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On March 3, 2017 the Southwest Symphony Orchestra in St. George, Utah continues the tradition of showcasing first-rate young musicians from the southern Utah area.
These dedicated, delightful prodigies demonstrate music education at its best and singularly produce a magnificent explosion of sounds.
This extremely popular annual concert begins at 7:30 PM at the Cox Performing Arts Center on the Dixie State University campus in St. George Utah on March 3, 2017.
For more information and to order tickets, please visit the orchestra’s website at SouthWestSymphony.co
Tickets are now available for the 31st Season of La Musica International Chamber Music Festival in Sarasota Florida.
Their season, entitled “The Search Continues”, begins on April 3, 2017 with works by Mendelssohn, Webern and Richard Strauss and concludes on April 12th.
Don’t miss out on special events like:
1. The ever popular “Sonata a Due” on December 6 and dine with “Musical Chefs,” where the musicians cook for YOU, held on April 7th.
2. Also, don’t forget to attend their daily rehearsals and pre-concert lectures.
For more information and to purchase tickets, please visit www.LaMusicaFestival.org today!
Welcome to Classical Music Discoveries' Season 13!
Our show is made possible by our sponsors La Musica International Chamber Music Festival, the Southwest Symphony Orchestra and Flowers.FM. Without our sponsors, advertisers and listeners like you, our show would not be possible.
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Most boys, at the age of 12, are more interested in sports, computers and video games in today’s world. However, when Wolfgang Amadeus Mozart was 12 he aspired to greater things, like composing his first Mass, Mass in C minor heard in a previous broadcast, and also composing his first complete opera, “Bastien and Bastienne.”
“Bastien and Bastienne” is a one-act song-play or singspiel which is a sub-genre of opera.
This comic opera was composed in 1768 and was allegedly commissioned by the Viennese physician Dr. Franz Mesmer. The premier took place in Mesmer’s garden theater and was not performed again until 1890 in Berlin.
You will notice that the overture uses the same opening theme as Beethoven’s Symphony number 3. It is doubtful that Beethoven was familiar with this unpublished work. A more likely explanation is that both composers took the theme from another unknown source, possibly an Austrian or German piece of folk music.
The opera opens in a pastoral village. The time is indeterminate.
Bastienne, a shepherdess, fears that her "dearest friend", Bastien, has forsaken her for another pretty face, and decides to go into the pasture to be comforted by her flock of lambs.
Before she can leave, however, she runs into Colas, the village soothsayer. Bastienne requests the help of his magical powers to help win back her Bastien. Colas knows all about the problem, and comforts her with the knowledge that Bastien has not abandoned her, rather, he's merely been distracted lately by 'the lady of the manor'. His advice is to act coldly towards Bastien, which will make him come running back.
Bastien is heard approaching, so Bastienne hides herself. Bastien swaggers in, proclaiming how much he loves Bastienne. Colas informs him that Bastienne has a new lover. Bastien is shocked and asks the magician for help.
Colas opens his book of spells and recites a nonsense aria filled with random syllables and Latin quotations. Colas declares the spell a success and that Bastienne is in love with Bastien once more. Bastienne, however, decides to keep up the game a bit longer and spurns Bastien with great vehemence. Bastien threatens suicide, which Bastienne merely shrugs off.
Finally, the two decide that they have gone far enough and agree to reconcile. Colas joins them as they all sing a final trio in praise of the magician.
This opera is performed by the CMD Philharmonic of Paris and is conducted by Dominique Beaulieu. This rarely heard opera is available now at ClassicalRecordings.co
Yuriy Bekker, violinist on Navona Records release TWENTIETH CENTURY DUOS, is joined by renowned pianist Andrew Armstrong in some of the most beautiful and rarely-performed works of the twentieth century by Jewish composers Erich Korngold and Aaron Copland.
Bekker says of the album, “The idea for this project finally came to fruition with the help of the rare 1686 Ex-Nachez Stradivarius violin. This is the first sound recording of this violin and I believe these particular selections by Korngold and Copland highlight its most magical qualities.”
Erich Korngold’s Much Ado About Nothing Suite (1921) for violin and piano, contains moments of dialog and synchrony between the leading violin and accompanying piano. Through interplay of the piano and violin, it is obvious that the two musicians are compatible chamber musicians as they combine forces and feed off of each other musically. Bekker breathes new life into the seldom heard but beautiful aria transcriptions from Korngold’s opera Die tote Stadt. The work originally premiered in 1920 and was a major hit. Following the premier, the Nazi regime banned the opera due to Korngold’s Jewish heritage.
