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Davide of MIMIC - Online Radio
18min. fa
Alfredo Piatti - Capriccio Over A Theme From "niobe" In D Ma...
55min. fa
Alfredo Piatti - Fantasia Sopra Alcuni Motivi Della Gemma Di Vergy In ...
1o. 34min. fa
Johannes Brahms - Violin Sonata In G Major Op. 78 - Iii. Allegro Molto...
2o. 6min. fa
Johann Sebastian Bach - Cello Suite No. 6 In D Major, Bwv 1012 - Iii....
2o. 44min. fa
Johann Sebastian Bach - Cello Suite No. 5 In C Minor, Bwv 1011 - I. P...
3o. 18min. fa
Johann Sebastian Bach - Cello Suite No. 3 In C Major, Bwv 1009 - V. B...
3o. 56min. fa
Johann Sebastian Bach - Cello Suite No. 1 In G Major, Bwv 1007 - V. M...
3o. 56min. fa
Johann Sebastian Bach - Cello Suite No. 1 In G Major, Bwv 1007 - V. M...
4o. 28min. fa
Franz Joseph Haydn - 'missa In Tempore Belli' 'paukenme...
5o. 4min. fa
Franz Joseph Haydn - 'missa In Tempore Belli' 'paukenme...
5o. 38min. fa
Ludwig Van Beethoven - Piano Sonata No. 26 In E Flat Major, Op. 81a -&...
6o. 18min. fa
Ludwig Van Beethoven - Piano Sonata No. 26 In E Flat Major, Op. 81a -&...
6o. 57min. fa
Ludwig Van Beethoven - Piano Sonata No. 3 In C Major, Op. 2, No. 3-3. ...
7o. 37min. fa
Johann Sebastian Bach - Goldberg Variations - Variatio 25. A 2 Clav. -...
8o. 18min. fa
Johann Sebastian Bach - Goldberg Variations - Variatio 8. A 2 Clav. - ...
8o. 54min. fa
Robert Schumann - Introduction And Allegro Appassionato, Op. 92 - Alle...
9o. 27min. fa
Robert Schumann - Piano Concerto Op. 54 In A Minor - I. Allegro Affett...
10o. 1min. fa
Isidor Philipp - Récitatif Et Air From Cantata No. 30, Bwv 30 - Nadej...
10o. 37min. fa
Camille Saint-saëns - Bourrée From Partita No. 1 For Solo Violin, Bw...
11o. 17min. fa
Gabriel Fauré - Cello Sonata No. 2 In G Minor, Op. 117 - I. Allegro -...
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Wolfgang Amadeus Mozart - Piano Concerto No. 20 K. 466 In D Minor - I. Allegro (cadenza: L. Van Beethoven) - Jan Lisiecki, Christian Zacharias, Symphonieorchester Des Bayerischen Rundfunks - Mozart: Piano Concertos Nos. 20 & 21
38 0
Ludwig Van Beethoven - Piano Sonata No. 23 Op. 57 In F Minor 'appassionata' - Iii. Allegro Ma Non Troppo - Presto - Tina Margareta Nilssen - Grieg & Beethoven: Piano Sonatas
33 0
Ludwig Van Beethoven - String Quartet No. 1 In F Major, Op. 18 No. 1 - Ii. Andante Con Moto - Cuarteto Casals - Beethoven: 'inventions' The String Quartets
32 0
Wolfgang Amadeus Mozart - Piano Sonata No. 12 In F Major K. 332 - Iii. Allegro Assai - Daria Van Den Bercken - Mozart: Piano Sonatas Nos. 4, 11, 12
19 0
Johann Sebastian Bach - Goldberg Variationen Bwv 988 - Variatio 4. A 1 Clav - Diego Ares - Bach: Goldberg Variationen
19 0
Wolfgang Amadeus Mozart - Violin Concerto No. 5 In A Major, K. 219 - I. Allegro Aperto - Caroline Goulding, Kevin John Edusei, Berner Symphonieorchester - Korngold & Mozart: Violin Concertos
13 0
Ludwig Van Beethoven - Piano Sonata Op. 31 No. 2 In D Minor 'tempest' - Ii. Adagio - Angela Hewitt - Beethoven: Piano Sonatas Op. 27 No. 1, Op. 31 No. 2, Op. 79, Op. 109
12 0
Ludwig Van Beethoven - Violin Sonata No. 7 In C Minor, Op. 30, No. 2 - I. Allegro Con Brio - Andrew Wan & Charles Richard-hamelin - Beethoven: Violin Sonatas Op. 30
12 0
Wolfgang Amadeus Mozart - Piano Quartet In G Minor, K.478 - 2. Andante - Malcolm Bilson, Elizabeth Wilcock, Jan Schlapp, Timothy Mason - Mozart: Piano Quartets
11 0
Ludwig Van Beethoven - Cello Sonata No. 1 Op. 5 No. 1 In F Major - I. Adagio Sostenuto - Allegro - Xavier Phillips & François-frédéric Guy - Beethoven: Cello Sonatas
11 0
Johann Sebastian Bach - Cello Suite No. 2 In D Minor, Bwv 1008 (arr. F. Br?ggen For Recorder) - I. Prelude - Bolette Roed - Bach: Sonatas, Partitas, Suites Transcribed For Solo Recorder
10 0
Wolfgang Amadeus Mozart - String Quartet No. 18 In A, K.464 ('haydn 5') - 2. Menuetto - Quartetto Italiano - Mozart: The String Quartets
9 0
Felix Mendelssohn - String Quartet No. 2 In A Minor, Op. 13 - Iv. Presto-adagio Non Lento - Quatuor Arod - Mendelssohn: String Quartets Nos. 2 & 4 & 4 Pieces Op. 81
8 0
Anton Bruckner - Symphony No. 8 In C Minor, Wab 108 (nowak 1890) - Ii. Scherzo. Allegro Moderato - Mariss Jansons, Symphonieorchester Des Bayerischen Rundfunks - Bruckner: Symphony No. 8
8 0
Felix Mendelssohn - Symphony No. 2 In B-flat Major, Op. 52, Mwv A18 'lobgesang' - Ic. Adagio Religioso - Anna Lucia Richter, Esther Dierkes, Robin Tritschler, Andrew Manze, Wdr Rundfunkchor, Ndr Chor Und Radiophilharmonie - Mendelssohn: Symphony
8 0
Piotr Ilic Tchaikovsky - Violin Concerto Op. 35 In D Major - Iii. Allegro Vivacissimo - Vladimir Spivakov, Yuri Temirkanov, Royal Philharmonic Orchestra - Tchaikovsky & Prokofiev: Violin Concertos
8 0
Robert Schumann - Piano Concerto Op. 54 In A Minor - I. Allegro Affettuoso - Jan Lisiecki, Antonio Pappano, Orchestra Dell'accademia Nazionale Di Santa Cecilia - Schumann: Piano Concerto
8 0
Franz Schubert - String Quintet D. 956 In C - I. Allegro Ma Non Troppo - Kuijken Quartet, Michel Boulanger - Schubert: String Quintet D. 956
7 0
Wolfgang Amadeus Mozart - Piano Sonata In G Major, Kv 283 - Iii. Presto - William Youn - Mozart: Piano Sonatas
7 0
Johann Sebastian Bach - Cello Suite No. 3 In C Major, Bwv 1009 - Ii. Allemande - Yo-yo Ma - Six Evolutions (bach: Cello Suites) 2018 Recording
7 0
Ludwig Van Beethoven - Symphony No. 7 Op. 92 In A Major - Ii. Allegretto - IvГЎn Fischer, Budapest Festival Orchestra - Beethoven: Symphony No. 7
6 0
Edward Elgar - Cello Concerto Op. 85 In E Minor - Iv. Allegro Moderato - Ralph Kirshbaum, Alexander Gibson, Scottish National Orchestra - Elgar & Walton: Cello Concertos
6 0
Edward Elgar - Symphony No. 2 In E-flat, Op. 63 - Ii. Larghetto - Vasily Petrenko, Royal Liverpool Philharmonic Orchestra - Elgar: Symphony No. 2, Mina, Carissima & Chanson De Matin
6 0
Johannes Brahms - Piano Concerto No. 2 Op. 83 In B-flat Major - I. Allegro Non Troppo - Marc-andr? Hamelin, Andrew Litton, Dallas Symphony Orchestra - Brahms - Piano Concerto No. 2
6 0
Felix Mendelssohn - String Quartet No. 5 - I. Allegro Vivace - Quatuor Ysa?e - Mendelssohn: String Quartets
6 0
Johann Sebastian Bach - The Well-tempered Clavier, Book 1, Prelude & Fugue In C-sharp Major, Bwv 848 - Ii. Fugue - Alexandra Papastefanou - Bach: Das Wohltemperierte Clavier
