Welcome to Classical Music Discoveries' Season 14!
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Below you will find over 100 shows that are currently available for you to listen to online. Just scroll down to a show you would like to listen to and then just click on "play" to listen to your selection.
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Violin Concerto No. 2 in D, K. 211
Violin Concerto No. 3 in G, "Straßburg", K. 216
Dominique Beaulieu, conductor and violin soloist
CMD Philharmonic of Paris in Orlean
Award winning cellist Carmine Miranda and violinist Boris Abramov’s new Navona release Mozart / Beethoven: Violin and Cello Duets is an intimate gem of delightful chamber music from the Classical Period. Drawn from various duos by Beethoven and Mozart, this album is substantive, and showcases a wide stylistic breadth of late eighteenth century German instrumental music, from the sumptuous levity of the divertimento, to the full brilliance of sonata form. In this recording both performers balance concepts of classical performance, musical research and virtuosic dexterity combined with a high-definition audio engineering in order to create the most realistic sound and definitive version of these works. The pieces in this recording have never been paired together. Their unique styles, and carefully researched interpretations by Miranda and Abramov, create exceptional recordings with equal parts nuance and bravado.
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The final works composed by Mozart when he was 18 years old.
Mozart: Violin Concerto No 1 in B-flat Major, K. 207
Dominique Beaulieu, violin soloist and conductor
CMD Philharmonic of Paris in Orlean
Piano Sonata No. 6 in D, K. 284
Joana Filipe Martinez, pianist
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Macbeth is an opera in four acts by Giuseppe Verdi, with an Italian libretto by Francesco Maria Piave and additions by Andrea Maffei, based on William Shakespeare's play of the same name. Written for the Teatro della Pergola in Florence, it was Verdi's tenth opera and first given on 14 March 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage. Almost twenty years later, Macbeth was revised and expanded in a French version and given in Paris on 19 April 1865.
After the success of Attila in 1846, by which time the composer had become well established, Macbeth came before the great successes of 1850 to 1853 (Rigoletto, Il trovatore and La traviata) which propelled him into universal fame. As sources, Shakespeare's plays provided Verdi with lifelong inspiration: some, such as an adaption of King Lear (as Re Lear) were never realized, but he wrote his two final operas using Othello as the basis for Otello (1887) and The Merry Wives of Windsor as the basis for Falstaff (1893).
The first version of Macbeth was completed during the time which Verdi described as his "galley years" which ranged over a period 16 years, and one which saw the composer produce 22 operas. By the standards of the subject matter of almost all Italian operas during the first fifty years of the 19th century, Macbeth was highly unusual. The 1847 version was very successful and it was presented widely. Pleased with his opera and with its reception, Verdi wrote to Antonio Barezzi, his former father-in-law and long-time supporter about two weeks after the premiere:
“ I have long intended to dedicate an opera to you, who have been father, benefactor, and friend to me. It was a duty I should have fulfilled sooner if imperious circumstances had not prevented me. Now, I send you Macbeth which I prize above all my other operas, and therefore deem worthier to present to you. ”
The 1865 revision, produced in a French translation and with several additions was first given on 19 April of that year. It was less successful, and the opera largely faded from public view until the mid-20th century revivals.
Performed by the CMD Grand Opera Company of Venice
Recorded by Classical Music Discoveries
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Navona Records’ NOTTURNO: The Complete Nocturnes and Ballades of Chopin is a fresh look at some of the Polish composer’s most expressive works. The nocturnes and ballades are also some of Chopin’s most innovative works, displaying exciting advancements in harmony, rhythm, and form—all renewed in pianist Eliane Rodrigues’s nuanced, thoughtful performances, recorded in Sacilie, Italy’s acoustically advanced Fazioli Concert Hall.
Although he didn’t invent the piano nocturne, Chopin popularized it and certainly improved it beyond a mere character piece. He was heavily influenced by the sensuous melodies of bel canto opera arias, and developed a freer sense of rhythm and expression—as a result, the nocturnes exude an abstract mood or atmosphere. Chopin did, however, invent the piano ballade—a genre with its own distinct forms and qualities. His four ballades most directly contrast the nocturnes in their abstract narrative style—very different from “mood” pieces, they were likely inspired by poems by Adam Mickiewicz.
Taking a page from Chopin’s own unwritten ballade narratives, Rodrigues includes text by Jantien Brys to accompany each nocturne, each one telling a sort of story without sacrificing the essential atmospheric nature of the nocturne. She writes, “For me, the Nocturnes are like a diary of Chopin, so Jantien wrote the texts as if they were excerpts from a fictional diary of his.” Rodrigues’s performances, influenced by these new texts, bring the listener a new kind of emotional connection to Chopin and music.
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Internationally renowned, New York-based pianist Mirian Conti has recorded Lalo Schifrin – Piano Works, a collection of solo piano music by Grammy© Winning and Academy Award© Nominated Composer Lalo Schifrin. The collection of World Premieres will be released on November 1 by the Naxos Grand Piano label (GP776). Ms. Conti will present a special CD launch concert on November 30 at the Consulate General of Argentina, 12 West 56th Street, New York, NY.
Works recorded are a new arrangement of Schifrin’s Mission: Impossible: Main Theme (Version For Piano) (1973/2016); Tango: Main Theme, Tango Del Atardecer (Version For Piano) (1997/2016) ; 3 Pampas (Version For Piano) (2009/2016); Jazz Piano Sonata, Op. 1 (1963/2016), Danza De Los Montes (Version For Piano) (2005/2016); Theme And 10 Variations On An Original Theme (2016); Tango A Borges (Version For Piano) (2005/2016); La Calle Y La Luna (Version For Piano) (2005/2016) and Lullaby For Jack (2016).