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Classical Music Discoveries
The World's #1 Classical Music Show
Category: Easy Listening
Location: Cedar City, UT
Proudly Sponsored by La Musica International Chamber Music Festival, The Southwest Symphony Orchestra and Flowers.FM
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March 13, 2017 02:18 PM PDT

Be sure to purchase your tickets now for “Lamb of God: An Easter Oratorio."

Composed by Rob Gardner, this stirring oratorio features events surrounding the death and resurrection of Jesus Christ and blends the singing of LietoVoices! with the artistry of the Southwest Symphony Orchestra. A divine, awe-inspiring modern masterpiece of song, music and praises to the Lord.

Save the date on your calendar for, Friday, April 14th at 7:30 PM.

Tickets may be purchased at SouthwestSymphony.co

November 05, 2016 11:10 AM PDT

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!

September 05, 2016 12:07 PM PDT

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.

We are proud to be the number one classical music broadcaster in the world and we also produce more new classical music recordings than any company in the world.

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.

If you would like to advertise on our show or if you would like to be featured on one of our shows, please see the links below.

We thank you listening to Classical Music Discoveries.

You can contact us at: Staff@ClassicalMusicDiscoveries.com

Our office phone is: +1-1-435-238-4934

SKYPE: khedgecock

Our Sponsors: 

La Musica International Chamber Music Festival
Southwest Symphony Orchestra
Wagner Opera Series Sponsor - Flowers.FM

Click HERE to Advertise on Our Show
Click HERE to Be Featured on Our Show or to Submit Your Music 

Archived Shows

Want to listen to a show not listed any longer on our show page?  

No problem!  Just click HERE to visit our show archives on SoundCloud.

 Become a Friend of Classical Music Discoveries

March 25, 2017 12:05 PM PDT

Wiltrud Weber is an international vocal phenomenon. Singing in no less than nine languages, her unique, classically-trained style fuses operatic grandeur with unforgettably rich and colorful interpretations of jazz, folk and world music. Weber’s distinctive soprano voice has been called “haunting” and “soaring”—and her capacity to connect with an audience guarantees Wiltrud’s performances are unforgettable, transformational experiences.

The winner of the coveted Karl Erb Stiftung music scholarship, Weber studied classical singing and piano at the Freiburg and the Frankfurt Music School before performing as solo soprano in oratorios, song recitals and operas throughout Germany with high-profile ensembles and orchestras such as the Berlin Philharmonic Orchestra and Berlin Symphonic Orchestra.

Purchase this CD here:

March 22, 2017 11:00 PM PDT

Innovative New Music trumpeter Stephen Ruppenthal commands attention right out the gate. Or perhaps, more specifically, he commands it right out the “NGate” – the subtitle of the opening track on FLAMETHROWER, his Ravello Records debut. The album contains world premieres of five pieces for trumpet, flugelhorn, voice, and crotale, composed specifically for Ruppenthal by Allen Strange, Bruno Liberda, Elainie Lillios, and Brian Belet.

From the first notes of Velocity Studies V: NGate, listeners might recall the spirit of Miles Davis’s Electric Era, as delayed trumpet blasts echo deep into their psyche. Ruppenthal’s playing also alludes to the works of trumpeters like Jon Hassell and Nils Petter Molvær.

What sets Ruppenthal’s expressive trumpet performances apart is the way they’re informed by digital sound processing and interactive electroacoustics. The combination of organic and synthesized sounds come together to form a cohesive sonic landscape steeped with an edgy, introspective feeling throughout.

Tracks like “a sphere of air is bound” show the trumpeter extending his instrument from its traditional sound. Ruppenthal’s trumpet is simultaneously processed and multiplied by the Kyma system, which mimics sounds from deep within a dense jungle soundscape.

Ruppenthal uses the haunting reverberations of the crotale to open Lillios’ November Twilight, the album’s centerpiece. As his bursts of trumpet pierce through the track’s sonic landscape, the trumpeter adds intermittent vocalizations, taking inspiration from the Haiku poem by Wally Swist, and substratal sonance, contributing further ripples to the atmosphere. This all builds to a triumphant swell of trumpets that shimmer amid the piece’s darker tones, a dichotomy creating contrast and depth, and enhancing the many facets and moods of the work.