6 0
Franz Schubert - Piano Sonata No.21 In B-flat, D.960 - I. Molto Moderato - Maria JoГЈo Pires - Schubert: Piano Sonatas 16 & 21 (op. Posth.) (the 2012 Recording)
5 0
Johannes Brahms - Piano Quintet In F Minor, Op. 34: I. Allegro Non Troppo - Lucia Huang & HГЎba Quartett - Brahms: Sonata For 2 Pianos In F Minor, Op. 34bis & Piano Quintet In F Minor, Op. 34
5 0
Morton Feldman - For Bunita Marcus - Page 14 - Marc-andrГ© Hamelin - Feldman: For Bunita Marcus
5 0
This Is The Davide Of Mimic Radio Stream * 24-7 * Broadcasting From London - Classical Master Selected By Davide Of The Meeting In Music Internet Community -
5 0
Johannes Brahms - Cello Sonata No. 1 In E Minor, Op. 38 - Iii. Allegro - Marie-elisabeth Hecker, Martin Helmchen - Brahms: Cello Sonatas
5 0
B?la Bart?k - Violin Concerto No. 2, Sz. 112 - I. Allegro Non Troppo - Benjamin Schmid, Tibor Bog?nyi, Pannon Philharmonic Orchestra - B?la Bart?k: Die Violinkonzerte
5 0
Henryk G?recki - Symphony No. 3 Op. 36 'symphony Of Sorrowful Songs' - I. Lento - Sostenuto Tranquillo Ma Cantabile - Ingrid Perruche, Alain Altinoglu, Sinfonia Varsovia - G?recki: Symphony No. 3
5 0
Johann Sebastian Bach - Violin Sonata No. 1 In G Minor, Bwv 1001 - I. Adagio - Bolette Roed - Bach: Sonatas, Partitas, Suites Transcribed For Solo Recorder
5 0
Johann Sebastian Bach - Violin Partita No. 2 In D Minor, Bwv 1004 (arr. F. Br?ggen For Recorder) - Iii. Sarabande - Bolette Roed - Bach: Sonatas, Partitas, Suites Transcribed For Solo Recorder
5 0
George Frideric Handel - Messiah Hwv 56 - Part I - Sinfony - Ren? Jacobs, Freiburger Barockorchester - Handel: Messiah (1750 Version)
5 0
Franz Joseph Haydn - 'missa In Tempore Belli' 'paukenmesse' Hobxxii9 C-dur - I. Kyrie - Dorothea R?schmann, Elisabeth Von Magnus, Herbert Lippert, Oliver Widmer, Nikolaus Harnoncourt, Arnold Schoenberg Chor, Concentus Musicus Wien - Hay
5 0
Wilhelm Stenhammar - Serenade In F Major Op. 31 (1914/19) - Ii. Canzonetta - Esa-pekka Salonen, Swedish Radio Symphony Orchestra - Stenhammar: Serenade, Midvinter, Chitra
5 0
Robert Schumann - Kreisleriana Op. 16 - Iv. Sehr Langsam - Lento Assai - Misuko Uchida - Schumann: Kreisleriana & Carnaval
5 0
Anton Bruckner - Symphony No. 6 In A Major, Wab 106 - Iii. Scherzo. Nicht Schnell - Bernard Haitink, Symphonieorchester Des Bayerischen Rundfunks - Bruckner: Symphony No. 6
5 0
Wolfgang Amadeus Mozart - Clarinet Concerto In A Major, K. 622 - I. Allegro - Katherine Lacy, Duncan Riddell, Royal Philharmonic Orchestra - Mozart: Clarinet Concerto & Clarinet Quintet
5 0
Domenico Scarlatti - Keyboard Sonata In F Major, Kk. 525 - Emilia Fadini - Scarlatti: Sonatas (esercizi Per Gravicembalo)
5 0
Franz Liszt - 10 Harmonies PoГ©tiques Et Religieuses, S.173 - No. 1 Invocation - Roberto Plano - Liszt: Harmonies PoГ©tiques Et Religieuses
4 0
Franz Schubert - Piano Sonata No.16 In A Minor, D.845 - I. Moderato - Maria JoГЈo Pires - Schubert: Piano Sonatas 16 & 21 (op. Posth.) (the 2012 Recording)
4 0
Wolfgang Amadeus Mozart - Divertimento For Flute, Oboe, 4 Horns, 2 Violins, 2 Violas & Bass In D Major, K.131 - 2. Adagio - Zefiro, Alfredo Bernardini - Mozart - Divertimenti For Strings & Winds
4 0
Ludwig Van Beethoven - Piano Sonata No.29 In B Flat Major 'hammerklavier' - Iii. Adagio Sostenuto, Appassionato E Con Molto Sentimento - Alessio Bax - Beethoven: Piano Sonatas Nos. 29 & 14
4 0
Dmitri Shostakovich - String Quartet No. 9 In E-flat Major, Op. 117 - Ii. Adagio - Pacifica Quartet - Shostakovich & Weinberg: The Soviet Experience
4 0
Sergej Rachmaninov - Symphony No. 3 Op. 44 In A Minor - I. Lento - Allegro Moderato - Allegro - Lan Shui, Singapore Symphony Orchestra - Rachmaninov: Rhapsody On A Theme Of Paganini; Symphony No.3
4 0
Franz Schubert - Arpeggione Sonata In A Minor D. 821 - I. Allegro Moderato - Marc Coppey & Peter Laul - Schubert: Arpeggione Sonata, Violin Sonatina No. 1, Trio No. 1
4 0
Sergej Prokofiev - Piano Concerto No. 3 In C, Op. 26 - Ii. Tema - Var. 1-5 - Tema - Nareh Arghamanyan, Alain Altinoglu, Rundfunk Sinfonieorchester Berlin - Khachaturian & Prokofiev: Piano Concertos
4 0
Gabriel Faur? - Sonata For Violin And Piano No. 1 In A Major Op. 13 - Ii. Andante - Anne-sophie Mutter & Lambert Orkis - Faur?: Violin & Cello Sonatas
4 0
Jean Sibelius - Symphony No. 1 Op. 39 In E Minor - Ii. Andante - Vladimir Ashkenazy, Philharmonia Orchestra - Sibelius: Symphony No. 1 & Karelia Suite
4 0
Felix Mendelssohn - String Quartet No. 1 In E Flat Major, Op. 12 - Iii. Andante Espressivo - Quatuor Ysa?e - Mendelssohn: String Quartets
4 0
Felix Mendelssohn - String Quartet No. 3 - Iv. Presto Con Brio - Quatuor Ysa?e - Mendelssohn: String Quartets
4 0
Anton?n Dvor?k - Piano Quintet No. 2 In A Major, Op. 81 - I. Allegro Ma Non Tanto - Busch Trio, Maria Milstein, Miguel Da Silva - Dvor?k: Piano Quintets & Bagatelles
4 0
Anton?n Dvor?k - Cello Concerto Op. 104 In B Minor - I. Allegro - Mikl?s Per?nyi, Iv?n Fischer, Budapest Festival Orchestra - Dvor?k: Cello Concerto
4 0
Darius Milhaud - La Bien-aim?e, Op. 101: Iv. Valse Vi - Rex Lawson, Enrique Mazzola, Orchestre National D'?le-de-france - Milhaud: La Bien-aim?e & Stravinsky: The Firebird
4 0
Johannes Brahms - String Quartet In A Minor, Op. 51 No. 2 - I. Allegro Non Troppo - Brodsky Quartet - Brahms: String Quartet In A Minor & Clarinet Quintet
4 0
Franz Schubert - Symphony No. 9 In C Major, D. 944 'great' - I. Andante - Allegro Ma Non Troppo - Piu Moto - James Levine, Chicago Symphony Orchestra - Schubert: Symphony No. 9 'great'
4 0
Sergej Rachmaninov - Piano Concerto No. 2 Op. 18 In C Minor - Ii. Adagio Sostenuto - Vanessa Benelli Mosell, Kirill Karabits, London Philharmonic Orchestra - Rachmaninov: Piano Concerto No. 2; Corelli Variations
4 0
Richard Strauss - Violin Concerto In D Minor, Op 8 - Movement 1 - Allegro - Tanja Becker-bende, Garry Walker, Bbc Scottish Symphony Orchestra - Busoni & Strauss: Violin Concertos
4 0
Johannes Brahms - Viola Sonata Op. 120 No. 1 In F Minor - Iii. Allegretto Grazioso - Yuri Bashmet & Mikhail Muntian - Brahms: Viola Sonatas & Two Songs Op. 91
4 0
