, Acte I Scène 3: Air d’Inès ‘Ce sont d’étranges personnages’ (Jodie Devos, Münchner Rundfunkorchester/Laurent Campellone)Caroline Shaw Plan & Elevation: IV. The Orangery (Attacca Quartet)JS Bach Oboe Concerto in D minor (Performed on Recorder): I. Allegro (Lucie Horsch, The Academy of Ancient Music/Bojan Cicic)Berlioz L’Enfance du Christ, Pt. 3 ‘L’arrivée à Saïs’: Trio des Ismaélites (Prudence Davis, Sarah Beggs, Yinuo Mu, Andrew Davis)Henry Cowell Banshee (Wilhem Latchoumia) Vol. 17Sibelius Symphony No. 1: III. Scherzo (Gothenburg Symphony Orchestra/Santtu-Matias Rouvali)Brahms Die schöne Magelone: Traun! Bogen und Pfeil sind gut für den Feind (John Chest, Marcelo Amaral)Danny Elfman Violin Concerto ‘Eleven Eleven’: III. Fantasma (John Mauceri, Royal Scottish National Orchestra/Sandy Cameron)Verdi Macbeth: Patria oppressa! (Live) (Chicago Symphony Chorus, Chicago Symphony Orchestra/Riccardo Muti)Camus Airs, à deux et trois parties: Laissez durer la nuit, impatiente Aurore (Anna Reinhold, Les Arts Florissants/William Christie)Schubert Piano Sonata in B, III. Scherzo Allegretto (Paul Lewis)Britten Five Flower Songs: IV. The Evening Primrose (RIAS Kammerchor/Justin Doyle)Schumann Piano Sonata No. 3 in F minor ‘Concerto Without Orchestra’: IV. Prestissimo possibilie (Jean-Efflam Bavouzet)Rameau Hippolyte et Aricie: ‘Espoir, unique bien…’ (Karine Deshayes, Le Concert Spirituel/Hervé Niquet)Janáček String Quartet No. 2 ‘Intimate Letters’: I. Andante (Wihan Quartet)Lutosławski Partita: V. Presto (Maksim Štšura, Michael Foyle) Vol. 16Handel Concerto Grosso for Oboe and Strings in D minor: V. Allegro (Le Consort, Marta Paramo, Emilia Gliozzi, Johanne Maitre)Michael Nyman The Diary of Anne Frank (arr. Richard Boothby): If (Iestyn Davies, Fretwork)Reger Piano Concerto, Op. 114: III. Allegretto con spirito (Markus Becker, NDR Radiophilharmonie/ Joshua Weilerstein)Gabriel Jackson The Passion of Our Lord Jesus Christ: VI. Crucifixion (Emma Tring, Guy Cutting, Choir of Merton College, Oxford)Karl Jenkins The Armed Man – A Mass for Peace: XII. Benedictus (Karl Jenkins)Liszt Sardanapalo: Sotto il tuo sguardo (Joyce El-Khoury, Airam Hernández, Staatskapelle Weimar/Kirill Karabits)Musorgsky Pictures at an Exhibition: No. 10, The Great Gate of Kiev (London Symphony Orchestra/Gianandrea Noseda)Bruno Sanfilippo Doll (Bruno Sanfilippo)Liszt Ständchen (transc. From Schubert’s Schwanengesang No. 4) (Khatia Buniatishvili)John Williams The Imperial March (from Star Wars: Episode V – The Empire Strikes Back) (Los Angeles Philharmonic/Gustavo Dudamel) Vol. 15Florence Price Symphony No. 1: IV. Finale (Fort Smith Symphony/John Jeter)Chopin Mazurka in B, Op. 56 No. 1 (Maurizio Pollini)Berlioz Le Carnaval Romain: Overture (Detroit Symphony Orchestra/Paul Paray)Reinecke Cello Sonata No. 1: III. Finale. Allegro molto ed appassionato (Martin Rummel, Roland Kruger)Mozart Piano Sonata No. 2: III. Presto (Peter Donohoe)Nils Frahm Sweet Little Lie (Nils Frahm)JS Bach Concerto for Violin and Oboe in C minor: I. Allegro (Isabelle Faust, Xenia Löffler, Bernhard Forck, Academy for Ancient Music)Zemlinsky Clarinet Trio in D minor (Version for Violin Cello & Piano): III. Allegro (Stefan Zweig Trio)Jean Français Imromptu for Flute and Strings: III. Scherzando (Ransom Wilson, BBC Concert Orchestra/Perry So)Robert Schumann Phantasiestücke, Op. 88: II. Humoreske. Lebhaft (Live) (Gautier Capuçon, Martha Argerich, Renaud Capuçon)Max Bruch Die Loreley, Op. 16, Act I: Ave Maria! (Michaela Kaune, Philharmonischer Chor Prag, Müncher Rundfunkorchester/Stefan Blunier)Anon Ther is No Rose of Swych Virtu (The Telling) Vol. 14Mozart Symphony No. 13: I. Allegro (Folkwang Kammerorchester Essen/Johannes Klumpp)Roxanna Panufnik The Sweet Spring (Blossom Street, Annabel Thwaite, Hilary Campbell)Robert Schumann Cello Concerto: III. Sehr lebhaft (Live) (Gautier Capuçon, Chamber Orchestra of Europe/Bernard Haitink)Weber Piano Sonata No. 2 in A-flat: II. Andante. Ben tenuto (Paul Lewis)Janáček String Quartet No. 2 ‘Intimate Letters’: II. Adagio – Vivace (Wihan Quartet)Sibelius Symphony No. 3: III. Moderato – Allegro (ma non tanto) (Orchestre de Paris/Paavo Järvi)André Campra Achille et Déidamie: ‘Timbales et trompettes’ (Le Concert Spirituel/Hervé Niquet)Corelli Concerto grosso in F: IV. Allegro (Marco Scorticati, Estro cromatico/Sara Campobasso)Trio Tapestry Sparkle Lights (Joe Lovano, Marilyn Crispell, Carmen Castaldi) Vol. 13Berlioz Symphonie fantastique: II. Un Bal (Transcribed for piano duet) (Jean-François Heisser, Marie-Josèphe Jude)Schubert Octet in F, III. Allegro vivace – Trio (OSM Chamber Soloists)Schumann Three Romances: I. Nicht Schnell (Stephen Waarts, Gabriele Carcano)Bernstein Mass: No. 2, Hymn & Psalm. A Simple Song (Arr. for voice, flute, electric guitar, harp and organ) (Anne Sofie von Otter, Sharon Bezaly, Fabian Fredriksson, Margareta Nilsson, Bengt Forsberg)Juan Crisostomo de Arriaga Médée: Hymen, viens dissiper une vaine frayeur (Berit Norbakken Solset, BBC Philharmonic/Juanjo Mena)Rzewski Four North American Ballads: No. 1, Dreadful Memories (After Aunt Molly Jackson) (Adam Swayne)Johannes Ciconia O rosa bella, o dolce anima mia (The Telling)Liszt Sardanapalo: Vieni! Risplendono festive faci (Damen des Opernchores des Deutschen Nationaltheaters Weimar, Staatskapelle Weimar/Kirill Karabits)Florence Price Symphony No. 4: IV. Scherzo (Fort Smith Symphony/John Jeter)Hoffmeister Double Bass Quartet No. 3 in D: I. Moderato (Niek De Groot, Minna Pensola, Antti Tikkanen, Tuomas Lehto) Vol. 12Mendelssohn Piano Concerto No. 2: III. Finale. Presto scherzando (Ronald Brautigam, Die Kölner Akademie/Michael Alexander Willens)Haydn Concerto per il Corno da caccia in D: I. Allegro (Premysl Vojta, Martin Petrák, Haydn Ensemble