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CALM RADIO - BOCCHERINI - Sampler

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CALM RADIO - BOCCHERINI - Sampler
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Luigi Boccherini (Composer), Michael Erxleben (Artist) - Boccherini, L.: Symphonies, Vol. 2 - Opp. 41, 42, 43, 45 - Boccherini: Symphony In D Major, Op. 42, G. 520 - I. Allegro
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  • Five of the best South African composers

    classical-music.com | Sun, 13 Oct 2019 09:00:55 +0000

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    Neo Muyanga

    As a composer and librettist, Muyanga is an important voice in South African opera. His operetta The Flower of Shembe illustrates a Pan-African musical idiom, merging his own roots with influences from greater Africa.

     

     

     

    Clare Loveday 

    Loveday is a composer at the forefront of advocacy for women in South African music. Particularly known for her saxophone works, her music is often performed in the UK. 

     

     

    Andile Khumalo

    As a student of George Lewis and Tristan Murail, Khumalo is predominantly a spectral composer. He has been featured in South African and international festivals, including the Festival d’Automne.

     

     

    Amy Crankshaw

    Crankshaw is a London-based composer, pianist and French horn player, and was composer-in-residence for the London City Orchestra’s 2016 Summer term, during which the LCO premiered her work Paper Bird.

     

     

    Cara Stacey

    The composer has a strong presence in the UK ethno-experimental scene. Stacey merges her Western piano background with African instruments, which she studied with Dizo Plaatjies (a relative of Lungiswa Plaatjies). 

     

     

     

  • Luciano Pavarotti: The best recordings

    classical-music.com | Sat, 12 Oct 2019 07:14:36 +0000

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    Donizetti
    La fille du régiment
    Joan Sutherland etc; Royal Opera House/Richard Bonynge
    Decca 414 5202

    Pavarotti plays the ebullient young peasant to perfection.

     

     

     

    Bellini 
    I Puritani
    Joan Sutherland; Royal Opera House/Richard Bonynge
    Decca 417 5882

    Pavarotti subdues his extrovert energy to style and elegance, alongside a strong cast.

     

     

     

    Verdi
    Rigoletto (DVD)
    Edita Gruberova, Ingvar Wixell etc; Vienna Staatsoper/Riccardo Chailly
    DG 073 4166

    Jean-Pierre Ponnelle’s heavily stylized, ornate but often impressive cinematic account is dominated by Pavarotti with surprising sexual charge.

     

     

     

    Puccini
    La bohème
    Mirella Freni etc; Deutsche Oper Berlin/Herbert von Karajan
    Decca 421 0492

    Freni and Pavarotti make meltingly believable young lovers.

     

     

     

    Puccini
    Turandot
    Joan Sutherland, Montserrat Caballé etc; John Alldis Choir, London Philharmonic Orchestra/Zubin Mehta
    Decca 414 2742

    Pavarotti’s passionately perceptive, unforced Calaf matches Sutherland’s unlikely Ice Princess.

     

     

     

    Mozart
    Idomeneo (DVD)
    Frederica von Stade, Ileana Cotrubas etc; Metropolitan Opera/Levine

    James Levine’s reading is traditional but not crushingly heavyweight, there is a high-powered cast, and Pavarotti is charismatic as the embattled king. 

     

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    " rel="nofollow" target="_blank">Brighton College

    classical-music.com | Fri, 11 Oct 2019 16:17:44 +0000

    Website: 
    https://www.brightoncollege.org.uk
    Tel: 
    01273 704200
    Email: 
    registrar@brightoncollege.net

    Brighton College is one of the country’s leading independent schools for girls and boys aged 3-18 and was recently named 'England's Independent School of the Year 2019' by The Sunday Times.

    Renowned for its focus on kindness, the College also excels in the arts, especially music. It provides pupils with some of the very best musical facilities in the country – at the heart of its stunning Music School is the recital hall with superior acoustic design and a Fazioli grand piano.