Edward Elgar - Symphony No. 1 Op. 55 In A-flat Major - I. Andante - Nobilmente E Semplice - ... - Andr? Previn, Royal Philharmonic Orchestra - Elgar. Symphony No. 1
4 0
Edvard Grieg - Piano Concerto Op. 16 In A Minor - I. Allegro Molto Moderato - Khatia Buniatishvili, Paavo J?rvi, Estonian Festival Orchestra - Live In London, August 2018
4 0
Johann Sebastian Bach - Violin Concerto No. 1 In A Minor Bwv 1041 - Ii. Andante - Daniel Lozakovich, Kammerorchester Des Symphonieorchesters Des Bayerischen Rundfunks - Bach: Violin Concertos Nos. 1 & 2 & Partita No. 2
4 0
Erich Wolfgang Korngold - Violin Concerto In D Major, Op. 35 - Iii. Finale. Allegro Assai Vivace - Caroline Goulding, Kevin John Edusei, Berner Symphonieorchester - Korngold & Mozart: Violin Concertos
4 0
Fr?d?ric Chopin - Ballade No. 3 Op. 47 In A-flat Major - Daejim Kim - Chopin: Ballades & Poulenc: Nocturnes
4 0
Gustav Mahler - Das Lied Von Der Erde - Ii. Der Einsame Im Herbst - Magdalena Kozena, Simon Rattle, Symphonieorchester Des Bayerischen Rundfunks - Mahler: Das Lied Von Der Erde
4 0
Robert Schumann - Phantasiest?cke, Op. 12 : 7. Traumes Wirren - D?nes V?rjon - De La Nuit
4 0
Franz Schubert - String Quartet No. 14 In D Minor, D. 810 'death And The Maiden'. I. Allegro - Aris Quartett - Shostakovich & Schubert: String Quartets
4 0
Dimitri Shostakovich - Symphony No. 5 Op. 47 In D Minor - Iii. Largo - Krzysztof Urba?ski, Ndr Elbphilharmonie Orchestra - Shostakovich: Symphony No. 5
4 0
Maurice Ravel - Gaspard De La Nuit, M. 55 - 1. Ondine - Alice Sara Ott - Nightfall
4 0
Camille Saint-sa?ns - Piano Concerto No. 2 In G Minor, Op. 22 - Ii. Allegro Scherzando - Bertrand Chamayou, Emmanuel Krivine, Orchestre National De France - Saint-sa?ns: Piano Concertos Nos. 2 & 5
4 0
Franz Joseph Haydn - Piano Sonata Hob. Xvi:50 In C Major - I. Allegro - Andreas Staier - Haydn: Piano Sonatas
4 0
Ludwig Van Beethoven - 12 Variations On 'ein M?dchen Oder Weibchen' (from Mozart's Die Zauberfl?te), Op. 66 - Mstislav Rostropovich & Vasso Devetzi - Strauss: Cello Sonata
4 0
Ernst Von DohnГЎnyi - Ruralia Hungarica, Op. 32a - Iii. Andante Poco Moto, Rubato - Valentina TГіth - DohnГЎnyi: Ruralia Hungarica & Humoresken
4 0
Claude Debussy - Violin Sonata In G Minor, L. 140 - I. Allegro Vivo - Midori Komachi & Simon Callaghan - Colours Of The Heart
3 0
Piotr Ilic Tchaikovsky - Piano Concerto No. 3 Op. 75 In E-flat Major - Allegro Brillante - Allegro Molto Vivace - Vivacissimo - Geoffrey Tozer, Neeme Järvi, London Philharmonic Orchestra - Tchaikovsky: Symphony No. 7 & Piano Concerto No. 3
3 0
Franz Schubert - String Quartet No. 13 In A Minor, Op. 29, D 804, 'rosamunde' - 2. Andante - Chiaroscuro Quartet - Mozart & Schubert: String Quartets
3 0
Francis Poulenc - Sonata For Oboe And Piano - I. Elegie - Leonard Arner & Charles Wadsworth - Poulenc: Chamber Works For Wind Instruments
3 0
Wolfgang Amadeus Mozart - Serenade In D Major, K. 250 (248b) 'haffner' - 3. Menueto- Trio - Isaac Stern, Jean-pierre Rampal, Franz Liszt Chamber Orchestra - Mozart: Serenade K.250 'haffner'
3 0
Johannes Brahms - Variations On A Theme Of Handel Op. 24 - Andrea Bonatta - Brahms: Ballades & Variations
3 0
Johannes Brahms - Sonata For 2 Pianos In F Minor, Op. 34bis: I. Allegro Non Troppo - Duo D'accord - Brahms: Sonata For 2 Pianos In F Minor, Op. 34bis & Piano Quintet In F Minor, Op. 34
3 0
Johannes Brahms - Liebeslieder-walzer, Op. 52 - Nachtigall, Sie Singt So Schoen - Boris Berezovsky & Brigitte Engerer - Brahms: Works For 2 Pianos
3 0
Johannes Brahms (arr. Lazic) - Piano Concerto No.3 (after Op.77) In D - I. Allegro Non... - Dejan Lazic, Robert Spano, Atlanta Symphony Orchestra - Brahms - Piano Concerto After Violin Concerto Op. 77
3 0
Ludwig Van Beethoven - Symphony No.5 In C Minor, Op. 67 - I. Allegro Con Brio - Myung-whun Chung, Seul Philharmonic Orchestra - Beethoven Piano Concerto No. 5 'emperor' & Symphony No. 5
3 0
Ludwig Van Beethoven - Symphony No. 3 Op. 55 In E-flat Major 'eroica' - I. Allegro Con Brio - Gustavo Dudamel, Simon Bolivar Symphony Orcherstra Of Venezuela - Beethoven: Symphony No. 3 'eroica'
3 0
Carl Philipp Emanuel Bach - Cello Concerto In A Major, Wq.172 v Iii. Allegro Assai - Jean-guihen Queyras, Riccardo Minasi, Ensemble Resonanz - Bach C.p.e.: Cello Concertos
3 0
Wolfgang Amadeus Mozart - Trio Sonata In B-flat Major K. 10: Iv. Menuetto Ii - Mozart Trio Of Salzburg - Mozart: Trio Sonatas K. 10-15, Divertimento K. 254
3 0
Claude Debussy - Images, Book I, L. 110 - No. 3. Movement - Sheila Arnold - Debussy, Cage, Takemitsu: Piano Works 'Écoutez!'
3 0
Alexander Glazunov - Raymonda Op. 57 (ballet)- Act 1. Scene 1 - Neeme Järvi, Scottish National Orchestra - Glazunov: Raymonda
3 0
Carl Nielsen - Symphony No. 6 'sinfonia Semplice' - I. Tempo Giusto - Osmo Vänskä, Bbc Scottish Symphony Orchestra - Nielsen: The Symphonies
3 0
Franz Joseph Haydn - String Quartet In F Minor, Op. 20 No. 5 - Iii. Adagio - Doric String Quartet - Haydn: String Quartets Op. 20
3 0
Felix Mendelssohn - A Midsummer Night's Dream, Op. 61 - Intermezzo - Riccardo Chailly, Gewandhausorchester Leipzig - Mendelssohn Piano Concertos
3 0
Johannes Brahms - Piano Quartet No. 2 Op. 26 In A Major - I. Allegro Non Troppo - Marc-andrГ© Hamelin, Leopold String Trio - Brahms: The Piano Quartets
3 0
Johannes Brahms - Violin Sonata No. 1 In G Major, Op. 78 "regen": I. Vivace Ma Non Troppo - Bojidara Kouzmanova-vladar & Magda Amara - Brahms: Violin Sonatas Nos. 1 & 3; Horn Trio
3 0
Johannes Brahms - Violin Sonata No. 1 Op. 68 In G Major - I. Vivace Ma Non Troppo - Pierre Amoyal & Frederic Chiu - Brahms: The Violin Sonatas
3 0
Johannes Brahms - Violin Sonata No. 2 Op. 100 In A Minor - I. Allegro Amabile - Pierre Amoyal & Frederic Chiu - Brahms: The Violin Sonatas
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Johannes Brahms - Violin Sonata No. 3 Op. 108 In D Minor - Iii. Un Poco Presto E Con Sentimento - Pierre Amoyal & Frederic Chiu - Brahms: The Violin Sonatas
3 0
Franz Schubert - Sonatina For Violin & Piano In D Major, D. 384 (op. Posth. 137-1)- 2. Andante - Gidon Kremer & Oleg Maisenberg - Schubert: Violin Sonatinas
3 0
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  • Free Download: Debussy's The Girl with the Flaxen Hair on saxophone