The title of Misty Magic Land reflects its sounds; chimes and high-end timbres create a mystical and mysterious atmosphere for Ruppenthal’s trumpets to explore. Brian Belet also appears on the track as producer and overseer of digital audio processing. He returns to these roles for his composition System of Shadows at the end of the album.

Speaking of FLAMETHROWER’s concluding track, System of Shadows returns to the frenzied, impassioned nature of the album’s opener, processing a Bitches Brew-inpired core with shimmering reconstruction achieved in tandem with the Kyma system processing. Quick loops sizzle under the surface long after Ruppenthal has released the notes from his trumpet, resulting in a hypnotic effect unlike anything else on the album. The hum of the lingering trumpet is a cathartic end to an innovative journey.

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01 VELOCITY STUDIES V: NGATE 2007 Allen Strange
Stephen Ruppenthal C trumpets

02 A SPHERE OF AIR IS BOUND 2010 Bruno Liberda
Stephen Ruppenthal C trumpet & voice
Bruno Liberda Kyma digital audio processing

03 NOVEMBER TWILIGHT 2011 Elainie Lillios
Stephen Ruppenthal C trumpet, crotale & voice
Elainie Lillios interactive electroacoustics

04 MISTY MAGIC LAND 2004 Allen Strange
Stephen Ruppenthal C trumpet
Allen Strange digital media
Brian Belet Kyma digital audio processing

SYSTEM OF SHADOWS 2007 Brian Belet
05 I. Aurora Borealis
06 II. Andromeda’s Dream
07 III. Zephyr Apparition
Stephen Ruppenthal C trumpet & Bb flugelhorn
Brian Belet Kyma digital audio processing

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March 21, 2017 11:00 PM PDT

Mozart composed 17 Church Sonatas between 1772 and 1780. These church sonatas are short single-movement pieces that were performed during a celebration of the Mass between the Epistle and the Gospel. Three of the sonatas include more orchestral scorings including oboes, horns, trumpets and timpani. However, the more common sonatas were scored for 2 violins and a continuo.

All the sonatas were commissioned by the Archbishop of Salzburg and were meant to go with specific religious mass settings.
Mozart was very important to the Archbishop, so important in fact, that after Mozart left Salzburg, there was a mandate that the congregation sing hymns in place of the church sonata. Thus, the Archbishop did not commission a new composer after the departure of young Mozart.

Today, these 17 church sonatas are very often overlooked as not important to the Mozart musical catalog. However, here at Classical Music Discoveries, we would like to differ from the consensus concerning the church sonatas.

We will play all 17 sonatas in order of composition, and we hope that our listeners will pay very close attention to these works as they give many hints as to what will come in future compositions by Mozart.
We believe that Mozart used these sonatas to explore musical ideas that he would develop and use in future compositions. So, we believe that the Church Sonatas were an important musical sketchbook to Mozart.

These sonatas are performed by the CMD Philharmonic of Paris and this recording is available now at ClassicalRecordings.co

Purchase now at:

March 21, 2017 12:04 PM PDT

BRIGHT CIRCLE is an exquisitely programmed showcase of the interconnectivity underlying the tradition of solo piano in Classical music. Pianist Beth Levin shines as she navigates the romantic masterpieces of Schubert and Brahms, and their very new counterpart – David Del Tredici’s 2014 work, Ode To Music.

Levin’s performance is particularly remarkable in the way she places the Del Tredici within the context of Schubert’s Piano Sonata No. 20 and Brahms’ Variations and Fugue on a Theme by Handel. Del Tredici’s music is an excellent choice to be set alongside two romantic stalwarts, as it aims to recapture the expressive language of nineteenth century European composers.