Over the entire duration of Aaron Copland’s Violin Sonata (1943), the three-movement structure breaks traditional nineteenth century precedents, making it a much more modern piece than the Korngold. The piano part is characterized by “planning,” a technique involving a series of parallel chords, which here, are made of stacked perfect fourths. Two Pieces was written by a young Copland and highlights his interest in American folk, blues, and jazz. The piece showcases Copland’s early influences, setting the foundation for his future compositions.
Purchase this CD now at:
Yuriy Bekker, violin
Andrew Armstrong, piano
Erich Wolfgang Korngold (1897 – 1957)
MUCH ADO ABOUT NOTHING, SUITE FROM THE INCIDENTAL MUSIC, OP. 11
1 I. Maiden in the Bridal Chamber
2 II. March of the Watch (Dogberry and Verges)
3 III. Garden Scene
4 IV. Hornpipe
5 MARIETTA’S LIED FROM DIE TOTE STADT, OP. 12
6 TANZLIED DES PIERROT FROM DIE TOTE STADT, OP. 12
Aaron Copland (1900 – 1990)
SONATA FOR VIOLIN AND PIANO
7 I. Andante semplice
8 II. Lento
9 III. Allegretto giusto
TWO PIECES FOR VIOLIN AND PIANO
11 Ukulele Serenade
Navona’s latest compilation release, BETWEEN THE ECHOES, showcases selected recent chamber works, expressing the common theme of recollections and interpretations of past experiences. Moving across the spectrums of moods and dramatics, each piece brings a harmonic resolution to its soulful journey. This album joins multiple personalities in a collection of propulsive musical expression.
For some pieces on the album, musical tradition is a source of inspiration. Burwasser’s colorful woodwind quintet Whirlwind imbues a familiar instrument group and classical forms with imaginative, lyrical melodies, culminating in a distinctly Haydn-esque finale. In his dramatic and spontaneous Florébius for violin and piano, Crossman weaves new interactions between Schumann’s favorite characters, the introverted Eusebius and the extroverted Florestan—“one within the other, one lurking behind the other, each ready to take center-stage.” Elsewhere, tradition is gleefully thrown to the wind—such as with Lee’s stunning Farewell… for string quartet, with its ever-shifting rhythms, timbres, and moods. In an intensely personal musical display, Raillard’s melancholic Sinking Islands for solo guitar uses interconnecting minimalist figures to meditate on mortality. DeVasto’s lush trio His Branches Run Over The Wall for violin, cello, and piano is inspired by the biblical account of the dream interpreter Joseph, conjuring an entangled web of melodies and harmonies to create a “musical dreamscape”—one of several new and familiar sound worlds to be found on the album.
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WHIRLWIND Daniel Burwasser
Arcadian Winds | Vanessa Holroyd, flute; Mark Miller,
clarinet; Jane Harrison, oboe; Laura Carter, french Horn;
Janet Underhill, bassoon
1 I. Quarter note = 84
2 II. Quarter note = 70
3 III. Dotted quarter note = 100
FLORÉBIUS Allan Crossman
Eusebius Duo | Monika Gruber, violin; Hillary Nordwell, piano
6 HIS BRANCHES RUN OVER THE WALL David DeVasto
Sam Stapleton, violin; Emmalee Hunnicutt, cello;
Seong-Sil Kim, piano
7 FAREWELL… FOR STRING QUARTET Michael Lee
Vit Muzik, violin; Igor Kopyt, violin; Dominika Mužíková, viola;
Petr Nouzovský, cello
SINKING ISLANDS Georges Raillard
David William Ross, guitar
Welcome to the 40th edition of La Musica Chamber Music Hour sponsored by La Musica International Chamber Music Festival in Sarasota Florida.
In this month’s broadcast we will be pleased to hear:
“Piano Quartet in G minor, K. 478” by Mozart
“Sonata a Quattro No. 5 in E-flat” by Rossini
And the broadcast concludes with
“Verklarte Nacht or Transfigured Night, Op. 4” by Schoenberg
Federico Agostini, Michela Martin, Isabelle Faust, Curtis Macomber - violins
Cynthia Phelps, Bruno Giuranna, Katherine Murdock - violas
Alain Meunier, Angela Lee, Frans Helmerson - cellos
Franco Petracchi - bass
And Derek Han - piano
For more information regarding La Musica International Chamber Music Festival, please visit their website at LaMusicaFestival.org
We wish to thank the staff and musicians of La Musica for making this broadcast possible.