    classical-music.com | Tue, 23 Oct 2018 09:00:00 +0000

    'Huw Wiggin brings dazzling flair and imagination to his performance'

    This week's free download is Debussy's The Girl with the Flaxen Hair, performed by saxophonist Huw Wiggin and harpist Oliver Wass, and recorded on Orchid Classics. The recording was awarded four stars in the October 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

  • An interview with film composer Harry Gregson-Williams

    classical-music.com | Sun, 21 Oct 2018 09:00:00 +0000

    Rating: 
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    Harry Gregson-Williams is a Grammy-nominated film composer who first achieved success in the 1990s after being taken under the wing of Hans Zimmer. He has since composed the music for Oscar-winning film Shrek, The Chronicles of Narnia and video game franchise Metal Gear Solid

     

    What are you working on at the moment?

    I’ve actually just finished a score for Disney Nature. These amazing film makers from Bristol go out and film a single animal, then make a story around it with a narrator. A few years ago I did a movie for them called Monkey Kingdom, centred around a bunch of monkeys from Sri Lanka. This new one is called Penguins.

    It’s an amazing opportunity for music to shine because, as the director told me in my first meeting with him, ‘Penguins don’t smile – you’re going to have to do the smiling for us’.

    I’ve just finished that score and I’m coming back to London to record it at Abbey Road in the first couple of weeks of November, which is very exciting.

     

    Is it a live-action film?

    It’s made by an amazingly accomplished wildlife filmmaker called Alastair Fothergill, who is behind things like Blue Planet. The cinematography is unbelievable. Filmmakers go out and live among the penguins, then bring footage back and write a script with a story arc, which is told by a narrator.

    The music doesn’t have to compete with dialogue – penguins don’t talk! – but it has to be full of character. There are some epic shots in the film as you can imagine, but with that there’s an engrossing story focusing in on one penguin and how his year goes.

     

    How does your compositional style change when it’s not working around as much speech?

    I do have to contend with a narrator, but he was recorded in a sound booth, so it’s a very controlled situation unlike many films. 

    With Penguins, the only dialogue is the narrator, which doesn’t have to sync to anybody’s lips, and can be shifted. Say, for instance, if the music naturally wants to climax at a certain moment, but there was a line from the narrator right at that second, I can ask the director if it’s possible to put his line a second later.

     

     

    What’s your next project going to be?

    On my return to LA I’ll be starting the live action remake of Mulan. I have five children, three of them daughters, and it’s such a great story of empowerment for them – this girl pretending to be a boy so she could go and fight for what she believed in and bring honour to her family. So I’m really looking forward to it, and I feel really fortunate to have been asked.

    I remember when it was announced thinking ‘I would love to score that’, but I had no reason to think that anybody would chose me. Then a couple of days later I saw on the front page of a newspaper that the director they’d selected was Niki Caro, who I had just finished working with on The Zookeeper’s Wife.

     

     

    What’s your process with a film that’s got a pre-existing score? Are you influenced by it or do you completely disregard it?