    Location

    BN2 0AL
    United Kingdom
    50° 49' 21" N, 0° 8' 13.92" E

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  • National Album Day 2019: The best classical music albums

    classical-music.com | Fri, 11 Oct 2019 14:56:00 +0000

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    Tomorrow (Saturday 12 October) is National Album Day 2019! Following the success of the inaugural event last year, this celebratory occasion aims to highlight the pleasure of listening to albums in their entirety rather than simply heading for individual tracks – an aim neatly encapsulated by this year’s ‘Don’t Skip’ theme and #DontSkip hashtag.

    The day also recognises the thought and invention that goes into creating a really well-crafted album, where each track leads neatly into the next, creating a whole that adds up to much more than the sum of its parts. The Beatles’ Abbey Road, say, or Pink Floyd’s Dark Side of the Moon are classic examples from the pop world – for all the brilliant songs themselves, not listening to these masterpieces from start to finish would seem almost unthinkable.

    But brilliant albums are by no means the preserve of rock and pop. In recent years in particular, the classical music world has excelled in dreaming up and producing superbly programmed albums. Some explore just one composer in intriguing and enticing different ways, others bring together works by composers who, on the face of it, might seem like unlikely bedfellows but work wonderfully in each other’s company.

    You can find details of National Album Day 2019 here. But in the meantime, we in the BBC Music Magazine team have been thinking of albums that have hugely inspired us and that we’d love to recommend to others…

     

    Oliver Condy
    Editor

    Now that the recording industry has produced dozens of versions of major masterpieces, the concept album seems to have made something of a comeback lately. Piano Book, Lang Lang’s collection of piano music for beginners, is a recent charming example, inspiring learners the world over that simple can still mean beautiful. Lang Lang’s performances of the Prelude No. 1 from Bach’s 48, Beethoven’s Für Elise, Chopin’s ‘Raindrop’ Prelude and more are little slices of perfection.

    The album that I’ve been returning to again and again, however, celebrates the 500th birthday of Leonardo da Vinci. I Fagiolini’s Shaping the Invisible is a fascinating journey through the Italian Renaissance genius’s work: art, drawings and the like, with music to accompany each one: Tallis, Howells, Victoria, Rubbra, Bach and more make up the imaginative programme. You don’t have to refer to Leonardo’s work to appreciate the musical artistry on show, but it doesn’t half help.

    Coro COR16171

     

     

    Jeremy Pound
    Deputy Editor

    Was it really 20 years ago that, as features editor Classic CD magazine, I opened my post to be greeted by the mugshot of conductor Iván Fischer staring out at me from the front of a new CD of music by Kodály? At the time, I knew very little about Fischer and his Budapest Festival Orchestra and, I confess, not a great deal either about the composer either. This superbly performed and, importantly, imaginatively programmed disc instantly changed all that.

    Dotted between the Hungarian’s famous orchestral works – the Dances of GalantaDances of Marosszék and, finally, the Háry János Suite – were songs performed by local children’s choirs. Though Fischer’s initial intentions in doing this were, I presume, to emphasise the importance of singing to the whole of Kodály’s musical approach and output, it also gave the album itself variety, freshness and change of pace. From here, I moved onto investigate more Kodály, plus his Hungarian contemporaries Bartók and Dohnányi.

    Philips 462 8242

     

     

     

    Claire Jackson
    Sub-Editor

    Programming is an art form in itself: putting music into context, while allowing pieces to speak independently is easier said than done. In his 2018 album Solo, flautist Emmanuel Pahud pits Telemann’s 12 Fantasias against works spanning the last three centuries. The result is an epic survey of unaccompanied music that takes the listener through the mountains of minimalism and under an avant-garde avalanche, exploring every extended technique along the way.

    Although the likes of Jörg Widmann’s Petite suite (2016) and Varèse’s Density 21.5 capture attention as standalone works, it’s the process of hearing the contemporary creations interspersed with Telemann’s trinkets that makes this album so fascinating. There are lots of flute players who can handle this type of repertoire, but no-one else has presented them in a programme like this. It’s a collection that demands to be heard from start to finish to feel the full, synaptic-tingling benefit.

    Warner Classics 9029570175

     

     

     

    Michael Beek
    Reviews Editor

    Great soundtrack albums are, by their very nature, curated listening experiences. You have to listen from beginning in order to follow the aural journey of the story. One which sticks in my mind, and which opened doors into classical music for me, is the album of The Truman Show. The only artist credited on the front is German-Australian composer Burkhard Dallwitz and, in my innocence, I assumed he’d written everything I’d heard in the film. But no, someone called Philip Glass had in fact composed some of the best bits.