Prague)Dvořák Symphony No. 9 ‘From the New World’: III. Molto vivace (Bamberg Symphony Orchestra/Jakub Hrusa)Vivaldi Tito Manlio: ‘Combatta un gentil cor’ (Cecilia Bartoli, Serge Tizac, Ensemble Matheus/Jean-Christophe Spinosi)Giuseppe Sammartini Recorder Concerto in F: II. Siciliano (Lucie Horsch, The Academy of Ancient Music/Bojan Cicic)CPE Bach Solo in G: II. Allegro (Anaïs Gaudemard)Robert O’Dwyer Act I Scene I: An tráth a mbíonn an spéir fá scáil (Imelda Drumm, Irish National Opera Chorus, RTE National Symphony Orchestra/Fergus Sheil)Ami Maayani Toccata (Elisa Netzer)Tchaikovsky Swan Lake: Act III. No. 17 Scène: Entrée des invites (Fanfares) et la valse (Allegro) (London Symphony Orchestra/Anatole Fistoulari) Vol. 11Piazzolla Tango para una ciudad (Quinteto Astor Piazzolla)Schumann Cello Concerto in A minor: II. Langsam (Sol Gabetta, Kammerorcheser Basel/Giovanni Antonini)Schumann Zwölf Gedichte, Op. 35 No. 5, Sehnsucht nach der Waldgegend (Christian Gerhaher, Gerold Huber)Bruch Concerto for Clarinet and Viola in E minor: III. Allegro molto (Dimitri Ashkenazy, Anton Kholodenko, Royal Baltic Festival Orchestra/Mats Liljefors)Schoenberg Drei Klavierstücke Op. 11 No. 1: ‘Mässige Virtel’ (Jeremy Denk)Verdi et al. Messa per Rossini: 11. Agnus Dei (Veronica Simeoni, Orchestra del Teatro alla Scala di Milano/Riccardo Chailly)Ethel Smyth Violin Sonata in A minor: IV. Finale. Allegro vivace (Tasmin Little, John Lenehan)Berlioz Harold en Italie: 3. Sérénade d’un montagnard des Abbruzes à sa maîtresse (Tabea Zimmermann, Les Siècles/François-Xavier Roth)Xenakis Pléïades: IV. Mélanges (DeciBells, Domenico Melchiorre)Schubert Symphony No. 3: IV. Presto vivace (City of Birmingham Symphony Orchestra/Edward Gardner) Vol. 10 Vivaldi Il Giustino, Act II: Scene 1. Sento in seno ch’in pioggia di lagrime (Anastasio) (Accademia Bizantina, Ottavio Dantone, Silke Gäng)Gulda Concerto for Cello, Wind Orchestra and Band: I. Overture (Edgar Moreau, Raphaël Merlin, Les Forces Majeures)Roxanna Panufnik Magnificat & Nunc Dimittis: I. Magnificat (Richard Johnson, Exultate Singers/David Ogden)Tchaikovsky Symphony No. 4: IV. Finale (London Symphony Orchestra/Gianandrea Noseda)Weber Piano Sonata No. 2: III. Menuetto capriccioso. Presto assai (Paul Lewis)Francis Lai Love Story – Theme (Arr. Campbell) (Jess Gillam, BBC Concert Orchestra/Ben Dawson)Berlioz Harold in Italy: II. Marche de pèlerins chantant la prière du soir (Tabea Zimmermann, Les Siècles/François-Xavier Roth)Arthur Lourié A Phoenix Park Nocturne (Vladimir Feltsman)Ramin Djawadi The Rains of Castamere (Arr. Lawson) (VOCES8)Philip Glass Etude No. 2 (Jeremy Denk)Tallis Suscipe quaeso Domine (prima pars) (The Gentlemen of HM Chapel Royal, Hampton Court Palace/Carl Jackson)Debussy Livre I: II. Pour les tierces (Roger Muraro) Vol. 9Rachmaninov Prelude in G minor, Op. 23 No. 5 (Live at Philharmonie, Berlin) (Yuja Wang)Stravinsky The Firebird: Tableau II, XIX: Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifies. Allegresse génerale (Royal Liverpool Philharmonic Orchestra/Vasily PetrenkoAmy Beach Violin Sonata in A minor, Op. 34: II. Scherzo. Molto vivace (Tasmin Little, John Lenehan)Hauscha Dew and Spiderwebs (Hauschka)Frank Horvat The Thailand HRDs: No. 5, Boonsom Nimnoi (Mivos Quartet)Trad. Deep River (Arr. Coleridge-Taylor, Kanneh-Mason) (Sheku Kanneh-Mason, Isata Kanneh-Mason, Braimah Kanneh-Mason)Mendelssohn Lieder ohne Worte, Op. 19: No. 6 in G minor (Andante sostenuto) ‘Venetian Gondola Song’ (Jan Lisiecki)Wim Henderickx Nostalgia (Boho Strings)Mozart Così fan tutte, Act 1: Aria ‘Come scoglio’ (Héloise Mas, Alexander Sprague, Nazan Fikret, Francesco Vultaggio, European Opera Centre, Biagio Pizzuti, Royal Liverpool Philharmonic Orchestra/Laurent Pillot)Philip Glass Melodies for Saxophone (arr. for trumpet): No. 3 (Craig Morris)Giovanni Paisiello Partimento in F minor (Nicoleta Paraschievescu)Ramin Djawadi The Rains of Castamere (VOCES8)Triumphal Parade (Scottish National Jazz Orchestra/Tommy Smith) Vol. 8Josquin Des Prez Miserere mei, Deus, IJ. 50: I. Miserere mei, Deus (Cappella Amsterdam/Daniel Reuss)Scriabin Sonata N. 10, Op. 70 (James Kreiling)Kaija Saariaho Cloud Trio: I. Calmo, meditato (Jennifer Koh, Hsin Yun Huang, Wilhelmina Smith)Dowland Flow, my tears (Stile Antico)JS Bach Keyboard Partita in D, BWV 828: VII. Gigue (Federico Colli)Prokofiev Violin Concerto No. 2, III. Allegro ben marcato (Joseph Swensen, Scottish Chamber Orchestra)Bellini Norma: Casta Diva… Fine al rito (Orchestra E Coro Del Teatro Massimo Di Palermo, Jader Bignamini, Marina Rebeka)Lyatoshinsky Symphony No. 3 ‘To the 25th Anniversary of the October Revolution’: III. Allegro feroce (Bournemouth Symphony Orchestra/Kirill Karabits)Handel Armida abbandonata, HWV 105: ‘Ah crudele! E pur ten’ vai’ (Emmanuelle Haïm, Le Concert d’Astrée, Sabine DevieilheDavid Lang Mystery Sonatas: No. 1, Joy (Augustin Hadelich)Antheil Archipelago ‘Rhumba’ (BBC Philharmonic Orchestra/John Storgards) Vol. 7Thea Musgrave Loch Ness (Daniel Trodden, BBC National Orchestra of Wales/William Boughton)Cheryl Frances-Hoad Love Bytes (Verity Wingate, Philip Smith, Beth Higham-Edwards, Anna Menzies, George Jackson)Lutosławski Symphony No. 1: III. Allegretto misterioso (Finnish Radio Symphony Orchestra/Hannu Lintu)Purcell King Arthur, Z628, Act 1: ‘I Call, I Call’ (Stefanie True, Vox Luminis/Lionel Meunier)Finzi Violin Concerto: I. Allegro (Ning Feng, Royal Liverpool Philharmonic Orchestra/Carlos Miguel Prieto)Brahms Two Rhapsodies, Op. 79 No. 2 in G minor – Molto passionato, ma non troppo allegro (Charles Owen)Copland Letters from Home (Version for Chamber Orchestra) (BBC Philharmonic Orchestra/John WilsonSzymanowski Nocturne and Tarantella in E minor, Op. 28: I. Nocturne (Jennifer Pike, Petr Limonov)Beethoven Fidelio, Op. 72: O welche Lust (James Gaffigan, Zürcher Sing-Akademie, Luzerner Sinfonieorchester)Liszt Études d’exécution transcendante d’après Paganini: No. 1 in G minor (Elisa Tomellini)Corelli Violin Sonata in C Op. 5 No. 3 (transcribed for viola da gamba): III. Adagio (Lucile Boulanger)Mozart String Quintet No. 5: IV. Allegro (Klenke Quartett, Harald Schoneweg) Vol. 6Saint-Saëns Ascanio, Acte I, Tableau 1: Scène 1 ‘Très bien!’ (Jean-François Lapointe, Joé Bertili, Chœrs de la Haute École de Musique de Genève/Guillaume TourniaireTchaikovsky Piano Concerto No. 1 III. Allegro con fuoco (Xiayin Wang, Royal Scottish National Orchestra/Peter OundjianPurcell Come Ye Sons of Art (Birthday Ode for Queen Mary): ‘Strike the Viol, Touch the Lute’ (Tim Mead, Les Musiciens de Saint-Julien/François Lazarevitch)Aleksander Sedlar Savcho 3 (Nemanja Radulovic, Double Sense, Stéphanie Fontanarosa/Aleksander Sedlar)Barbara Strozzi Arie, Op. 8 No. 2: ‘Che si può fare’ (Emoke Baräth, Il Pomo d’Oro/Francesco Corti)Josef Suk 6 Piano Pieces, Op. 7: No. 1, Liebeslied (arr. for violin and orchestra) (Eldbjørg Hemsing, Antwerp Symphony Orchestra/Alan Buribayev)Scheidemann Pavana Lachrymae in D minor (Yoann Moulin)Beethoven String Quartet in E minor ‘Razumovsky’: III. Allegretto (Elias String Quartet)Mozart Violin Sonata in D Major, K306: III. Allegretto (Isabelle Faust, Alexander Melnikov)Moteverdi Vespro della Beata Vergine: VIII. Paslmus 126. Nisi Dominus a dieci voci (Bruno Boterf, Ludus Modalis) Vol. 5Tchaikovsky Swan Lake, Act 1 (1877 Version): No. 8, Danse des coupes. Tempo di polacca (State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov’/Vladimir JurowskiJohn Harbison Requim, Pt. 1: II. Sequence I. Dies irae (Nashville Chorus, Nashville Symphony/Giancarlo Guerrero)Richard Strauss 5 Lieder, Op. 41: No. 1, Wiegenlied (Arabella Steinbacher, WDR Symphony Orchestra/Lawrence Foster)Parry English Lyrics, Set 12: No. 7, The Sound of Hidden Music (Sarah Fox, Andrew West)Andrzej Panufnik I Kwartet smyczkowy: III. Postlude (Apollon Musagete Quartett)Chopin Piano Sonata No. 2: II. Scherzo (Live) (Eric Lu)Szymanowski Nocturne & Tarantella in E minor, Op. 28: II. Tarantella (Jennifer Pike, Peter Limonov)Einaudi Life (Live) (Angèle Dubeau, La Pietà)Giovanni Antonio Pandolfi Mealli 6 Sonatas for Violin and Continuo, Op. 3: Sonata No. 2 ‘La Cesta’ (Elicia Silverstein, Mauro Valli)Dvořák Piano Trio No. 4 in E minor: II. Poco adagio (Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt)Florence Price Symphony No. 4: III. Juba Dance (Fort Smith Symphony/John Jeter)Mozart Piano Concerto No. 16: III. Allegro di molto (Jean-Efflam Bavouzet, Manchester Camerata, Gábor Takács-NagyHaydn Piano Sonata in G major, Op. 30 No. 5: I. Allegro con brio (Roman Rabinovich)Johann Strauss I Radetzky-Marsch, Op. 228 (Christian Theilemann, Vienna Philharmonic Vol. 4Arvo Pärt Passacaglia (Victoria Mullova, Estonian National Symphony Orchestra/Paavo Järvi)Michael Higgins The Angel Gabriel (Sonoro/Neil Ferris)Debussy Cello Sonata in D minor: I. Prologue. Lent. Sostenuto e molto risoluto (Jean-Guiden Queyras, Javier Perianes)Massanet Hérodiade, Act 1: ‘Celiu dont la parole efface… Il est doux, il est bon’ (Salomé) (Elsa Dreisig, Orchestre national Montpellier Occitanie/Michael SchonwandtPoulenc Concerto for Organ, Strings and Timpani in G minor: I. Andante (Live) (James O’Donnell, London Philharmonic Orchestra/Yannick Nézet-Séguin)Schumann Fantasiestücke Op. 72: I. Zart und mit Ausdruck (Sol Gabetta, Bertrand Chamayou)Gurney Since I Believe in God the Father Almighty (Teberae/Nigel Short)Peter Gregson Bach: The Cello Suites: Recomposed by Peter Gregson – Suite No. 1 in G, BWV 1007: I. Prelude (Peter Gregson, Richard Harwood, Reinoud Ford, Tim Lowe, Ben Chappell, Katherine Jenkinson)JS Bach Concerto in D minor, BWV 974: III. Presto (Víkingur Ólafsson)Purcell King Arthur, Act 1: ‘Come If You Dare’ (Robert Buckland, Vox Luminis/Lionel Meunier)Messiaen La Nativité du Seigneur: V. Les enfants de Dieu (Richard Gowers)George Onslow String Quartet No. 29 in E-flat, Op. 73 Elan Quintet)Cécile Chaminade Arabesque No. 1, Op. 61 (Mark Viner)Enescu Strigoii, Pt. 3: Bătrânu-și pleacă geana și iar rămâne orb (Alin Anca, Rundfunk-Sinfonieorchester Berlin/Gabriel Bebeșelea)Max Richter Mary Queen of Scots: The Shores of Scotland Tchaikovsky Swan Lake, Act II (1877 version): No. 13a, Danses des cygnes I. Tempo di valse Vol. 3Emilie Mayer Symphony No. 4: IV. Presto (Neubrandenburg Philharmonie/Stefan Malzew)Weber Clarinet Quintet in B-flat Major: IV. Rondo - Allegro giocoso (Julian Bliss & Carducci String Quartet)John Hess Vous, qui passez sans me voir (Julien Behr, Orchestre de l'Opéra de Lyon/Pierre Bleuse)John Francis Wade Adeste fideles (arr. M Suzuki for Choir and Organ) (Bach Collegium Japan Chorus/Masato Suzuki & Masaaki Suzuki)Schumann Fantasiestücke: I. Zart und mit Ausdruck (Sol Gabetta, Bertrand Chamayou)Domenico Sarro Messa a 5 voci: 'Laudamus te' (Maxim Emelyanychev, Jakub Józef Orliński, Il Pomo d'Oro)Holst Invocation Op. 19 No. 2 (Guy Johnston, BBC Philharmonic Orchestra/Andrew Davis)Dowland Come, Heavy Sleep (Grace Davidson, David Miller)Schumann Humoreske Op. 20: II. Hastig (William Youn)RO Morris Love Came Down at Christmas (arr. Stephen Cleobury) (Stephen Cleobury, Henry Websdale, Choir of King's College, Cambridge)Tchaikovsky The Seasons Op. 37a: XII. December. Christmas (Barry Douglas)Berlioz Roméo et Juliette: Pt. 3, Finale - Oath of Reconciliation (San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas)Elgar Chanson de nuit (Hallé Orchestra/Mark Elder)James Burton Tomorrow Shalle Be My Dancing Day (Jack Hawkins, Michael Bell, James Adams, Joseph Wicks, Choir of St John's College, Cambridge) Vol. 2Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Orchestra & Chorus/Oliver Knussen)Richard Strauss Horn Concerto No. 1: III. Rondo. Allegro (Live) (William Caballero, Pittsburgh Symphony Orchestra/Manfred Honeck)Derek Bermel Murmurations: I. Gathering at Gretna Green (ROCO)Frank Martin Ballade for Flute & Piano (Bridget Bolliger, Andrew West)Debussy Violin Sonata in G minor: III. Finale. Très animé (Isabelle Faust, Alexander Melnikov)Anonymous Now May We Singen (ORA Singers/Suzi Didby)Rachmaninov Prelude in G minor Op. 23 No. 5 (Live at Philharmonie, Berlin/2018) (Yuja Wang)James Newton Howard Violin Concerto: II. Andante semplice (James Ehnes, Detroit Symphony Orchestra/Cristian Măcelaru)Sally Beamish In the Stillness (Sonoro/Neil Ferris)Parry Suite moderne (arr. J Dibble for Orchestra): III. Romanza. Lento (BBC National Orchestra of Wales/Rumon Gamba)Jonathan Dove A Brief History of Creation: X. Whales Return to the Sea (Hallé Children's Choir, Hallé Orchestra/Mark Elder)Purcell King Arthur, Act 1: 'Come if You Dare' (Robert Buckland, Vox Luminis/Lionel Meunier)Rachmaninov Piano Concerto No. 4 (Live at Kimmel Center, Philadelphia) (Daniil Trifonov, The Philadelphia Orchestra/Yannick Nézet-Séguin)Fagerlund Höstsonaten, Act 1: charlotte Andergast! Vilken konstnär! (Krista Kujala, Mari Sares, Jere Martikainen, Jarmo Ojala, Finnish National Opera Chorus, Finnish National Opera Orchestra/John Storgards Vol. 1Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Chorus, BBC Symphony Orchestra/Oliver Knussen)Zemlinsky Albumblatt (Erinnerung aus Wien) (William Youn)Schreker The Birthday of the Infanta: Suite I. Reigen (Berlin Radio Symphony Orchestra/JoAnn Falletta)Mozart Violin Concerto No. 1 K.207: III. Presto (Nikolaj Znaider, London Symphony Orchestra)Tchaikovsky The Seasons, Op. 37a, TH 135: XII. December. Christmas (Barry Douglas)Holst In the Bleak Midwinter (Sheku Kanneh-Mason, Isata Kanneh-Mason)Glazunov The Seasons ‘L’été: No. 9, Scène de l’été (Zagreb Philharmonic Orchestra/Dmitri KitayenkoJS Bach Prelude & Fugue BVW 855a: Prelude No. 10 in B minor (Vikingur Ólafsson)Magnus Lindberg Tempus fugit Pt. 1 (Finnish Radio Symphony Orchestra/Hannu Lintu)Gurney Since I Believe in God the Father Almighty (Tenebrae/Nigel Short)Tchaikovsky The Nutcracker Act 1: No. 6 Clara and the Nutcracker (Los Angeles Philharmonic/Gustavo Dudamel)Ravel Ma mère l’Oye Suite, M. 60: V. Le jardin féerique (Prague Philharmonia/Emmanuel Villaume)Eric Whitacre Deep Field: Earth Choir (Eric Whitacre Singers, Virtual Choir 5, Royal Philharmonic Orchestra/Eric Whitacre)
CRITIC’S PICKS | 10 Concerts You Absolutely Need To See In Toronto This Week (January 20 – 26)
by Joseph So on January 20, 2020 at 3:17 pm
Classical music and opera events happening in and around Toronto for the week of January 20 – 26.
SCRUTINY | The TSO’s Mozart Requiem Warms the Heart On A Winter’s Night
by Joseph So on January 20, 2020 at 2:09 pm
The TSO put on a fine performance of the iconic Mozart Requiem, albeit hampered by the acoustics of Roy Thomson Hall.
Who is Stewart Copeland?
by Michael_Beek on January 20, 2020 at 12:20 pm
Rating: 0 BBC Four’s new three-part documentary series Stewart Copeland’s Adventures in Music is a deep dive into humankind’s relationship with music.In the first episode, Copeland reveals he became obsessed with Carl Orff’s Carmina Burana aged seven; that obsession evolved into a passion for music itself, one which he shares effusively on screen.That first episode, called ‘Come Together’, sees him meeting a US football team marching band, discovering early human instruments in Germany and taking part in a workshop with Bobby McFerrin which reveals people’s natural instincts for picking up music.Copeland’s lifelong enthusiasm for music has seen him move in many different musical circles, firstly as a drummer and songwriter, then as an in-demand composer.His father was a trumpeter in the legendary Glenn Miller Band, though took up a career in intelligence, ultimately for the CIA, and it’s that work which took the Copeland’s from their home in Virginia to Beirut and then London.With a natural talent for the drums, it was surely a given that Stewart Copeland would end up in a rock and roll band and he did just that. After a spell as a music journalist and roadie, Copeland found himself on stage and recording with the band Curved Air. Article: Learning the drums with Sarah WalkerComposer Profile: Philip Glass He then founded what would be his most famous grouping, The Police, with Henry Pandovani and a bass player known simply as ‘Sting’. They, of course, went on to become one of the most successful British bands of the 1980s.It was in the ’80s that Copeland began a new career as a composer. An original and distinctive musical style, born of his passion for new sounds and rhythm, set him apart and film directors came calling. Indeed two of his early film scores, Rumblefish (1983) and Wall Street (1988), were for Francis Ford Coppola and Oliver Stone.That emerging style transferred to the stage, too, as Copeland was commissioned to write music for ballet and opera. This included Holy Blood and Crescent Moon commissioned by Cleveland Opera.While all this was going on, Copeland found himself back on stage behind the drums, performing with the groups Animal Logic and Oysterhead, while his ensemble Orchestralli performed and recorded his own instrumental works.With 60 million record sales worldwide, five Grammy awards and a place in the Rock and Roll Hall of Fame, Stewart Copeland has truly taken his passion and made a life with it. Stewart Copeland’s Adventures in Music continues on BBC Four on Friday (24 January) at 21:30 GMT and you can catch up on what you’ve missed right now on BBC iPlayer (in the UK).