    I’ve actually banned my children from watching Mulan so I can’t listen to the original Jerry Goldsmith score. I have done a few remakes of films – years ago I did Tony Scott’s The Taking of Pelham 123. I thought my first move would maybe be a remix of the opening title, but Tony told me to ignore what I knew of the film, because he wanted an original contemporary score.

    I think the same could be said of Mulan. I’m actually going to visit China and immerse myself in that old pentatonic scale. But there’s no prizes for being 100 per cent authentic, otherwise they wouldn’t have hired me, they’d have hired Tan Dun. Hopefully I’ll be allowed to write the score in the way that I feel is right.

     

     

    Could you tell us about scoring for video games and how the process has evolved in recent years?

    When I was asked by Hideo Kojima to do Metal Gear Solid I wasn't sure how it was going to work, having had no experience in writing for video games. He didn’t speak a word of English, and I certainly don’t speak Japanese, so through a translator I would send emails. We worked out a system where he would send me a small paragraph describing what might be going on during the game and what he wanted to feel from the music.

    By the time I had done the sequels, things had moved on quite a bit. He would send me what he called ‘cut scenes’ – scenes which would unfold if the player reached that part of the game. So it was more like scoring a film.

    A few years on I was asked to do Call of Duty Advanced Warfare, but I was a little reluctant. I’m not such a fan of shoot 'em up games, so I talked to them about that and they said I could do the multi-player menu items, which didn't involve shooting. So I ended up only doing about 30 minutes of music, but it incorporated a live orchestra and I really enjoyed it.

     

     

    Are you involved in the recording process?

    Absolutely. It’s what motivates me every day to do what I’m doing – stepping in front of real people and real musicians, in a real life situation to hear the music come alive.

    I can’t wait to record my Penguins score. I’ve been working on that nearly 10 months, mostly in my studio alone. I create music with computers and samplers, then send them off to film makers who give me a tonne of notes. Then I’ll address those notes and present the music again. This process goes on for a long time.

    That’s the life of a film composer and it’s great fun, but what I’m heading for is, in the case of Penguins: 1 November. 10 o’clock. Abbey Road. Studio 1.  

     

     

    Harry Gregson-Williams was announced as a BMI Icon at the 2018 BMI London Awards this month.

  • Six of the best works by Paganini

    classical-music.com | Fri, 19 Oct 2018 14:26:55 +0000

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    ‘A blazing comet’ was how Hector Berlioz described Italian violinist Niccolò Paganini. So faultless was his playing that many were convinced he had made a pact with the devil ­– a theory substantiated by his somewhat ghoulish stage persona.

    The music he composed and performed throughout the early 19th century completely altered people’s perceptions of what could be done on a violin. His dazzling collection of techniques and special effects would often drive members of his audience to hysteria.

    There were ghostly multiple harmonics (achieved by touching several strings very lightly), a ricochet bow-stroke that enabled him to play rapid sequences of notes at once, and high-velocity pizzicatos plucked by a spare finger in the left hand.

    These virtuosic displays were in part possible due to his suffering from Ehlers-Danlos Syndrome, which gave him the ability to negotiate the violin at extraordinary speed without changing position. The 12 hours of practice a day might have also had something to do with it. 

    However, beneath the showmanship lies a music firmly rooted in the Italian tradition. Paganini’s instinct for singable melody gives his compositions an accessibility that proves irresistible. It also explains why so many were inspired to compose variations on his music. The main theme from the 24th Caprice, for example, was developed by Brahms, Rachmaninov, Lutosławski and even Andrew Lloyd Webber.

    We’ve put together a list of what we believe to be his six greatest compositions.

     

     

    1. Violin Concerto No. 1 (1818)

    Paganini’s First Violin Concerto comprises all the pioneering techniques he developed while on tour in his home country of Italy.

    Through a clever sleight of hand with the music's key and the violin's tuning, Paganini made sure that the solo line shone out from the orchestra. While the orchestral parts are in the key of E flat major, the violin part was written in D major with instructions for the violin's strings to be tuned up a semitone.

    This use of scordatura allowed Paganini to write a part that had the freedom of D major – a comfortable and versatile key on a violin. The greater tension in the strings, combined with a higher proportion of notes played on open strings, has the effect of making the violin sing more clearly than its orchestral accompaniment.

    It became popularised in a version entirely written in D major.

    Recommended recording: Hilary Hahn/Swedish Radio Symphony Orchestra/Eiji Oue

     

     

    2. 24 Caprices for Solo Violin (1802-1817)

    Written in the form of Etudes - short, solo works of extreme difficulty designed to perfect a particular element of playing ­– the 24 Caprices remain to this day an imposing prospect to all but the bravest of concert violinists.

    Countless arrangements have since been made, for various combinations of instruments. There is a complete set for solo flute by Patrick Gallois, for example, while No. 24 was arranged for clarinet and jazz band by Benny Goodman.

    Recommended recording: James Ehnes

    Patrick Gallois's arrangements for flute

    Benny Goodman: Caprice No. 24

     

     

    3. Moses Fantasy (1818)

    Paganini was giving a concert when one by one his violin's strings began to break, so the tale goes, until all that remained for him to play on was the lowest, G string. Far from putting him off, the mishap inspired the virtuoso to write his Moses Fantasy, based on Rossini's opera Mosè in Egitto, and written exclusively for the G string,

    This performance direction has struck fear into the hearts of violinists ever since. But when performers adhere to it, the audience is treated to the rich sonority that can only be achieved by playing on the thicker G string.

    Recommended recording: Nemanja Radulović

     

     

    4. Centone di Sonate, Vol. 1 (1828-29)

    'The violin is my mistress but the guitar is my master,' Paganini is once reported to have said. He often wrote for the guitar, and this collection of sonatas for violin and guitar marks a period of maturity in his compositional output.

    Written during a stay in Prague, the music relies less on the fireworks and bombast of his youth, and more on a sense of compositional finesse. The gentle melodies and jolly guitar accompaniment evoke a sense of Mediterranean calm.

    Recommended recording: Moshe Hammer/Norbert Kraft

     

     

    5. Moto perpetuo (1835)

    Towards the end of his life Paganini composed the Moto perpetuo as a response to his failing health, and its effect on the flexibility of his left hand. The piece is more about stamina and co-ordination than athletic prowess, although with its breathless, unceasing flow of semiquavers, it is still numbered among his most difficult.

    Originally written for violin and piano, the work remained unpublished until after his death in 1840, and didn’t enter the standard repertoire until 1932 when Fritz Kreisler made a transcription for violin and piano.

    Recommended recording: Ivan Pochekin/Russian Philharmonic/Dmitry Yablonsky

     

     

    6. Variations on God Save the King (1829)

    In writing a piece based on the British national anthem, Paganini joins a host of composers who have paid musical tribute to the UK monarchy.

    Beethoven, Rossini, Liszt and even Charles Ives have all had a crack at arranging this tune, although some have been more sincere in their borrowing than others. Paganini’s furiously difficult set of variations is full of extended techniques.

    Recommended recording: Leonidas Kavakos

    Words by: Timmy Fisher

    Paganini is the subject of our cover feature in the November 2018 issue, which is on sale now. 