Cataloging the symphonies of Wolfgang Amadeus Mozart is not an easy task and can be quite confusing. Please remember while romantic and modern composers carefully numbered their symphonies, Mozart, did not. Thus, each one of Mozart’s 50-plus symphonies were just known as a symphony and nothing more. This adds greatly to the confusion and detective work needed to place Mozart’s compositions in the correct order.
Case in point:
Symphony in B-flat Major which was composed in 1768 in Salzburg, should have been numbered Symphony Number 8. However, for many years, the symphony was thought to be numbered Symphony Number 55.
This symphony was known to Ludwig Ritter von Kochel as an incipit entry in the Breitkopf and Hartel catalog, which was regularly updated by Leopold Mozart and was assumed as correct. After all, the entries were registered by Leopold himself and who could doubt such a first-hand witness entry into the catalog?
However, though the years, we have come to learn that not all of Leopold’s entries can be trusted. The case of the Lambach symphonies in our previous broadcast comes to mind.
Over 100 years after the symphony was composed, upon a close observation of the autographed work in the Berlin State Library, it was noticed that Amadeus signed the copy with the title of Cavalier. Knowing the personality of Wolfgang this might not seem too surprising. However, in November of 1769, young Mozart was made the Concertmaster to the Archbishop of Salzburg and was given the official church title of Cavalier. Thus, Cavalier was NOT an attitude, but an official church title.
Thus, Symphony Number 55 was composed, more than likely, in early 1768 and was not one of his later symphonies as testified by Leopold Mozart.
Now, this brings up another problem. The title of Symphony Number 8 is already taken. So, do you renumber ALL of Mozart’s symphonies, which would create even more confusion? No, the decision was made not to number this symphony at all, but to give it the title of Symphony in B-flat Major.
This is a 4-movement symphony and is scored for 2 oboes, 2 horns and strings, which is also the norm for an early Mozart symphony.
Symphony Number 8 in D Major, is dated December 13, 1768 and was composed in Vienna. At the time the Mozart family was due to have returned to Salzburg, but Leopold Mozart writes of the delay “we could not bring our affairs to a conclusion earlier, even though I endeavored strenuously to do so.” Which is modern terms means: We were trying to get money due us from someone, before we left for Salzburg. Which is a case every musician understands all too well.
This autographed symphony also resides in the Berlin State Library.
This symphony is in 4-movements and is scored for 2 oboes, 2 horns, 2 trumpets, timpani and strings. Since the inclusion of trumpets and timpani are very unusual for an early work by Wolfgang we can assume this symphony was composed for an unknown ceremonial purpose.
Pianist Sang-Hie Lee performs original works written for two pianos, by internationally recognized composers Gerald Chenoweth, Eun-Hye Park, Lewis Nielson, Daniel Perlongo, and Paul Reller, in ARS NOSTRA: BUT NOW THE NIGHT. Along with collaborating pianist Martha Thomas, the pieces showcase the instrument as a “super piano”, unveiling textures and new combinations of sounds not accessible with a soloist.
Aber Jetzt Die Nacht by Lewis Nielson, begins by contrasting a distinct motive against outbursts of relatively abstract, dissonant music. About halfway through, the work reveals its true structural goal of exploring the extremes of a piano’s color. This new direction is signaled by two glissandi, initiating the appearance of many more dramatic and unusual piano sounds, including knocking of the instrument’s case and playing touch harmonics inside the piano.
Sonata For Two Pianos by Paul Reller, contains four major sections shaped by continuous notes moving from different rhythms, from rock and roll to jazz, flowing
fast-slowest-fastest-slow, which can be seen as a microcosm of a classical four-movement sonata. Influences of Ives and McDowell blend with classic balance and symmetry, creating leaps and chaotic dissonances alongside moments of exotic harmonies and calmer melodies.
Sang-Hie Lee and Martha Thomas piano duo
1 CHERA IN NAIN (A Widow in Nain) (2009)
Kyoung Cho, narrator
2 ...ABER JETZT DIE NACHT... (2013)
3 CELESTIAL PHENOMENA (2008)
Night Sky - Dawn
4 SONATA FOR TWO PIANOS (2008)
Moderato con moto
5 WINDHOVER FOR PIANO DUO (2009)