Beyond this general association, all three works on BRIGHT CIRCLE truly are kindred spirits. Schubert and Brahms belong to the same tradition of German romanticism that arose and matured in the early- and mid-nineteenth century. Ode to Music is a fantasy on Schubert’s art song An die Musik. Essentially, BRIGHT CIRCLE is defined by music that takes older ideas and reconstitutes them in a new, transformative setting. This is certainly the case with Brahms’ Variations, which serves as BRIGHT CIRCLE’s backbone.

By the time Brahms set to work on this piece in the late 1850s, large sets of variations for piano were a common form for Romantic composers to flex their muscles. However, Brahms departed from the grandeur typical of these precedents – namely, Beethoven’s famed Diabelli Variations – and challenged himself to study and assimilate aspects of Baroque forms into his treatment of Handel’s theme. The melody at the heart of the variations originated in a work for harpsichord, and Brahms’ appreciation of this fact is evident in restrained virtuosity of his piano writing.

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Franz Schubert
01 I. Allegro
02 II. Andantino
03 III. Scherzo. Allegro vivace
04 IV. Rondo. Allegretto

Johannes Brahms
05 Aria
06 Variation I
07 Variation II animato
08 Variation III piano dolce
09 Variation IV risoluto
10 Variation V espressivo
11 Variation VI
12 Variation VII con vivacita
13 Variation VIII
14 Variation IX poco sostenuto
15 Variation X
16 Variation XI
17 Variation XII
18 Variation XIII Largamente, ma non piu
19 Variation XIV
20 Variation XV
21 Variation XVI
22 Variation XVII Piu mosso
23 Variation XVIII
24 Variation XIX leggiero e vivace
25 Variation XX
26 Variation XXI
27 Variation XXII
28 Variation XXIII
29 Variation XXIV
30 Variation XXV
31 Fugue

David Del Tredici

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March 20, 2017 02:10 PM PDT

In the 1730’s “Il Pastor Fido - 6 Sonatas for Flute and Continuo” was published in Paris by a new music publication company, eager to make a name for itself. The composer of this work was listed as Antonio Vivaldi.

Since Antonio Vivaldi was a very famous composer, the ploy worked as the composition sold well and the publication company established a firm foothold in their industry.

However, the entire publication was actually a forgery.

12 years after the publication, it was discovered, by Vivaldi’s attorney, that the work had actually been composed by a cousin of Vivaldi - Nicholas Chedeville. Nicholas was an excellent imitator of his famous cousin and this work had fooled many people for many years.

Although the work was proven not to be by Vivaldi, the court document never came to public knowledge. Thus, “Il Pastor Fido” was performed for hundreds of years as a work by Antonio Vivaldi. It wasn’t until 1990 that the court document was discovered and finally Nicholas Chedeville was attributed as the rightful composer.

This performance of “Il Pastor Fido” features flutist Rita D’Arcangelo, a favorite of our listeners and Alberto Mammarella playing the harpsichord.

This CD is available now in our online store - ClassicalRecordings.co

March 15, 2017 11:00 PM PDT


Jonathan Santore composer
Dan Perkins conductor
New Hampshire Master Chorale
Manchester Choral Society & Orchestra


Both the New Hampshire Master Chorale and the Manchester Choral Society elevate the works of composer-in-residence Jonathan Santore on THERE ARE MANY OTHER LEGENDS, an expansive collection of works from Santore’s choral catalog. Each piece highlights the composer’s impressive command of choral writing and the ensemble’s traditions.

Through their texts and other premises, several works on THERE ARE MANY OTHER LEGENDS are referential pieces, some alluding to other works of vocal music while others recall the mythology of distant cultures. Requiem: Learning to Fall, a work which is both internally and externally referential, yielding a compelling, multi-layered musical text. The composition demonstrates Santore’s command of vocal texture and ability to add character to the choir’s text through instrumental accompaniments.

At the heart of Requiem is the cyclical recurrence of multiple musical and textual ideas, including the ancient “dies irae” Gregorian Chant and various musical cues of Santore’s creation. The most important of these is his setting of the word “alleluia,” which opens the work and returns multiple times as a positive counterbalance to the darker, more dissonant instrumental representations of the “dies irae” chant.