  • The best recordings of Fauré's Requiem

    classical-music.com | Wed, 17 Oct 2018 09:00:00 +0000

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    Written between 1887 and 1890, Fauré’s Requiem in D minor is one his best-known works. A long career as a church organist accompanying the burial services of countless Parisians left the composer with a more philosophical attitude to death.

    He described his Requiem as having ‘a very human feeling of faith in eternal rest’, and indeed, its remarkable modesty and unusual tenderness provide a stark contrast to the grandiloquent solemnity that defines so many other Requiem settings.

    The omission of a ‘Dies Irae’ is telling of his attempt to do something different, and two of the final seven movements – ‘Hostias’ and ‘Libera me’ – weren’t added until 1893. A fully orchestrated version was finally published in 1901, and the debate over the ‘correct’ interpretation continues to this day.

    We’ve put our heads together and come up with a definitive list of recordings…

     

    The best recording

    Corydon Singers/English Chamber Orchestra, conducted by Matthew Best in 1987
    Hyperion CDA66292

    In this modest interpretation, faithful to the 1893 edition, Matthew Best commands an immaculate performance from the Corydon Singers. Wonderful accounts of the solos from soprano Mary Seers and Michael George blend perfectly into the undemonstrative aesthetic. Fauré would have been proud.

     

     

    Three other great recordings

    The Sixteen/Academy of St Martin in the Fields, conducted by Harry Christophers in 2007
    Coro COR16057

    Despite using the full orchestral version, there is an intimate feel to this live recording from stalwarts of church repertoire The Sixteen and their partners in crime at St Martin-in-the-Fields.

    Harry Christophers uses brisk tempos to depict a sense of illumination and delight, and the deep affinity for Fauré’s elusive medium makes this perhaps the greatest rendition of the 1901 version.

     

     

    Le Chapelle Royale/Ensemble Musique Oblique, conducted by Philippe Herreweghe in 1988
    Harmonia Mundi HMG 501292

    Arguably the most ‘authentic’ version, Herreweghe managed to procure manuscripts for an updated version of the 1983 ‘chamber’ score, which placed heavier impetus on the horns.

    The use of boy trebles adds a layer of cherubic purity to the already excellent sound of Le Chapelle Royale, and soloists Agnès Mellon and Peter Kooy provide wonderful accounts of the solos. Certainly a recording not to be missed.

     

     

     

    The Cambridge Singers/City of London Sinfonia, Conducted by John Rutter in 1984
    Collegium CSCD520

    In another return to the ‘chamber’ version, Rutter strips the score of most of its woodwind and violin parts to create a delicate texture, conducting the players at a pace similar to that of Herreweghe. Avoiding any drama or fuss, this excellent recording finds an immaculate balance between the voices and instruments.

    Ample headroom is given to the singers, allowing for powerful surges that accurately depict the drama of the text, but without giving into the indulgence that Fauré so wanted to avoid.

     

     

    This article first appeared in the November 2010 issue of BBC Music Magazine.

  • BBC announces a year-long celebration of classical music on TV and radio

    classical-music.com | Fri, 12 Oct 2018 12:05:07 +0000

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    Over the next ten months the BBC will broadcast a series of TV and radio programmes celebrating the most memorable moments in classical music from the last 100 years.

    A host of well-loved guests will take part in a series of documentaries and performances that culminates in a specially-commissioned work on the First Night of the BBC Proms in July.

    Four episodes of Our Classical Century will be presented by Suzy Klein on BBC Four, each exploring how classical music collided with popular culture. The first two, featuring guests Lenny Henry and John Simpson respectively, will capture the profound influence of the First and Second World Wars on composers such as Ralph Vaughan Williams and Benjamin Britten.

    In part three, Klein will be joined by journalist and broadcaster Joan Bakewell to explore the increasing entanglement of classical music with that of television and film, generating its own roster of high-profile stars who achieved celebrity status.

    In the final programme in the series, singer Alexandra Burke will be exploring the world of classical music from the 1980s right up to the present day – a period in which the genre became accessible to millions through the advent of new technologies.

    BBC Four will also be broadcasting a series of programmes discovering the stories behind seminal works from the last century, complete with performances from various of the BBC’s ensembles. In November an archive documentary by award-winning director John Bridcut will be broadcast, in which HRH The Prince of Wales, a longstanding enthusiast of composer Hubert Parry, uncovers the story behind one of Britain’s best and least-known composers.

    Brian Cox, Amanda Vickery and Tom Service will present documentaries on composers and their works on BBC Two over the course of the year, while historian Lucy Worsley will be exploring the British Musical Revolution under Queen Victoria, in a unique programme to be aired in June.

    Throughout the year BBC Radio 3 will be counting down its top 100 Essential Classics, identifying the key moments from the world of classical music, including premiers of seminal works like The Planets and Boléro.

    Director general of the BBC Tony Hall has said: ‘This autumn marks the most ambitious classical music programming to date, exploring a century of classical music across BBC TV and radio.’

     

    Programme 2018-2019

    Part One: November-December 2018 (1918-1936)

    Our Classical Century Episode 1, 1918-1936, on BBC Four presented by Suzy Klein and Sir Lenny Henry

    Holst & Vaughan Williams - Making Music English, on BBC Two presented by Tom Service and Amanda Vickery

    Discovering... Gershwin's Rhapsody in Blue, performed by the BBC Scottish Symphony Orchestra/Thomas Dausgard, on BBC Four presented by Josie D'Arby

    The Prince and the Composer: A Film about Hubert Parry, on BBC Four presented by HRH The Prince of Wales

    Top 100 Countdown in Essential Classics (1-25) on BBC Radio 3

     

    Part Two: February-March 2019 (1936-1953)

    Our Classical Century Episode 2, 1936-1953, on BBC Four presented by Suzy Klein and John Simpson CBE

    Discovering... Britten's The Young Person's Guide to the Orchestra, performed by the BBC National Orchestra of Wales/Moritz Gnann, on BBC Four presented by Kate Derham

    Britten's War Requiem at English National Opera, on BBC Four

    Top 100 Countdown in Essential Classics (26-50) on BBC Radio 3

     

    Part Three: April-May 2019 (1953-1971)

    Our Classical Century Episode 3, 1953-1971, on BBC Four presented by Suzy Klein and Joan Bakewell

    Discovering... Arnold's The Bridge on the River Kwai, performed by the BBC Concert Orchesta/Christopher Seaman, on BBC Four presented by Katie Derham

    Brian Cox on Holst's The Planets, performed by the BBC Symphony Orchestra/Ben Gernon, on BBC Two

    Top 100 Countdown in Essential Classics (51-75) on BBC Radio 3

     

    Part Four: June-July 2019 (1980's-Present)

    Our Classical Century Episode 4, 1980s-present, on BBC Four presented by Suzy Klein and Alexandra Burke

    Lucy Worsley presents Queen Victoria and the British Musical Revolution on BBC Two

    Discovering... Saariaho's Graal Théâtre performed by the BBC Philharmonic/Ludovic Morlot, on BBC Four presented by Tom Service

    Top 100 Countdown in Essential Classics (76-100) on BBC Radio 3

    First Night of the Proms 2019

     

    See the December issue of BBC Music Magazine for an accompanying feature on Our Classical Century.