A guide to Beethoven's Symphony No. 2
by Freya Parr on January 20, 2020 at 10:00 am
Rating: 0 Premiere:Theater an der Wien, Vienna, 5 April 1803On 6 October 1802 in the village of Heiligenstadt on the outskirts of Vienna, Beethoven wrote an impassioned letter to his brothers Carl and Johann. Including instructions that it should be read after his death, the ‘Heiligenstadt Testament’ describes in bleak terms the composer’s despair at the onset of deafness.‘How could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection?’ he wrote. ‘…What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing.’ Tonality:It was also while staying at Heiligenstadt over the summer months of that year that Beethoven composed the bulk of his Second Symphony. Does the composer reflect in this work the frustrations expressed in his letter? In fact, cast in a sunny D major, the overall mood of the Second is largely upbeat.Here and there, though, there are moments that point towards the growling and fist-thumping composer of Beethoven’s later years. The score is scattered with brutal sforzandos and sudden, and dramatic, changes of dynamic markings. And listen out, too, for the moment at the end of the exposition in the long first movement when the key unexpectedly shifts from A major to an unusual and ever-so-slightly disconcerting D minor. Five essential works by BeethovenSix of the best... Beethoven's overlooked works Beethoven's Second Symphony, performed by the West-Eastern Divan Orchestraunder Daniel Barenboim at the 2012 BBC Proms Rule-breaking:Taken as a whole, Beethoven’s Second is by no means a game-changer in the course of classical music – that would come with the Eroica two years later. There are, though, already plenty of signs here that he was itching to go his own way. Take for instance, the third movement, where he ventures a step further along the path he’d already began to tread in the First Symphony – where tradition would normally place a courtly and graceful minuet and trio, here Beethoven presents us with a decidedly rustic scherzo.And then there is the finale’s coda. Why follow convention by finishing with a charming little endpiece, when there’s the opportunity to go out in a blaze of timpani- and trumpet-adorned triumph? Here was a precedent that he would continue in the symphonies to follow. A guide to Beethoven's Symphony No. 2Beethoven: What did the 19th century think? Reception:And the Second Symphony’s reception? Not great, with the descriptions of some critics almost matching the colour and inventiveness of the work itself. Complaining about its ‘barbaric chords’, Paris’s Tablettes de Polymnie reckoned that it sounded ‘as if doves and crocodiles were locked up together’. Vienna’s Zeitung für die elegante Welt, meanwhile, described it as ‘a hideously wounded, writhing dragon that refuses to die’. Posterity has treated it more kindly. Recommended recording:Skrowaczewski and his Saarbrucken players bring a rare fire and fury to the first movement. And few can match their bonhomie in the following two movements – as the music bounces from orchestral section to section, masterfully paced by the conductor, one gets the impression of players thoroughly enjoying each others’, and Beethoven’s, company.Saarbrucken Radio Symphony Orchestra/Stanisław SkrowaczewskiOEHMS OC522 Words by Jeremy Pound. This article first appeared in the December 2015 issue of BBC Music Magazine.
A Dance Steals the Show at an Opera Festival
by By Zachary Woolfe on January 19, 2020 at 7:04 pm
Prototype, an annual exploration of new opera, encompassed “Cion,” a haunting South African mixture of choreography and voice.
SCRUTINY | Laurie Anderson’s ‘The Art Of Falling’ Is A Beautiful Note Of Alarm
by Michael Vincent on January 19, 2020 at 6:00 pm
Laurie Anderson's The Art Of Falling shows an artist coming to terms with love, loss, and the world in which we live.
Street Scene review – full justice for murder in Manhattan
by Tim Ashley on January 19, 2020 at 4:07 pm
Grand, LeedsOpera North’s striking production of Kurt Weill’s opera is beautifully achieved with moments of dramatic fireFirst performed in Philadelphia in 1946 before a Broadway transfer the following year, Street Scene, now given a fine new production by Opera North, is in some respects the most ambitious and arguably the finest work of Kurt Weill’s American period. With lyrics by Langston Hughes and a book by Elmer Rice, based on his own 1929 play, it depicts 24 hours in the lives of a largely immigrant community in a tenement block in Manhattan’s Lower East Side, which in turn throws into relief the central narrative of Frank Maurrant’s murder of his unfaithful wife, Anna, and the impact of the tragedy on their daughter, Rose, and her shy Jewish boyfriend Sam Kaplan.Like many of Weill’s later works, it’s in many ways unclassifiable and at times uneven. Weill himself described it as “an American opera”, but it hovers in territory uniquely its own, somewhere between opera and musical. Big arias such as Anna’s passionate Somehow I Never Could Believe are juxtaposed with Broadway numbers like the breezy Wrapped in a Ribbon and Tied in a Bow, and jazz collides with Rossini in the ensembles in which Anna’s neighbours gossip about her adultery. At times, however, you can’t help but feel it overreaches itself. With more than 30 roles, the cast is large by any standards. Some of the characters aren’t developed as much as one would wish, and the narrative focus can become blurred. Continue reading...
SCRUTINY | A Journey Reimagined: Philippe Sly And Le Chimera Project In Winterreise
by Joseph So on January 19, 2020 at 3:23 pm
Canadian bass-baritone Philippe Sly and The Chimera Project brought their re-envisioned take on the Schubert classic to RCM’s 21C Festival last evening at Koerner Hall.
The best recordings of Nicola Benedetti
by Freya Parr on January 19, 2020 at 10:00 am
Rating: 0 Wynton Marsalis Violin Concerto; Fiddle Dance SuiteDecca 485 0013 (2019)The jazz trumpeter and composer’s expansive and eclectic concerto was written for Benedetti. She premieres it on disc here with the Philadelphia Orchestra and Cristian Mačelaru. Five of the best composer-violinist partnerships Arlene Sierra Butterflies, Remember a MountainBridge BRIDGE9506 (2018)Benedetti joins cellist Leonard Elschenbroich and pianist Alexei Grynyuk for the American composer’s second piano trio, described by The Times as ‘a small wonder’. The 20 Greatest Violinists of all time Shostakovich & Glazunov Violin ConcertosDecca 478 8758 (2016)This powerful disc journeys from late Romantic Russia to the 1940s Soviet Union, with Kirill Karabits conducting the Bournemouth Symphony Orchestra. Homecoming: A Scottish FantasyDecca 478 6690 (2014)Benedetti paints a picture of Scotland’s musical landscape. She’s joined by folk singer Julie Fowlis for traditional song, and the BBC Scottish Symphony Orchestra for Bruch’s Scottish Fantasy. Six of the best BBC Young Musician performances The Silver ViolinDecca 478 3529 (2012)Korngold’s lush Violin Concerto is at the heart of a programme of film classics, from Shostakovich’s The Gadfly to the theme for Schindler’s List.