    It’s a clever notion that the fictional show within the film would use music by Glass to accompany scenes, both pre-existing and original pieces. So, Dallwitz scored the film and Glass scored the show within the film. Suffice to say I went in search of more music by Glass, today one of my favourite composers. The album also features tracks by Chopin and Wojciech Kilar. Quite a colourful journey!

    Milan Records 35850-2

     

     

     

    Freya Parr
    Editorial Assistant

    An album was released this year that challenged my preconceptions of 16th-century choral music, a genre I’d never thought I’d find myself emotionally invested in. In glorious sound quality, the Armonico Consort and Choir of Gonville & Caius College, Cambridge had me transfixed with their Supersize Polyphony album, featuring Striggio’s 40- and 60-part masses and Tallis’s Spem in Alium, interspersed with chants by Hildegard von Bingen.

    Those ethereal chants (which, I’ll admit, had previously left me numb with boredom) stood out with their seamless sustained notes under tumbling melodies. It was programming at its best – the Hildegard chants brought out colours in the large-scale works I’d never noticed, and the purity and depth of sound gave a new sense of space to the chants.

    Signum SIGCD560

     

     

  • Find out more >

    " rel="nofollow" target="_blank">Oberlin Conservatory of Music

    classical-music.com | Fri, 11 Oct 2019 13:43:13 +0000

    Website: 
    https://www.oberlin.edu/conservatory
    Tel: 
    (440) 775-8413

    Oberlin Conservatory of Music is the only major conservatory dedicated to the education of undergraduates. Based just outside of Cleveland, Ohio, the school has been delivering transformative educational programmes to musicians since 1865.

    Oberlin opens a world of possibilities: Esteemed faculty mentors, exposure to resident and guest artists, exemplary facilities, and countless opportunities to perform on campus and beyond.

    Location

    OH 44074
    United States

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  • Jessye Norman: The best recordings

    classical-music.com | Fri, 11 Oct 2019 09:00:00 +0000

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    Strauss
    Four Last Songs
    Leipzig Gewandhaus Orchestra/Kurt Masur
    Philips 000943302

    Jessye Norman was renowned for her interpretations of Strauss's sumptuous Four Last SongsThey are performed here with a wonderful depth of emotion by Jessye Norman alongside Kurt Masur’s Leipzig Gewandhaus Orchestra. Strauss wrote his Four Last Songs as he was nearing the end of his life, conveying a sense of calm and acceptance towards death, a sentiment that is perfectly conveyed by Norman’s rich and mature tone.

    Her phrases are beautifully smooth and expansive, and she seems to effortlessly glide up to the high notes. The slower-than-usual tempo gives the songs a real sense of space appropriate to the poignancy of the text.

     

     

     

    Purcell
    Dido and Aeneas
    Derek Lee Ragin etc; English Chamber Orchestra/Raymond Leppard
    Philips 416299

    In this recording of Purcell’s masterpiece, recorded in 1986, Jessye Norman sings the title role of Dido. The opera tells the story of Dido, the Queen of Carthage and her despair upon her abandonment by the Trojan hero Aeneas with whom she has fallen in love. A somewhat indulgent interpretation, the expressive features of her vocal line are beautifully shaped to capture the stoicism and nobility of her character whilst equally capturing the underlying vulnerability.

    This is especially notable in ‘Dido’s Lament’, where the full range of her vocal qualities are demonstrated and executed with absolute control, from the whispered final line of the opening recitative to the climactic and powerful high ‘G’ on her final utterance of ‘remember me’.

     

     

    Jessye Norman, Dido and Aeneas 'Dido's Lament'

     

     

     

    Traditional
    Spirituals in Concert
    Battle, Norman, Levine et Et Al; Orchestra/Chorus/James Levine
    Deutsche Grammophon 429790

    Norman began her singing career at the age of four, singing gospel songs in her local church. In this recording from 1991, Norman teams up with soprano Kathleen Battle to play homage to African-American music in a concert of spirituals. The concert opens with a lively and uplifting duet, ‘In That Great Getting Up Morning’, showcasing the incredible vocal pyrotechnics of both singers alongside full chorus and orchestra.