  • The best recordings of Respighi's Pines of Rome

    classical-music.com | Thu, 11 Oct 2018 11:28:17 +0000

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    Self-restraint was evidently not at the top of Respighi’s list of priorities when he composed Pines of Rome in 1924.

    The orchestral forces enlisted for this 20-minute symphonic poem include a large organ – ideally with a 32-foot pedal stop – six bucinas (Roman trumpets), a vast percussion section and even a gramophone player. It isn’t just about creating a big noise, however, and over the four movements the composer beguiles us with vivid depictions of various pine tree-adorned scenes in Italy’s capital city.

     

     

    Opening with children playing on a sunny morning at the Villa Borghese, the work then plunges us into the gloom of a scene near a catacomb, from which emerges a haunting chant.

    Night brings us to the Janiculum hill, where the calm is broken only by the song of a nightingale (played on said gramophone).

    Finally, as dawn breaks, we head back through the centuries to witness the Roman army making its way along the Appian Way, a march that ends in a thrilling, triumphant climax.

     

     

    The best recording

    Antonio Pappano (conductor)
    Orchestra dell’Accademia Nazionale di Santa Cecilia (2007)
    Warner Classics 394 4292

    Though Rome’s finest orchestra undoubtedly rises to the occasion of playing its ‘home’ music, the magic here is really down to conductor Antonio Pappano who, in a performance rich in imagination, captures the mood of the work’s four very differing moments spot on.

    Outside the Villa Borghese, Pappano lets his children run gleefully amok – as the movement frantically gathers tempo, the orchestra sounds as though it’s on the cusp of haring out of control… but is just about kept in check. And in the following ‘Pines Near a Catacomb’, Pappano creates the necessary sense of space by duly following the composer’s instruction to place the trumpet soloist ‘as far away as possible’ – many, surprisingly, don’t.

     

     

    A feel for distance, too, distinguishes Pappano’s march along the Appian Way. As his Roman soldiers first come into view, they are an ominous presence on the horizon, the pounding of their feet scarcely discernible.

    Only as they draw near, and the sun glints off their armour, does Pappano unleash the full force of his vast orchestra. Some conductors peak too soon here or progress in fits and spurts; Pappano paces the march to perfection.

    As for caveats? With this being a live performance, Respighi’s magnificent array of sounds is joined here by the occasional cough or two from the Rome audience. It’s a small gripe, though.

     

     

    Three more great recordings

    Lorin Maazel (conductor)
    Cleveland Orchestra (1976)
    Decca 466 9932

    Respighi’s Pines was championed in the US by Toscanini and the New York Philharmonic soon after its premiere, and its continuing popularity across the pond is amply reflected by a sizable clutch of excellent recordings by American orchestras: the Philadelphia Orchestra and Riccardo Muti (Warner) make up for lack of subtlety with raw excitement, while Fritz Reiner’s similarly thrilling 1957 recording with the Chicago Symphony (RCA) and Seiji Ozawa’s lively account with the Boston Symphony (DG) are also worth exploring.

    For an elegant performance coupled with truly opulent sound, however, Lorin Maazel and the Cleveland Orchestra get the nod – to pick out just one moment, the thundering organ and brass emerging from the dark depths in Maazel’s ‘Pines near a catacomb’ are simply awe-inspiring.

     

     

    Charles Dutoit (conductor)
    Orchestre Symphonique de Montréal (1984)
    Decca 410 1452

    While others like to linger and enjoy the Roman views, Charles Dutoit is a man on a mission – his let’s-keep-things-moving approach is a bit of a one-off, but remarkably effective. The fast-driven tempos give unity and cohesion to a work that can sometimes feel episodic, and yet at no time does the listener feel rushed.

    Yes, Dutoit’s ‘Pines of the Janiculum’ could be a little more perfumed and self-indulgent, but his brisk march up the Appian Way works a treat. Whereas others trudge, Dutoit’s Roman legion pounds toward us with an aggressive, Stravinsky-like menace. This is an army that means business, and don’t we know it.

     

     

    Eiji Oue (conductor)
    Minnesota Orchestra (2001)
    Reference Recordings RR-95CD

    As a young man, Respighi went to study under Rimsky-Korsakov in Russia, and one can detect glimpses of the great man’s influence in the lush Romanticism of the ‘Pines of the Janiculum’ – a movement that also has a touch of the Impressionism of Debussy and Ravel about it.

    It is here that the Eiji Oue and the Minnesota Orchestra come into their own. In superbly recorded sound, Oue carefully blends the various colours that make Respighi’s night-time soundscape so seductive, picking out details here and there but never over-emphasising them – notice, for instance, how the cello solo is given a dreamy wistfulness by setting the player slightly back from the mic.

    It’s extraordinarily atmospheric, and a timely reminder that Respighi’s Pines is not all about power and bombast.

     

     

    And one to avoid...

    Herbert von Karajan (conductor)
    Berlin Philharmonic (1996)
    DG 4497242

    There’s not much fun to be had when Mr Karajan is on playground duty. Ever the control freak in this 1978 Berlin Philharmonic recording, the maestro keeps his children outside the Villa Borghese in strictly regimented, neatly rhythmical order – there’s no joie de vivre.

    In his ‘Pines of the Appian Way’, meanwhile, we get brass, brass and more brass, to the near-obliteration of any other orchestral texture. It all leaves one feeling a little short-changed.

     

  • Alan Davey discusses the upcoming season on BBC Radio 3

    classical-music.com | Wed, 10 Oct 2018 11:15:32 +0000

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    What’s coming up on Radio 3 that you’re particularly excited about in the coming months?

    Horatio Clare, who walked in the teenage Bach’s footsteps last year from Arnstadt to Lübeck, is going to be looking at the German 18th-century notion of the wanderer, which as a trope inspired a lot of musicians and poets like Goethe, Schubert and Mahler.

    The programme will be interweaved with poetry and music, and is a chance for the listener to pause the outside world and engage in a journey around the Black Forest. We’re not quite sure what the starting point will be yet but we’ve got the maps out. It will be part of Slow Radio, and will take place on Christmas Eve.

     

    Slow Radio is receiving its own dedicated slot. What will that entail?

    There are various programmes scheduled: Clocks at Upton House and Night at the Zoo. We’ll also listen to the sounds of Durham Cathedral at night and the Burren cattle blessing, which is an old ritual in County Galway where the herd move from one pasture to another. It happens at the same time every year, and apparently the sounds are magical.

     

    How would you explain Slow Radio to a newcomer?

    It’s an opportunity to step back from the world in order to think about it differently. It will take however long it takes, and certainly won’t rush you. The sounds might be something you haven’t come across before or ones you've passed by and not taken any notice of.

    I think silence actually sets music off, and the sounds within that silence give you a different perspective on music. That’s what we’ve been working on in our Sounds of the Earth on Sunday mornings. We take a sound, whether its rainfall or wind in the forest, and present music attached to it, in order to make you think differently. These will be available as podcasts as well.

     

     

    Speaking of podcasts, will you be doing a second season of Classical Fix?

    Yes, Classical Fix has proven to be very popular. Clemency Burton-Hill interviews someone who doesn’t necessarily know about classical music and suggests a menu for them. The first season was particularly successful as a podcast, so we'll be continuing with that. 

     

    How will you be commemorating Armistice Day?