SCRUTINY | Lucas Debargue Dazzles Sold-Out Audience In His Canadian Recital Debut
by Stephan Bonfield on January 18, 2020 at 3:18 pm
French pianist Lucas Debargue thrilled the Koerner Hall audience with his unique interpretations and intriguing musical personality.
The week in classical: La bohème; Nature Unwrapped review – from the garret to the stars
by Fiona Maddocks on January 18, 2020 at 12:00 pm
Royal Opera House; Kings Place, LondonRichard Jones’s snowy 2017 La bohème is settling in at Covent Garden. And Kings Place takes on the entire universe, with a little help from Brian CoxEach encounter with Puccini’s La bohème – assuming the performance is up to scratch, which the Royal Opera’s latest revival is – makes you rethink the elements that make this work a masterpiece: time-proof and foolproof, as a blunt critic early last century put it, bemoaning the grandmotherly Mimìs, screeching Musettas and overweight Rodolfos he’d endured over the years (he’d have to watch his adjectives today). The plot jumps awkwardly between its four “tableaux” acts. Aspects of the story don’t quite make sense. Yet Puccini spins his material into a perfect mesh of mirth and tears. His theatrical instinct is faultless, and no other composer teases out strands of melody so apparently effortlessly and rhapsodically.In the case of Bohème this means, famously, from first encounter to full-blown love in a matter of minutes for the seamstress Mimì and the poet Rodolfo. Their big Act 1 duet, O soave fanciulla, is a reliable test, early on, of the evening’s emotional temperature. The Romanian-born British soprano Simona Mihai (a late replacement, who sang the role for the ROH last year and plays Musetta later in the run) and the American tenor Charles Castronovo scored highly, with the conductor, Emmanuel Villaume, pacing this slowly unfurling music with well-judged control. In this score, the woodwind weaves and soars, now buried in the texture (the exuberant oboe tune is near the start), now singing its own melody, so often voiced by solo clarinet. Though the ROH players must know this music inside out, it sounded fresh and alive. Related: Home Listening: Rhian Samuel, Chineke! Orchestra and Beethoven Unleashed Continue reading...
Lifting Off in ‘Porgy and Bess’
by By Gia Kourlas on January 17, 2020 at 6:28 pm
Watch a portion of Camille A. Brown’s choreography for the production at the Metropolitan Opera.
A guide to Beethoven's Symphony No. 1
by Freya Parr on January 17, 2020 at 10:00 am
Rating: 0 Premiere:KK Hoftheater nächst der Burg, Vienna, 2 April 1800After permanently settling in Vienna in 1792 at the age of 22, Beethoven set about mastering an impressive range of musical genres. In the following years, he completed a substantial body of chamber music (piano trios and string trios and works for wind instruments), duo and solo piano sonatas and a piano concerto (No. 1 in C major). Missing from this work list, however, were either symphonies or string quartets. The highly self-critical composer was evidently reluctant to tackle either medium until he felt fully equipped to write something that could match the achievement of his great forebears, Mozart and Haydn.In fact, Beethoven had made an abortive attempt to write a symphony between 1796 and ’97, but the work was only completed two years later. It was unveiled for the first time before the Viennese public at a concert on 2 April, 1800 and published the following year. The First Symphony bears a dedication to Baron Gottfried van Swieten, one of the most vociferous supporters of Beethoven at the time and the librettist of Haydn’s oratorios The Creation and The Seasons. Five essential works by BeethovenHow did Beethoven cope with going deaf? Structure and tonality:As befitting a work composed at the turn of the 19th century, Beethoven’s First pays homage to the great Viennese classical tradition, but also offers tantalising anticipations of his innovative symphonic writing in the next decade. The retrospective elements are most obviously manifested in the close thematic relationship that exists between this Symphony in the ‘festive’ key of C major and previous works bearing the same tonality, most notably Haydn’s Symphony No. 97 and Mozart’s Jupiter Symphony (No. 41).The First also follows a similar structural outline to the late Haydn symphonies, even though Beethoven places more emotional weight on the finale. Perhaps most notably, Beethoven designates the third movement as a minuet, but his recommended tempo marking of Allegro molto e vivace suggests that it is in essence the first of his dynamic symphonic scherzos. Beethoven's First Symphony, performed by the Berlin Philharmonic under Simon Rattle Instrumentation:The orchestra Beethoven uses in the First Symphony (double woodwind, two horns, two trumpets, timpani and strings) is no different in size to that employed by Haydn. Yet his orchestration is radically different, as immediately evidenced in the brief slow introduction to the work. Many commentators highlight the provocative nature of Beethoven’s musical argument here, particularly its opening of a dominant seventh chord resolving to the ‘wrong’ key of F major. But no less striking is the unprecedented textural effect of combining pizzicato strings with sustained woodwind chords.Indeed, throughout the First, Beethoven creates a different orchestral balance than his predecessors, giving the wind instruments far greater parity with the strings. A reviewer present at the first performance of the work took great exception to this tendency, claiming that Beethoven was writing something that was more appropriate for a wind-band than for a symphony orchestra. It was a complaint that Beethoven totally ignored in his subsequent symphonies. A guide to Beethoven's Symphony No. 5The best recordings of Beethoven's Symphonies Recommended recording:Following in the footsteps of Toscanini, Riccardo Chailly delivers a characteristically high-voltage account of the First Symphony, perfectly capturing its moments of brusque humour with superbly incisive sforzando accents from his Leipzig players, yet allowing sufficient space for the graceful aspects of the second movement to come to the fore.Leipzig Gewandhaus Orchestra/Riccardo ChaillyDecca 478 3493 Words by Erik Levi. This article first appeared in the December 2015 issue of BBC Music Magazine.
Podcast: Nino Rota’s works for solo piano. A magical melting pot.
by Naxos on January 17, 2020 at 12:00 am
Raymond Bisha introduces this new release from the Grand Piano label. It’s the opening volume in what is to be the first complete series of recordings of Nino Rota’s works for solo piano, performed by Eleanor Hodgkinson. Nino Rota embraced neo-Classical, neo-Romantic and even neo-Baroque affiliations. His music prized melodic directness and communicative generosity, so Read More ...
6 Classical Music Concerts to See in N.Y.C. This Weekend
by By David Allen on January 16, 2020 at 10:00 pm
Our guide to the city’s best classical music and opera happening this weekend and in the week ahead.
