Venice Classic Radio Italia - Beautiful Classical Music - è una webradio digitale italiana di musica classica che propone ogni giorno un repertorio di musica antica, barocca, da camera, sinfonica, lirica e contemporanea. Ascolta Venice Classic Radio online in diretta streaming!
Dowland Come, Heavy Sleep (Grace Davidson, David Miller)
Schumann Humoreske Op. 20: II. Hastig (William Youn)
RO Morris Love Came Down at Christmas (arr. Stephen Cleobury) (Stephen Cleobury, Henry Websdale, Choir of King's College, Cambridge)
Tchaikovsky The Seasons Op. 37a: XII. December. Christmas (Barry Douglas)
Berlioz Roméo et Juliette: Pt. 3, Finale - Oath of Reconciliation (San Francisco Symphony Orchestra & Chorus/Michael Tilson Thomas)
Elgar Chanson de nuit (Hallé Orchestra/Mark Elder)
James Burton Tomorrow Shalle Be My Dancing Day (Jack Hawkins, Michael Bell, James Adams, Joseph Wicks, Choir of St John's College, Cambridge)
Monday 26 November 2018
Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Orchestra & Chorus/Oliver Knussen)
Richard Strauss Horn Concerto No. 1: III. Rondo. Allegro (Live) (William Caballero, Pittsburgh Symphony Orchestra/Manfred Honeck)
Derek Bermel Murmurations: I. Gathering at Gretna Green (ROCO)
Frank Martin Ballade for Flute & Piano (Bridget Bolliger, Andrew West)
Debussy Violin Sonata in G minor: III. Finale. Très animé (Isabelle Faust, Alexander Melnikov)
Anonymous Now May We Singen (ORA Singers/Suzi Didby)
Rachmaninov Prelude in G minor Op. 23 No. 5 (Live at Philharmonie, Berlin/2018) (Yuja Wang)
James Newton Howard Violin Concerto: II. Andante semplice (James Ehnes, Detroit Symphony Orchestra/Cristian Măcelaru)
Sally Beamish In the Stillness (Sonoro/Neil Ferris)
Parry Suite moderne (arr. J Dibble for Orchestra): III. Romanza. Lento (BBC National Orchestra of Wales/Rumon Gamba)
Jonathan Dove A Brief History of Creation: X. Whales Return to the Sea (Hallé Children's Choir, Hallé Orchestra/Mark Elder)
Purcell King Arthur, Act 1: 'Come if You Dare' (Robert Buckland, Vox Luminis/Lionel Meunier)
Rachmaninov Piano Concerto No. 4 (Live at Kimmel Center, Philadelphia) (Daniil Trifonov, The Philadelphia Orchestra/Yannick Nézet-Séguin)
Fagerlund Höstsonaten, Act 1: charlotte Andergast! Vilken konstnär! (Krista Kujala, Mari Sares, Jere Martikainen, Jarmo Ojala, Finnish National Opera Chorus, Finnish National Opera Orchestra/John Storgards
Monday 19 November 2018
Julian Anderson Heaven is Shy of Earth: III. Gloria (With Bird) (Susan Bickley, BBC Symphony Chorus, BBC Symphony Orchestra/Oliver Knussen)
Zemlinsky Albumblatt (Erinnerung aus Wien) (William Youn)
Schreker The Birthday of the Infanta: Suite I. Reigen (Berlin Radio Symphony Orchestra/JoAnn Falletta)
Mozart Violin Concerto No. 1 K.207: III. Presto (Nikolaj Znaider, London Symphony Orchestra)
Tchaikovsky The Seasons, Op. 37a, TH 135: XII. December. Christmas (Barry Douglas)
Holst In the Bleak Midwinter (Sheku Kanneh-Mason, Isata Kanneh-Mason)
Glazunov The Seasons ‘L’été: No. 9, Scène de l’été (Zagreb Philharmonic Orchestra/Dmitri Kitayenko
JS Bach Prelude & Fugue BVW 855a: Prelude No. 10 in B minor (Vikingur Ólafsson)
Magnus Lindberg Tempus fugit Pt. 1 (Finnish Radio Symphony Orchestra/Hannu Lintu)
Gurney Since I Believe in God the Father Almighty (Tenebrae/Nigel Short)
Tchaikovsky The Nutcracker Act 1: No. 6 Clara and the Nutcracker (Los Angeles Philharmonic/Gustavo Dudamel)
Ravel Ma mère l’Oye Suite, M. 60: V. Le jardin féerique (Prague Philharmonia/Emmanuel Villaume)
Eric Whitacre Deep Field: Earth Choir (Eric Whitacre Singers, Virtual Choir 5, Royal Philharmonic Orchestra/Eric Whitacre)
classical-music.com | Mon, 17 Dec 2018 10:00:00 +0000
Every Christmas, we invite a leading composer to write a carol for our readers.