    We’re broadcasting Mark Anthony-Turnage’s The Silver Tassie, as well as some silent moments from around European battlefields. These will be Slow Radio-style – the sounds from the battle-sites today and their links with the past give an opportunity for contemplation. 

     

     

    What's coming up in 2019?

    For the Berlioz 150-year anniversary we’ve got a special weekend planned, with all the BBC orchestras coming together to do performances of his larger-scale works.

    Also, towards the anniversary of the moon landing we’ll be looking at the influence of space on music, which also links back to our BBC Symphony Orchestra concert from the end of September – a performance of Holst's The Planets with professor Brian Cox.

     

    And is it business as usual for weekly programmes like Essential Classics and Inside Music?

    Yes, Inside Music - which we introduced relatively recently - continues. It gives you an insider’s perspective on great repertoire, and what it’s like to be a musician playing it. We’re going to have guests like Jacob Collier and Sofi Jeannin, the new BBC Singers conductor, David Charles Abell, singer Jeanine De Bique and violinist Jennifer Pike.

    The Listening Service will also continue, with lots of stimulating explanations of music and how it works, including the impact of minimalism on music. We'll be looking at what it is about composers like Steve Reich that inspires very extreme reactions of liking and loathing.

    Essential Classics is going to have some really great guests joining Suzy Klein and Ian Skelly, including actors Stephen Mangan, Graham Fellows and Lenny Henry, novelist Jessie Burton and conductor Sakari Oramo. So it’s going to be action-packed.

     

     

    The BBC is undertaking a huge classical music project this year. Could you tell us more about it?

    Our Classical Century is a wonderful pan-BBC project involving four TV programmes, which will look at great classical music moments in the last century. We’re going to match that on air on Radio 3 with 100 significant moments in classical music over the last 100 years, as well as illustrating key works that come out of the TV series by the BBC's orchestras and choirs.

    This is the first time in the BBC where we’ve done something around classical music that incorporates both television and radio. It’s looking at great events and placing them in a social context. There’s everything from the premiere of Stravinsky's The Rite of Spring to cellist Sheku Kanneh-Mason and Chineke!.

     

    At the End of the Road festival this summer you announced that Late Junction was getting its own festival as well?

    That’s right, that will be in East London in February. Some festivals just seem to make sense. We actually had an evening at the End of the Road Festival devoted to Late Junction, and it worked really well.  

  • Montserrat Caballé (1933-2018)

    classical-music.com | Mon, 08 Oct 2018 12:44:35 +0000

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    Montserrat Caballé, the Spanish soprano whose career spanned over 50 years, has died in her home city of Barcelona. She was admitted to hospital last month after a long period of illness.   

    ‘La Superba’, as she was lovingly referred to by her fans, was one of the most exciting opera singers of the latter half of the 20th century. A leading figure in the resurgence of the bel canto technique, Caballé became a hugely revered singer in an era where the limelight was often dominated by conductors and directors.

    Caballé always denied her reputation as a fierce prima donna, insisting: ‘I am not now nor have I ever been a diva… I am only Montserrat!’. Indeed, her indomitable stage presence was matched by an irresistible charm off-stage, endearing her to countless musicians and non-musicians alike, not least her close friend Freddie Mercury, with whom she recorded the Olympic anthem for the 1992 Barcelona games – Mercury, alas, died before the games began.

    The daughter of an industrial chemist, Caballé was born in the 1930s in the midst of the Spanish civil war. She was not from a wealthy family, and her childhood home was bombed when she was four years old. Fortunately family friends offered to pay for her training at the Conservatori Liceu.

    Here she studied under Eugenia Kemeny and the well-known Spanish soprano Conchita Badia, both of whom she would continually attribute the longevity and success of her career to. Her breakthrough came with a portrayal of Donna Elvira at the Vienna State Opera in 1960.

    This was followed by a concert performance of Donizetti’s Lucrezia Borgia for the American Opera Society, in which she sang the title role, filling in for an ailing Marilyn Horne. The performance made her an international sensation overnight, and was followed by an enormously successful 1965 season at Glyndebourne playing both Marschallin in Der Rosenkavalier and Countess Almaviva in The Marriage of Figaro.

    Some of her most notable recordings include interpretations of rarely performed works by Bellini, Donizetti and Verdi, all of which display her impeccable technique and unparalleled ability to tap into the emotions of the characters she portrayed. As she said herself: ‘When a singer truly feels and experiences what the music is all about, the words will automatically ring true.’

    Despite regular bouts of illness – in 1985 she spent three months in hospital with a brain tumour – Caballé showed a dogged determinat to return to the stage. She once professed her doctors had called her a ‘witch’, amazed at her ability to overcome illness.

    Caballé found it difficult to leave her public and continued performing well into the new century, finally retiring to her husband Bernabé’s farm.

  • BBC to release its classical music back catalogue

    classical-music.com | Mon, 08 Oct 2018 10:05:46 +0000

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    The director general of the BBC, Tony Hall, is to announce the release of the corporation’s back catalogue of classical music recordings and broadcasts. The accouncement is due this Thusday at the launch of the BBC’s Our Classical Century project, which looks back over 100 years of classical music in the UK.

    The catalogue will be available to the public online via BBC iPlayer and the BBC Sounds app, and is one of the largest in the world. It includes iconic recordings from the BBC Proms, BBC Young Musician and BBC Introducing.

    Lord Hall is expected to say: ‘In an age of every-growing platforms and social media sharing, these historic and recent performances will be returned to the public as their rightful property.

    ‘Whilst the way we consume and share content is changing rapidly, music’s ability to bring us together has stayed the same, and classical music’s role in that should not be underestimated.’

    Our Classical Century will be available on BBC Radio 3, BBC Sounds, BBC Two, and BBC Four from mid-November. See the Radio & TV page of our November issue for more information.

  • BBC Philharmonic announces new chief conductor

    classical-music.com | Thu, 04 Oct 2018 14:30:36 +0000

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    Omer Meir Wellber has been named the new chief conductor of the BBC Philharmonic, succeeding Juanjo Mena, who held the post for eight years. The 36-year-old has fast established himself as one of today’s top conductors, having directed many of the world’s most prestigious ensembles, including the London Philharmonic, the Swedish Radio Symphony Orchestra and the Bavarian State Opera.

    Wellber also holds the post of principal conductor at the Semperoper Dresden, and is set to give his debut at the Metropolitan Opera with Bizet’s Carmen later this month.

     

     

    He has worked with the BBC Philharmonic on a number of previous occasions, most recently in Salford’s Media City with a programme of Mozart and Brahms. He will next be conducting the orchestra on Saturday 6 October at the Bridgewater Hall in Manchester.

    Born in Israel, Wellber studied conducting and composition at the Jerusalem Music Academy under Eugene Zirlin and Mendi Rodan. He has been a guest conductor at the Israeli Opera for over ten years.

     

     

    A passionate advocate for social change, Wellber is music director of the Raanana Symphonette Orchestra, which was set up in 1991 in part to provide work for immigrants. He also regularly collaborates with a number of outreach programmes that support the next generation of conducting students.

    Wellber will join a roster of BBC Philharmonic conductors that includes John Storgårds (chief guest conductor) and Ben Gernon (principal guest conductor).

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