Rimsky-Korsakov's "Flight of the Bumble Bee" performed by "The Lost Fingers" in the middle of dozens of beehives!
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Welcome to Classical Music Discoveries' Season 13!
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John A. Carollo’s newest release, THE TRANSFIGURATION OF GIOVANNI BAUDINO is a fascinating mixture of music written for different orchestral instrumentations and with wildly varying intended emotional responses. The composer himself may best define the intangible aspect of his music’s emotive intentions, writing, “I have always preferred to let music speak for itself. We each derive our own unique personal meanings from our listening experiences and most of it is felt viscerally.”
Luisa Miller is an opera in three acts by Giuseppe Verdi to an Italian libretto by Salvadore Cammarano, based on the play Kabale und Liebe (Intrigue and Love) by the German dramatist Friedrich von Schiller.
Verdi's initial idea for a new opera - for which he had a contract going back over several years - was rejected by the Teatro San Carlo in Naples. He attempted to negotiate his way out of this obligation and, when that failed, Cammarano came up with the idea of adapting the Schiller play with which Verdi was familiar. The process was set in motion, with Verdi still living and working on initial ideas from Paris, where he had been living for almost two years before moving back to his home town of Busseto in the summer of 1849. It was from there that he wrote the music and traveled to Naples for rehearsals; the first performance, was given on 8 December 1849.
Performed by the CMD Grand Opera Company of Venice
Recorded by Classical Music Discoveries
This was Verdi's 15th opera and it is regarded as beginning the composer's "middle period".
Tantum ergo in B-flat, K. 197
Sub tuum Praesidium, K. 198
Symphony No. 29 in A Major, K. 201
Symphony No. 30 in D Major, K. 202
Navona Records proudly presents 4 SEASONS FOR 3 PIANOS, a whirlwind transcription of Vivaldi’s masterful string concertos by Croatian pianist and composer Matej Meštrović. Performing with Hakan A. Toker and Matija Dedić on three pianos (and accordion), Meštrović thoroughly reimagines the four concertos, his work exceeding that of a normal transcription. The collection, in such a radical new form, becomes almost a whole new work.
Rachmaninoff composed the concerto in the peaceful setting of his family's country estate, Ivanovka, completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead.
The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it "wasn't for" him. Gary Graffman lamented he had not learned this concerto as a student, when he was "still too young to know fear".
Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.
The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunct New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler several weeks later, an "experience Rachmaninoff treasured."
Joana Filipe Martinez, piano
Dominique Beaulieu, conductor
CMD Philharmonic of Paris
The Violin Concerto was commissioned by Blair Fairchild, an American composer, diplomat, and the patron of the young Polish violinist Samuel Dushkin.
Willy Strecker of B. Schotts Söhne, Stravinsky's music publisher at the time (and also a friend of Dushkin's), asked Stravinsky to compose a concerto for Dushkin. Though Stravinsky was reluctant, citing unfamiliarity with the instrument, Strecker assured the composer that Dushkin would consult about technical matters (White 1979, 368). Stravinsky noted in his autobiography that Dushkin's availability for such advice was a factor in his undertaking the Violin Concerto (Stravinsky 1962, 165) He also sought the opinion of composer and violist Paul Hindemith, who allayed Stravinsky's fears, suggesting that his unfamiliarity with the instrument might help him come up with new possibilities. Stravinsky met with Dushkin at Strecker's residence in Wiesbaden and decided to go ahead.
Diana Semenova, violin
Dominique Beaulieu, conductor
CMD Philharmonic of Paris
Our most popular broadcast in our 13 year history!
This performance was heard over 500 million times in China alone its very first month in October of 2015.
Now own this astounding performance on CD.
Performed by the CMD Grand Opera Company of Venice and conducted by Antonio Rossi.