This year's is written by composer Dobrinka Tabakova and you can download the score for the carol here.
We hope you'll include this carol in your service or concert. We'd love to hear your performances, so send any audio or video files or links to firstname.lastname@example.org we'll share them with our followers and readers on our website and social feeds.
When I was invited to write a carol for BBC Music Magazine, I had just completed one for the Truro Cathedral Nine Lessons and Carols service and had a previous advent work close to mind – my Alma Redemptoris Mater for the choir of Merton College, Oxford.
Both of these works were conceived to be performed in a sacred context. In this new carol, I still wanted to retain some liturgical mystery, but add another, more playful element.
While researching texts for the Truro carol, I came across Ralph Dunstan’s collection The Cornish Songbook and was drawn to one of the carols there: Heavenly sound.
As well as the upbeat good wishes, it was probably the ‘Hark, hark’ which adds a percussive punctuation and lifts the words, and gave me the idea of a (gentle) clapping counterpoint.
The image I had for the performance of my carol was more social – a Christmas sing-along at home or, perhaps, a slightly eccentric group of enthusiastic amateurs singing from smart-phones in a pub (I know a few of those).
The general mood is that of a contemporary round. The words dictated the rhythm of the carol, which I initially wrote in a stream of changing time signatures.
The ‘look’ of the carol didn’t quite sit with the more laid-back image I had of people singing it, so I thought either to dispense with bar lines or simply not have time signatures and leave the bar lines to give some structure to the melodies.
One of the things I’ve noticed when people are faced with a page of different time signatures is that they make the music quite spiky and bouncy. That is not my intention here, and I hope that the lack of time signatures will put emphasis on phrasing rather than rhythm.
In some places the melodies are quite long, so there will need to be stagger breathing – where each singer from the same line takes a breath at different times, creating the illusion that they are all singing one continuous melody with no break. Those places are marked with a broken slur where a natural breath would be taken.
The clapping is also not compulsory – in fact it would be better to just have some singers clap – and it’s always the same pattern, which would ideally be learned by heart.
The section from bar 77 (‘Let mortals catch…’) has a very low alto line, which may be welcomed by some, but it’s fine to have those who find it too low to sing the soprano line and add tenors to the alto line.
I do hope my carol brings you joy. As much as the title ‘Good-will to men and peace on Earth’ may be a nod to past seasonal tunes, I couldn’t think of a better wish now and for the future.
classical-music.com | Sat, 15 Dec 2018 10:00:48 +0000
It’s officially the festive season, so we’re all finally permitted to don our finest reindeer jumpers, have mugs of mulled wine thrust upon us on entry into any room, and generally indulge in all things rich and fruity (that counts for food and music in equal measures).
To coincide with our Christmas playlist on Apple Music (available here), the BBC Music Magazine team have chosen their favourite seasonal pieces.
‘Troika’ from Prokofiev’s Lieutenant Kijé Suite conjures up a crisp, bell-filled wintry scene and fits this time of year perfectly. After a grand brass introduction, the famous fourth movement ‘Troika’ breezes along, creating the impression of a fast-moving sleigh. The music was written for a Soviet film in 1933 – when Prokofiev returned to his homeland after a ten-year residency in Paris – and charts the life of a fictional military officer.
Recommended recording: Bergen Philharmonic Orchestra/Andrew Litton BIS BIS1994
There seems to be a dearth of cheery Christmas choral works – most tend to be reflective rather than joyful (think Warlock, Howells, Michael Head, etc etc). But John Gardner’s sprightly two-minute burst of joy is inspired, its off-set rhythms and constantly changing time-signatures giving a wonderful sense of forward movement. Gardner, born in 1917, was a prolific composer of orchestral, chamber, vocal and instrumental music, but it’s for this delightful Christmas miniature that he’s almost solely known today.