Nominees revealed for BBC Music Magazine Awards 2020
by Freya Parr on January 16, 2020 at 6:00 pm
Rating: 0 BBC Music Magazine has announced the shortlist for its 2020 Awards. With 21 nominees across seven categories, the expert panel drew their choices from the 175 recordings that were awarded five-star reviews in 2019.The 15th annual BBC Music Magazine Awards are the only classical music awards voted for by the public. To listen to the nominated recordings and cast your votes, visit classical-music.com/awards.The nominees are divided into seven categories: Orchestral, Concerto, Opera, Choral, Vocal, Chamber and Instrumental. With a clutch of premiere recordings in this year’s shortlist, there’s no doubt 2019 was a year for superb new music. The chamber category features Orange – an album of string quartets by Pulitzer Prize-winning composer Caroline Shaw, while Gabriel Jackson’s retelling of the Passion story is up for the Choral Award. Elsewhere, Elizabeth Kenny’s Ars Longa – an album of old and new music for the theorbo, nominated in the Instrumental Category – features two premiere recordings of works by Nico Muhly and Benjamin Oliver, both written specifically for Kenny. This year’s BBC Music Magazine Awards also celebrates new recordings of works by underrated masterpieces and lesser-known composers. This is particularly the case in the Orchestral Category, which features stunning performances of Weinberg’s Symphony No. 21 by Mirga Gražinytė-Tyla and the City of Birmingham Symphony Orchestra, Korngold’s Symphony in F sharp by John Wilson and the newly revived Sinfonia of London, and symphonies by Lutosławski performed by the Finnish Radio Symphony Orchestra under Hannu Lintu. Also in the shortlist, Kirill Gerstein performs Busoni’s extraordinary piano concerto, Markus Maskuniitty brings us a selection of horn concertos, and Opera Rara champions Puccini’s first opera, Le Willis. The full list of nominees can be seen below. For details on how to vote, visit our Awards page here.The winners will be announced at a ceremony at Kings Place on Wednesday 22 April. As well as the public awards, there are also four jury awards: Premiere Recording, Newcomer of the Year, DVD of the Year and Recording of the Year. The BBC Music Magazine team will also choose its Music Personality of the Year, an award first given to violinist Tasmin Little in 2019. OrchestralWeinbergSymphonies Nos 2 & 21Gidon Kremer (violin); Kremerata Baltica; City of Birmingham Symphony Orchestra/Mirga Gražinytė-TylaDeutsche Grammophon 483 6566 88.59 mins (2 discs) KorngoldSymphony in F sharp; Theme and Variations; StraussianaSinfonia of London/John WilsonChandos CHSA 5220 59.17 mins LutosławskiSymphonies Nos 1 & 4; Jeux vénitiensFinnish Radio Symphony Orchestra/Hannu LintuOndine ODE 1320-5 57:21 mins ConcertoBusoniPiano Concerto in C majorKirill Gerstein (piano); Men of the Tanglewood Festival Chorus; Boston Symphony Orchestra/Sakari OramoMyrios MYR024 71:29 mins Glière • Saint-Saëns • R SchumannR Schumann: Konzertstück for Four Horns*; Adagio and Allegro; Saint-Saëns: Morceau de concert; Glière: Horn ConcertoMarkus Maskuniitty (horn); Martin Schöpfer, Kristofer Oberg, Monica Berenguer Caro (horns)*; Royal Stockholm Philharmonic Orchestra/Sakari OramoOndine ODE 1339-2 59:08 mins Dvořák * MartinůDvořák: Piano Concerto in G minor; Martinů: Piano Concerto No. 4, ‘Incantation’Ivo Kahánek (piano); Bamberg Symphony Orchestra/Jakub HrůšaSupraphon SU 4236-2 59.24 mins OperaPucciniLe WillisErmonela Jaho, Arsen Soghomonyan, Brian Mulligan (voices); Opera Rara Chorus; London Philharmonic Orchestra/Mark ElderOpera Rara ORC59 62.39 mins PurcellKing ArthurAnna Dennis, Mhairi Lawson, Rowan Pierce, Carolyn Sampson, Jeremy Budd, James Way, Roderick Williams, Ashley Riches; Gabrieli Consort and Players/Paul McCreeshSignum Classics SIGCD589 97.38 mins (2 discs) GounodFaustBenjamin Bernheim, Véronique Gens, Andrew Foster-Williams, Jean-Sébastien Bou, Juliette Mars, Anas Séguin, Ingrid Perruche; Les Talens Lyriques; Flemish Radio Choir/Christophe RoussetBru Zane BZ 1037 173.48 mins (3 discs) VocalHandelItalian CantatasSabine Devieilhe (soprano), Lea Desandre (mezzo-soprano); Le Concert d’Astrée/Emmanuelle HaïmErato 9029563362 96:10 mins (2 discs) Si J’ai AiméSongs by Saint-Saëns, Bordes, Berlioz, Dubois, Massenet et alSandrine Piau (soprano); Le Concert de la Loge/Julien ChauvinAlpha Classics ALPHA 445 59.25 mins JanáčekThe Diary of One Who Disappeared; Ríkadla; Moravian Folk Poetry in SongsNicky Spence (tenor), Julius Drake (piano); Václava Housková (mezzo-soprano), VOICE, Victoria Samek (clarinet)Hyperion CDA 68282 62.21 mins ChoralBach CantatasH Bach: Ich danke dir Gott; JM Bach: Ach bleib bei uns, Herr Jesu Christ; Herr, der König freuet sich; JC Bach: Die Furcht des Herren; Herr, wende dich und sei mir gnädig; Es erhub sich ein streit; JS Bach Christ Lag in Todesbanden, BWV4Vox Luminis/Lionel MeunierRicercar RIC 401 66.30 mins HandelBrockes-Passion HWV 48Elizabeth Watts, Ruby Hughes (sopranos), Rachael Lloyd (mezzo-soprano), Tim Mead (countertenor), Robert Murray, Gwilym Bowen, Nicky Spence (tenors), Cody Quattlebaum, Morgan Pearse (bass-baritone); Choir and Orchestra of the Academy of Ancient Music/Richard EgarrAcademy of Ancient Music AAM007 172 mins (3 discs) Gabriel JacksonThe Passion of Our Lord Jesus ChristEmma Tring (soprano), Guy Cutting (tenor); Choir of Merton College, Oxford; Oxford Contemporary Sinfonia/Benjamin NicholasDelphian DCD34222 69:01 mins ChamberYsaÿe • Franck • Vierne • L BoulangerYsaÿe: Poème Elégiaque; Franck: Violin Sonata in A; Vierne: Violin Sonata in G minor; Lili Boulanger: NocturneAlina Ibragimova (violin), Cédric Tiberghien (piano)Hyperion CDA 68204 78:29 mins Caroline ShawEntr’acte; Valencia; Plan and Elevation; Punctum; Ritornello 2.sq.2.j.a; Limestone & FeltAttacca QuartetNonesuch 7559-79260-9 60.97 mins Bartók * VeressVeress: String Trio; Bartók: Piano Quintet in CBarnabás Kelemen, Vilde Frang (violin), Katalin Kokas, Lawrence Power (viola), Nicolas Altstaedt (cello), Alexander Lonquich (piano)Alpha Classics ALPHA 458 61.50 mins InstrumentalBach to the FutureJS Bach: Musical Offering, BWV 1079: Ricercar a 6; Fugue in G minor, BWV 578; Toccata and Fugue in D minor, BWV 565; Chorale Prelude, BWV 721; Fantasia & Fugue in G minor, BWV 542; Chorale Preludes, BWV 617 and BWV 727; Fantasia in G, BWV 572; Passacaglia and Fugue in C minor, BWV 582Olivier Latry (organ)La Dolce Volta LDV69 77:37 mins Ars Longa: Old and new music for theorboWorks by Piccinini, James MacMillan, Kapsperger, Benjamin Oliver, De Visée and Nico MuhlyElizabeth Kenny (theorbo)Linn CKD 603 75.34 mins ShostakovichPiano Sonatas Nos 1 and 2; 24 Preludes, Op. 34; Nocturne from The Limped StreamAndrey Gugnin (piano)Hyperion CDA68267 79.27 mins
The Jazz Gallery Presents: Erica Seguine & Shan Baker Jazz Orchestra
by Kevin Laskey on January 15, 2020 at 3:39 pm
This Saturday, The Jazz Gallery is pleased to welcome the Erica Seguine & Shan Baker Jazz Orchestra back to our stage for two sets of performances. The band has built a sturdy presence in the New York area over the past decade, developing a substantial book of tunes that reflects the composer/bandleaders multifaceted personalities. This
The Jazz Gallery: Grégoire Maret & Romain Collin’s Americana
by Kevin Laskey on January 15, 2020 at 11:00 am
This Friday, The Jazz Gallery is thrilled to welcome Americana, a brand new project from harmonica player Grégoire Maret and pianist Romain Collin. The project celebrates the many strains of American roots music, filtered through the co-leaders’ contemporary sensibilities. So far, the duo has been joined in performance by guitarists Marvin Sewell and Ben Monder. Check
When Pina Bausch Made Tanz Into Tanztheater
by By Roslyn Sulcas on January 15, 2020 at 10:00 am
Bausch’s pivotal 1977 work “Bluebeard,” with its relentless gender battles and powerful drama, returns to the stage after a long gap.