    In contrast, Norman’s soulful rendition of ‘Deep River’ is sung with a beautifully simple organ accompaniment. It is executed without vocal frills, capturing the purity of the music. The richness of her lower register is particularly impressive here.

     

     

    Jessye Norman, Deep River

     

     

    Offenbach
    La Belle Helene
    Charles Burles etc; Toulouse Capitole Orchestra/Toulouse Capitole Chorus/Micheal Plasson
    EMI Classics 395108

    Jessye Norman plays the title role in this recording of Offenbach’s La Belle Hélène. The piece is a parody of the story of Helen of Troy’s elopement with Paris, which started the Trojan War. Norman’s portrayal of Helen is very much that of a ‘husky, smoky-voiced vamp’ (Ralph More), executing the dialogue with a fantastic sense of comic timing.

    Vocal highlights include the arias ‘Amours divins’ (Divine loves) and ‘On me nomme Hélène la blonde’ (they call me Helen the blonde).

     

     

    Jessye Norman, Amours Divins

     

    Schoenberg
    Erwartung; Brettl Lieder
    Metropolitan Opera Orchestra/James Levine (piano)
    Philips 4262612

    This recording features two works that show off very different sides to Schoenberg. The first half of the disc features Schoenberg’s six Brettl Lieder (Caberet Songs) written in 1901, revealing an unexpected part of Schoenberg’s musical personality with influences from popular music of the time. In this recording, Norman shows a different side to her voice, performing the songs with a charming lightness of tone and airiness.

     

     

    Jessye Norman, Brettl Lieder

     

    On the other hand, his one-act monodrama, Erwartung is the epitome of musical expressionism, staged as a one-act female monologue. Norman’s performance in the monodrama in 1989 with the Metropolitan Opera marked the company’s first single-character production. Norman’s theatrical performance expertly demonstrates the full capabilities of the human voice, capturing a whole range of human emotions.

     

    Jessye Norman, Erwartung, Op. 17 'Das Mondlicht'

     

     

    Strauss 
    Ariadne auf Naxos (DVD)
    James King etc; Metropolitan Opera Orchestra/James Levine
    Deutsche Grammophon 073028

    Strauss’s opera Ariadne auf Naxos blends the traditions of commedia dell’arte and opera seria in this charming play-within-a-play. In this production, recorded at the Metropolitan Opera in 1988, Norman plays the title role of Ariadne. Norman’s monumental stage presence and powerful voice perfectly captures the regal character of Ariadne. Her voice sometimes takes on a more intimate tone, demonstrating the complexities of her character, as demonstrated by her performance of the aria ‘Es gibt ein Reich’ (There is a Kingdom).

     

    Jessye Norman, Ariadne auf Naxos 'Es gibt ein Reich'

  • An introduction to Shostakovich's Symphony No. 11

    classical-music.com | Thu, 10 Oct 2019 09:00:46 +0000

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    Symphony No. 11 'The Year 1905' Op. 103 (1957)

    Premiered: Moscow, 1957

    No. 11 evokes the first uprising of 1905, when peasants stormed the Tsar’s Palace. Saturated with popular and revolutionary songs, it has been described as wordless one-act opera, and won Shostakovich a Lenin Prize in 1958. 

    VASILY PETRENKO: Shostakovich’s own grandfather took part in the 1905 uprising – he was one of the Winter Palace rebels. He survived and was involved in other events.

    He was a real revolutionary, a hero to the composer. It’s not certain exactly what happened that day on 9 January 1905. Some say the tragedy could have been avoided if events had taken a slightly different turn. The people asked for the Tsar to open his food stores as they were starving. The intention at the beginning was to have a dialogue. Shostakovich, I think, was asking, “what if?” 

    ‘One of the first pieces by Shostakovich I performed was the Ten Choruses on texts by Revolutionary Poets, which I sang as a chorister. So I have a voice in my head reciting the events when I hear this symphony. The use of so many popular songs makes it very meaningful to Russians.