Recommended recording: The Sixteen/Harry Christophers CORO COR16004
Adams’s nativity oratorio is one of the more unusual retellings of the Christmas story. The text is drawn from various biblical sources as well as a number of poems written by Latin American women, and the musical language is littered with inflections of Latin American folk music. Its theatrical writing is John Adams to a T, and the floating harmonies and unusual rhythms in this movement are warm and otherworldly. The trio of countertenors make this movement completely magical.
Recommended recording: Lorraine Hunt-Lieberson, Dawn Upshaw, Willard White, German Symphony Orchestra/Kent Nagano Nonesuch 7559 79634-2
Amid all the choral hurly-burly of Britten’s wonderfully invigorating A Ceremony of Carols comes the moment of extraordinary stillness that is the Interlude for solo harp. Based on the plainchant that we hear at the beginning of the work, this is music that reminds me of a frozen, deserted landscape, in which the only movement is the occasional drip from a slowly melting icicle. It’s extraordinarily atmospheric, and an essential part of my festive listening each year.
Recommended recording: James O’Donnell (organ), Sioned Williams (harp), Choir of Westminster Cathedral/David Hyperion CDA66220
If I haven't heard or sung O come, O come Emmanuel at least once over Christmas, even an extra mince pie won't stop me feeling short-changed on the festive front. This haunting hymn for Advent and Christmas has an ancient quality that I love. The text and tune developed separately through the centuries, and various versions exist, but the familiar words-and-music combination in English came into being in 1851. Rejoice, Rejoice!
Recommended recording: Choir of King’s College, Cambridge/Sir David Willcocks Warner Classics 9992365032
classical-music.com | Fri, 14 Dec 2018 10:00:00 +0000
As well as mop-wielding Mickey Mouse, Disney’s feature-length cartoon has a gorgeously animated section devoted to The Nutcracker, including music from the Sugar-Plum Fairy, the Arabian Dance, the Russian Trepak and the Waltz of the Flowers.
Further cinematic Nutcracker delights, as a computer-animated Barbie embarks on a ballet adventure. It is, needless to say, all very pink, though our heroine does dance a neat little Sugar-Plum Fairy routine.
‘I hope I never hear that God-awful Nutcracker music again,’ complains a typically grumpy Homer Simpson. And guess what comes next? Yup, the Simpsons cast sings a Christmas medley to the tune of the Act I March.
Few musicians have fused the worlds of classical and jazz as sublimely as The Duke, whose 1960 take on Tchaikovsky comes complete with natty titles such as ‘Sugar Rum Cherry’ and ‘Toot Toot Tootie Toot’.
Two years after Duke Ellington, American rockers B. Bumble & the Stingers were inspired to create their own high-octane arrangement of The Nutcracker’s March, a version that’s been covered by Emerson, Lake and Palmer, among others.
From Frank Muir pootling around in a punt in 1976 to a 1980s office worker being serenaded by a singing chocolate bar and her hunky-chunky almonds, Cadbury’s brilliant ad campaign had us all singing ‘Everyone’s a Fruit and Nut case’ to the Dance of the Reed Pipes.
Here’s one for sharp-eyed Nutcracker spotters, courtesy of Monty Python’s 1970 sketch. As Graham Chapman enters the Richard III Ward at the Royal Hospital for Overacting, a group of King Mice pass in the other direction.
This was written for The Choir of King’s College, Cambridge to a lovely anonymous modern text – the author should step up and take credit. Chilcott’s music, of magical stillness and simplicity, brings a tear to the eye every time.
5. John David/Philip Lawson: Born on a new day (2000)
This simple, touching carol came into being when King’s Singer Philip Lawson wrote a Christmas text to John David’s 1990 song ‘You are the new day’. With Peter Knight’s perfect choral arrangement, a new Christmas classic was born.
classical-music.com | Wed, 12 Dec 2018 10:00:00 +0000
Schubert's darkly disturbing 'Unfinished' Eighth Symphony is a work that, as its nickname implies, continues to attract its share of conspiracy theorists.
The Austrian composed his B minor Symphony in 1822 and presented it to Anselm Hüttenbrenner for the musical society in Graz. Mysteriously, Hüttenbrenner only revealed it – the first two movements and the unfinished scherzo – at the end of his life.
It was not performed until 1865, turning out to be further ahead of its time than anything that had been written meanwhile. But being born, as it were, into a later era, it was treated to the musical manners of the Romantics and misunderstood. So it remained until the last 25 years or so.