Requiem and Forgetting are the album’s only two pieces containing orchestral arrangements, featuring the New Hampshire-based Manchester Choral Society and Orchestra. However, several of the pieces on THERE ARE MANY OTHER LEGENDS are written for both choir and additional instrumentation, including strings, piano, and soprano saxophone. While choral music is the focus of this album, Santore’s instrumental writing and orchestration for heterogeneous ensembles should not be overlooked.

For example, Santore’s three-movement work O Sweet Spontaneous Earth evocatively pits the choir against a string trio as it conveys its transformative musical and textual form. In this way, O Sweet Spontaneous Earth stands alongside Requiem as the album’s most structurally nuanced and narratively cogent works.

Available for purchase now at:


Dan Perkins conductor
01 Walden Recessional
New Hampshire Master Chorale
Linda Galvan cello

The Return (Armistice Poems)
New Hampshire Master Chorale
Dan Perkins piano
02 I. The Return
03 II. November 11, 1918
04 III. The Country of the Camisards

05 Kalevala Fragments
New Hampshire Master Chorale

Eight Gypsy Songs After Brahms
New Hampshire Master Chorale
06 I. “Hey, Gypsy, strike the strings!”
07 II. “The bronzed boy”
08 III. “The moon shrouds its face”
09 IV. “Does it sometimes come to mind”
10 V. “Hark, the wind wails in the branches”
11 VI. “Dear God, you know how often”
12 VII. “High towering Rima tide”
13 VIII. “Hey, Gypsy, strike the strings!”

14 Love Always!
New Hampshire Master Chorale
Rik Pfenninger soprano saxophone

O Sweet Spontaneous Earth
New Hampshire Master Chorale
Eva Gruesser violin Daniel Doña viola Leo Eguchi cello
15 I. “O sweet spontaneous”
16 II. “pity this busy monster, manunkind,”
17 III. “when God lets my body be”

Requiem: Learning to Fall
Manchester Choral Society and Orchestra
Emily Jaworski mezzo-soprano
Part One
18 I. “And now, as I prepare to fall”
19 II. “Tigers either way, before me and behind me”
20 III. “All winter beech leaves remind us of what we have lost”
21 IV. “Haul the wood, hammer the shingles”
22 V. “Cultivating wildness takes practice”
23 VI. “Seek the holy quiet of solitude”
24 VII. “In mud season”

Part Two
25 VIII. “As the tree puts forth new branches”
26 IX. “On the edge of a moonlit field”
27 X. “Do not suffer change”
28 XI. “Throw clay on the wheel”
29 XII. “It is at the edge of night”

30 Forgetting
Manchester Choral Society and Orchestra

Available for purchase now at:

March 14, 2017 11:00 PM PDT

Mozart’s “Ascanio in Alba” was commissioned by the Empress Maria Theresa. Her son, who would be Emperor Joseph II (who is featured in the movie “Amadeus”) would remember Mozart very well 10 years later when Wolfgang comes to Vienna.

This opera was composed for Empress Maria’s wedding of her third son, Archduke Ferdinand and Princess Maria Beatrice of Modena. The wedding was held in Milan on October 15, 1771.

A year earlier, Princess Maria attended a Mozart family concert and was very impressed with the talents of young Wolfgang. She related this experience to Empress Maria Theresa and a commission was born.

The opera was completed in 3-1/2 weeks when Mozart was 15 years old. While this opera is never performed today, in Mozart’s time, the opera was a tremendous success and garnered young Wolfgang even more fame in Europe, if indeed, that could be possible.

Regardless of the opera’s success, this opera set the proverbial wheels in motion for his later triumphant entry into Vienna, and of course, the opera garnered young Mozart even more jealously and hatred from other composers of his day.

It is also noteworthy, that following the overture to this opera, Mozart’s very first ballet in any opera is performed.

This opera is performed by the CMD German Opera Company of Berlin and it is available now in our online store at ClassicalRecordings.co

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