Review: In a Flat World, a Soprano Conjures Italy
by By Anthony Tommasini on January 14, 2020 at 8:09 pm
Rosa Feola, a fast-rising young singer, presented herself as the exponent of a rich national heritage at the Park Avenue Armory.
Space To Play: Chris Tordini Speaks
by Noah Fishman on January 14, 2020 at 11:00 am
Chris Tordini holds the bass chair in so many bands that the list is a bit dizzying: Andy Milne, Steve Lehman, Becca Stevens, Tyshawn Sorey, Michael Dessen, Matt Mitchell, John Hollenbeck… not to mention that he subs for the Tony-winning Broadway musical Hadestown. It’s a rare moment when such a busy sideman steps into a leadership role.
La Bohème review – exuberant and persuasive revival performed with elan
by Martin Kettle on January 13, 2020 at 3:51 pm
Royal Opera House, LondonConductor Emmanuel Villaume brings drive and intensity to Richard Jones’s detailed but inconsistent production of Puccini’s brilliantly written operaThere are Puccini operas that some of us might not miss never seeing again. But La Bohème is incontrovertibly not one of them. One takes a seat for La Bohème with happy anticipation. When Puccini duly captures you with his brilliantly written and constructed score, those expectations are rarely disappointed – and certainly not in this Covent Garden revival.Richard Jones’s production, which made its debut in 2017, has several virtues. These bohemians really do shiver in a spare and freezing garret under a Parisian sky from which the snow falls before a note has been sung. Stewart Laing’s sets push the principals to the front of the stage so that big vocal moments ring out. Characterisations are standard but credible. But there are downsides. The exuberant street and cafe staging of act two bowls along with enormous elan, but it is so pyrotechnical, with so much shifting of scenery, that the action and the music are a bit overwhelmed. Related: 'Tell me what traditional means' – director Richard Jones on La Bohème Continue reading...
The Jazz Gallery Presents: The Cal State Northridge Combos
by Kevin Laskey on January 13, 2020 at 2:22 pm
This coming weekend, Jazz at Lincoln Center is hosting the first ever Jack Rudin Jazz Championship. The competition features 10 acclaimed college jazz bands from across the country performing in both big band and combo configurations. But before taking the stage uptown this weekend, the combos from California State University, Northridge will perform a special
When News Upstages an Opera Performance
by By Anthony Tommasini on January 12, 2020 at 10:34 pm
On three successive nights at the Metropolitan Opera, the emphasis was on larger issues and personal stories.
Prisoner of the State review – timeless beauty in Fidelio update
by Andrew Clements on January 12, 2020 at 4:04 pm
Barbican, LondonDavid Lang’s short reworking of Beethoven’s opera, conducted here by Ilan Volkov, gives it a universal slant – even if it fails to dispel its dramatic problemsBeethoven spent almost a decade getting his only opera right, and even the final, 1814 version of what he called Fidelio has its problems. When composer David Lang saw it on stage for the first time in the 1970s, he was struck by some of those, and how they compromise the impact of the glorious music in Beethoven’s score, whether it’s the way the buffo sub-plot of the early scenes seems to belong to an entirely different work from the deadly serious exploration of love and freedom that provides the opera’s soaring climax, or whether what begins as a Singspiel, following on from Mozart, ends as something much closer to an oratorio. Continue reading...
Viva la diva! Culture meets couture as
opera chic takes off
by Ellie Violet Bramley on January 11, 2020 at 4:42 pm
Long gloves and dramatic coats have featured on catwalks and red carpets, with designers also turning their hands to stage costumesThe world of sopranos, Wagner and vibrato is usually considered more classic than cutting edge but, thanks to Beyoncé, who wore a pair of sheer opera gloves with her Schiaparelli couture gown to the Golden Globes last Sunday, opera and its sartorial trappings are having a fashion moment.She hasn’t engineered it single-handedly. Celine Dion stepped out late last year in a floral Marc Jacobs opera coat in the same month that Lil Nas X attended the American Music Awards in a Granny Smith-green suit by Christopher John Rogers, accessorised with zebra-print opera gloves. At Rihanna’s Fenty show in September, a diverse cast of models wore lingerie and single opera gloves. Lana Del Rey accessorised with a pair of opera glasses in 2018. Opera gloves were seen on autumn/winter catwalks from Ralph Lauren to Balmain, and British designer Richard Quinn designed dramatic floral opera coats in pink and green brights. Continue reading...
David Lang: why I freed Fidelio's other prisoners
by David Lang on January 10, 2020 at 7:00 am
Beethoven’s opera is full of beautiful music and beautiful ideas. So why did I decide to make my own version? I was in my early 20s when I first saw Fidelio, Beethoven’s only opera, on stage. I didn’t know that much about it. I knew the rough plot – a woman, Leonore, disguises herself as a man, Fidelio, to get a job as a jailer’s assistant in the hope of finding her political prisoner husband, and she manages to get him freed. I knew it was Beethoven’s response to new thoughts percolating through Europe after the French revolution. And I had heard exactly two of the musical highlights before I went. One is the sublime, slow-burning quartet near the beginning, in which four characters reveal their most heartfelt dreams directly to us, unheard by the other characters. (This may be the most beautiful thing Beethoven ever wrote.) The other is the super-famous Prisoners’ Chorus, in which the men sing powerfully and movingly about our need and right to be free. So I went into the opera that night more than 40 years ago expecting to enjoy myself.Imagine my surprise to realise this opera has problems! Continue reading...
Podcast: Write It – Reflections on Sanctuary Road
by Naxos on January 10, 2020 at 12:00 am
WQXR radio host Terrance McKnight introduces the world premiere recording of an oratorio by composer Paul Moravec and librettist Mark Campbell. It’s a deeply moving tribute to the men and women of the Underground Railroad and to one heroic man in particular, railroad conductor William Still (1821-1902), a chronicler of the inspiring stories of its Read More ...