It is not the sentimental journey so often heard, but Schubert’s dark night of the soul, in which the tragic chase of the first movement (echoing his song Der Erlkönig, in which the child’s harried calls to his father in plaintive minor ninths are recalled during the first subject) is countered by the second movement’s serenity in the face of disaster.
The best recording
Roger Norrington (conductor) London Classical Players (1990) Virgin 562 2272
The disaster alluded to in the ‘Unfinished’ was Schubert’s discovery that he had contracted syphilis. Sir Roger Norrington’s epoch-making 1990 recording gets the point completely. His is not a comfortable reading – but then it is not a comfortable symphony.
He sticks to Schubert’s markings, maintains the lyrical continuity through the textural contrasts, not imposing unmarked tempo changes and observing only those pauses and slowings-down which Schubert composes in at pivotal points – such as the long held horn note between first and second subjects, and the suspended single string notes in the second movement.
Norrington’s attention to detail is phenomenal, particularly in the second movement when even the big second subject repeat in the bass is subtly phrased. You may gasp at his speeds or chafe at the hair-shirt sound-quality of the period instruments, but this is a brilliant attempt to realise the spirit of the composer. Schubert was going through a bleak period, and bleakness is very much part of the character of the work.
That said, many conductors mistakenly seem to hear Mahlerian ‘leb-wohl’s (‘goodbye’) in the dying fall of the cadences at the end of both movements. But it is not a swansong, and Norrington and his London Classical Players have evidently grasped that too.
Three more great recordings
Thomas Dausgaard (conductor) Swedish Chamber Orchestra (2010) BIS SACD 1656
Thomas Dausgaard and the Swedish Chamber Orchestra are even faster than Norrington. Their reading is more hectic and tragic, as far away from the Romantic reverie we usually hear as its possible to imagine – it’s troubled and urgent.
The first movement is a haunted scamper, an unstoppable rush, with a climax that is a nightmare of alienation – after the mighty unison thunderbolts, the woodwind syncopations sound like terrified heartbeats. Dausgaard sticks strictly to the tempo without any slowing down or speeding up, and in the second movement the woodwind choir shape their chorus beautifully.
All this is caught with a wonderfully immediate lively recorded balance with a vital contemporary feel.
Jos van Immerseel (conductor) Anima Aeterna Brugge (1997) Zigzag ZZT308
Jos van Immerseel’s performance with Anima Aeterna Brugge is part of a complete Schubert cycle, calling on the latest scholarship and closest possible attention to the original scores, and sourcing the correct instruments.
It has a lot to commend it, including the detailed accompanying sleevenotes – though unaccountably for a complete cycle, it does not include the incomplete scherzo.
Van Immerseel doesn’t pull the tempos around like most conductors but concentrates on the dynamics. If there is one reservation, it is that the syncopated woodwind chords in the second subject are so slurred that they almost sound like one note, whereas Schubert has gone to the trouble of putting dots separating each one. It is, though, very scholarly and interesting.
Charles Mackerras (conductor) Orchestra of the Age of Enlightenment (2000) Virgin 561 8062
What about a finished ‘Unfinished’? When Hüttenbrenner revealed the miracle that he’d been hiding for over 30 years, some pages were missing, the scherzo incomplete, and there was no finale to be found. But did Schubert finish it? He may well have done.
Many people write off the fragmentary scherzo as not worthy of the first two movements – but it is just as original, a new type of post-Beethovenian scherzo. As for the missing finale, it might be that Schubert lifted it for the first entr’acte of the Rosamunde incidental music he produced at the end of 1823.
This is how the scholar Brian Newbould produced his completed version – a version that Sir Charles Mackerras and the OAE recorded in 2000, getting close to the ideal soundworld as they did so.
And one to avoid
Sergiu Celibidache’s remastered live performance with the Allessandri Scarlatti Orchestra of Naples in 1958 does him no credit. You can hear what he is trying to do, but a very noisy ambient atmosphere disguises some very bad orchestral playing, shrill and out of tune.
Celibidache’s proverbial snail-like tempi, not unusual in many other performances, sound as thought they are going to fall of the sick bed. There are other Celibidache recordings, if you are a fan, so avoid this one.
classical-music.com | Tue, 11 Dec 2018 10:00:00 +0000
This week's free download is the third movement, Allegro, of Marcello's Oboe Concerto, performed by Katharina Spreckelsen with the English Concert, under the baton of Harry Bicket. It was recorded on Signum Classics and was awarded four stars for performance and five for recording in the December issue of BBC Music Magazine.
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