    It’s a brilliant setting: the feeling of chill he achieves at the start, the sense of apprehension, are remarkable. It’s been seen as a veiled response to the 1956 Hungarian uprising, but I’m not sure. I think he conceived it before he knew: remember, there would have been no truthful reporting at that time.’

     

     

     

    Vasily Petrenko is, like Shostakovich, a son of Leningrad/St Petersburg, and grew up singing the composer’s songs in its Capella Boys Music School. In 1997 he won first prize in the Shostakovich Choral Conducting Competition and was made chief conductor of the St Petersburg State Academic Symphony Orchestra, during which time he took on the principal conductorship of the Royal Liverpool Philharmonic.

    On his arrival in the city in 2006, at just 30, he launched a project with Naxos to record all Shostakovich’s 15 symphonies. The series has drawn international acclaim and, as the final instalment is released, he looks back on his nine-year journey. ‘To work with an orchestra on one composer for so many years has meant we could build a style, an approach to his language,’ he says. ‘At first, it felt like an exhilarating challenge: there are huge demands. Now, we are of one mind.’ 

     

     

    Petrenko, born a year after the composer’s death, grew up in the Soviet Union. A beneficiary of its uniquely rigorous teaching system, he witnessed its dissolution when he was 15, the re-writing of history books, and even the emergence of a nostalgia for that dark era. He’s in touch with those who remember Shostakovich, and the times through which he lived, but has experienced the Western view of this controversial figure.

    ‘When I conduct these symphonies in Russia, there’s still an unspoken understanding of the songs, the messages. We talk more about the composer’s personal life. When I conduct in the West, it’s important to give the historical context. There’s still so much we don’t know; the family destroyed many letters when Shostakovich died. The State would probably have requisitioned them anyway.’ 

  • A guide to Wagner's Tristan und Isolde

    classical-music.com | Wed, 09 Oct 2019 09:00:30 +0000

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    Tristan und Isolde

    Composed: 1856-9
    Premiered: 12 March 1859, Prague

    Sailing from Ireland to Cornwall, where Isolde is to marry King Marke, Tristan, who killed her previous fiancé, is persuaded to drink the elixir of death in atonement. Isolde drinks it too, wanting an end to her sorry life. This, though, is not the elixir of death but the elixir of love, Isolde’s maid Brangäne having switched the two bottles.

    Cue one of opera’s most famous love stories which ends with Tristan being struck by one of Marke’s men. Mortally wounded, Tristan goes to Brittany  where Islode arrives as he breathes his last.

     

     

     

    During his exile, Wagner was provided with a house to rent by the wealthy silk merchant Otto Wesendonck with whose wife, Mathilde, he fell passionately in love. It was almost certainly an unconsummated relationship, and it gave rise to Wagner’s need, as he wrote to Liszt, to write a drama in which passion should be sated from beginning to end. 

     

     

    But in fact Tristan is about something deeper than that: it is about love as unlimited Desire, which always yearns for something more than it can possibly have. Hence the famous chromaticism of Tristan, the failure of its harmonies ever to resolve until the work’s very end. Wagner simultaneously glorifies love in a scandalously abandoned way, in the duet which constitutes the major part of Act II, and also shows that it is a total impossibility.

     

     

    The love which Tristan and Isolde explore and celebrate in Act II is surrounded, in Act I, by the torments of unrequited love suffered by Isolde, and up to a point by Tristan; and in Act III, by far the most powerful of the acts, by Tristan, wounded and delirious, tearing himself apart in agonies of analysis, realising that no one but he is responsible for his pain.

    As Wagner – who by now had moved to Venice, alone after his wife Minna had learnt of his liaisons – wrote to Mathilde while composing Act III ‘This Act is turning into something terrible! It will drive people mad; only mediocre performances can save me!’  

     

     

    Wagner is scrupulous in putting the case for the other side. Tristan and Isolde are interrupted at the very height of their duet, Isolde’s betrothed King Marke is shown their deceit and, as representative of the world of chivalry, decency and so on, he expresses his bewilderment that two people he trusted completely should betray him. How did it come about, he asks, and the orchestra answers with the motif of Desire, something he can never understand.  

     

     

    And when, in Act III, Tristan collapses, his squire Kurwenal laments that ‘Here he lies, the great man, in thrall to the world’s most wonderful delusion [Love]’. And both lovers die in a state of delusion, Isolde’s ‘Liebestod’, the most famous part of the opera, being sublime wish fulfilment. The potent myth that is romantic love is both celebrated and revealed in all its sublime impossibility.

  • Royal Philharmonic Society Awards 2019 shortlists announced

    classical-music.com | Tue, 08 Oct 2019 10:45:24 +0000

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    The Royal Philharmonic Society (RPS) has announced the shortlist for its 2019 Awards.

    Among this year’s shortlisted nominees are Sheku Kanneh-Mason, cellist and winner of the 2016 BBC Young Musician of the Year Award; music director of the City of Birmingham Symphony Orchestra Mirga Gražinytė-Tyla; and Danish composer Per Nørgård’s Symphony No. 3, which received its UK premiere in 2018 by the BBC Scottish Symphony Orchestra, 44 years after it was originally composed.
     

     

     

    The Awards, which will be held on Thursday 28 November at Battersea Arts Centre in London, will also include the presentation of the prestigious RPS Gold Medal, whose previous recipients include Simon Rattle, Leonard Bernstein and Edward Elgar, plus a brand new Gamechanger Award that will honour an individual, group or organisation for their inspirational ground-breaking work in classical music. 

    ‘There are so many inspirational artists and initiatives to discover on this year’s shortlist,’ says James Murphy, chief executive of the RPS about a list that also features violinist Alina Ibragimova, composers Rebecca Saunders and George Benjamin, and sopranos Carolyn Sampson and Nina Stemme. This is the 30th anniversary of the awards, though the Royal Philharmonic Society itself was founded in 1813 and has presented the Gold Medal since 1870.
     

    See below for the full shortlist of nominees:
     

    Chamber-Scale Composition

    • Clara Lannotta – dead wasps in the jam-jar (iii)
    • Julian Anderson – String Quartet No. 3
    • Tansy Davies – Cave
       

    Concert Series and Events

    • The Cumnock Tryst
    • Freedom Season – Welsh National Opera
    • The Nature of Why – British Paraorchestra
    • Stockhausen: Cosmic Prophet – Southbank Centre
       

    Conductor

    • Francois Xavier-Roth
    • Mirga Gražinytė-Tyla
    • Robert Ames
       

    Ensemble

    • Aurora Orchestra
    • BSO Resound
    • Royal Northern Sinfonia
       

    Impact

    • BSO Change Makers and Resound
    • Empowering Young Carers – Bath Philharmonia
    • Streetwise Opera
       

    Instrumentalist

    • Alina Ibragimova – violin
    • Jean-Guihen Queyras – cello
    • Mahan Esfahani – harpsichord
       

    Large-Scale Composition

    • Anna Meredith – Five Telegrams
    • George Benjamin – Lessons in Love and Violence
    • Per Nørgård – Symphony No. 3
    • Rebecca Saunders – Yes
       

    Opera and Music Theatre

    • Lady Macbeth of Mtsensk – Birmingham Opera Company
    • Royal Opera
    • The Second Violinist – Irish National Opera and Landmark Productions
       

    Singer

    • Carolyn Sampson – soprano
    • Elaine Mitchener – vocalist
    • Nina Stemme – soprano
       

    Storytelling

    • Debussy: A Painter in Sound – Stephen Walsh
    • Janet Baker: In Her Own Words – John Bridcut/BBC4
    • Michael Tippett: The Biography – Oliver Soden
       

    Young Artists

    • Castalian String Quartet
    • The Hermes Experient
    • Sheku Kanneh-Mason – cello

     

  • Free Download: Imogen Cooper plays Albéniz's Recuerdos de Viaje

    classical-music.com | Tue, 08 Oct 2019 09:56:14 +0000

    'Cooper's pianism has a rare refinement, and is hyper-sensitive to the composers' demands'

    This week's free download is Albéniz's Recuerdos de viaje: No. 6, Rumores de la caleta (Malagueña), performed by pianist Imogen Cooper and recorded on Chandos. It was awarded five stars for both performance and recording in the November 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 support@classical-music.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

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