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Que tocava no rádio: CALM RADIO - BOCCHERINI - Sampler
1h. 29min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Orchestra), Enrico Casazza (Performer), Isabella Longo (Performer) - Boccherini: String Quintets Vol 1 - Boccherini: Quintet No. 3 In C Minor, Opus 10, G.267 - Iii Minuetto, Trio
3h. 4min. atrás
Luigi Boccherini (Composer), La Magnifica Communita (Orchestra), Enrico Casazza (Performer), Isabella Longo (Performer), Mario Paladin (Performer) - Boccherini: String Quintets, Vol. 6 - Boccherini: String Quintet No. 35 In D, Op.25/5, G. 299
4h. 40min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Orchestra) - Boccherini: String Quintets Vol.5 - Boccherini: String Quintet In E Flat Major, Op.20-1 G.289 1. Allegro Vivo Molto
6h. 11min. atrás
Luigi Boccherini (Composer), Petersen Quartet (Artist) - Boccherini, L.: String Quartets - G. 177, 194, 213, 248 - Boccherini: String Quartet In A G 213, Op. 39 - 3. Grave
7h. 40min. atrás
Luigi Boccherini (Composer), Patrick Cohen (Artist) - Quatruor Mosaiques - Boccherini: Piano Quintet In E Minor, Op. 56-1, G407- 4. Allegretto Final
9h. 10min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Performer) - Boccherini: String Quintets Vol.3 - Boccherini: String Quintet In A Major, Op. 13/5 G281- I. Andantino
10h. 39min. atrás
Luigi Boccherini (Composer), Anner Bylsma (Artist), Hopkinson Smith (Artist) - String Quintets, Op.29 - Boccherini: String Quintets, Op. 29- No.1, D Major, G 313- Iii. Cantabile
12h. 8min. atrás
Luigi Boccherini (Composer), Mayumi Seiler (Artist), Iris Juda (Artist) - Boccherini: String Sextets - Boccherini: String Sextet In E Flat Major, G454, Op. 23 No.1 - I. Allegro Molto
13h. 35min. atrás
Luigi Boccherini (Composer), Luigi Puxeddu (Artist) - Boccherini Edition Disc33 - Boccherini: Cello Sonata In A, G4 Bis - I. Allegro Moderato.
15h. 1min. atrás
Luigi Boccherini (Composer), Barbara Vignudelli (Artist), Flavio Emilio Scogna (Artist) - Boccherini: Stabat Mater - Boccherini: Stabat Mater: Eja Mater, Fons Amoris: Larghetto Non Tanto
16h. 31min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Artist) - Boccherini: String Quintets, Vol. 9 - Boccherini: String Quintet No. 6 In B-Dur Op.28-6 G312 - I Allegro Giusto
17h. 59min. atrás
Luigi Boccherini (Composer), Patrick Cohen (Artist) - Quatruor Mosaiques - Boccherini: Piano Quintet In F Major, Op. 56-2, G408- 1. Allegretto
19h. 28min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Artist) - Boccherini: String Quintets, Vol. 9 - Boccherini: String Quintet No. 4 In C-Dur Op.28-4 G310 - Iv Rondeau: Allegro Con Moto
20h. 55min. atrás
Luigi Boccherini (Composer), Anner Bylsma (Artist), Hopkinson Smith (Artist) - String Quintets, Op.29 - Boccherini: Sonata For Violincello & Basso Continuo, G 4- Iii. Affettuoso
22h. 23min. atrás
Luigi Boccherini (Composer), Eros Roselli (Artist) - Complete Guitar Quintets Disc1 - Boccherini: Quintetto V In D Major G. 449 I Andantino Pausato
23h. 52min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Orchestra), Enrico Casazza (Performer), Isabella Longo (Performer) - Boccherini: String Quintets Vol 1 - Boccherini: String Quintet In D Major, G270, Op. 10 No.6 - Ii. Allegro Maestoso
1d. 1h. 21min. atrás
Luigi Boccherini (Composer), Michasel Erxleben (Artist) - Boccherini, L.: Symphonies, Vol. 1 - Nos. 13, 15, 16 - Boccherini: Symphony No. 15 In D Minor, Op. 37, No. 3, G. 517 - I. Allegro Moderato
1d. 2h. 50min. atrás
Luigi Boccherini (Composer), Anner Bylsma (Artist), Hopkinson Smith (Artist) - String Quintets, Op.29 - Boccherini: String Quintets, Op. 29- No.2, C Minor, G 314 - Iv. Fuga. Allegro Giusto
1d. 4h. 30min. atrás
Luigi Boccherini (Composer), Eros Roselli (Artist) - Complete Guitar Quintets Disc2 - Boccherini: Guitar Quintet In C Major, G443 'la Ritirata Di Madrid' - Ii. Andantino
1d. 5h. 59min. atrás
Luigi Boccherini (Composer), La Magnifica Comunita (Artist) - Boccherini: String Quintets, Vol. 8 - Boccherini: Quintet In F Op.39 No.2 G338: 2. Adagio Ma Non Tanto
Schoenberg Variations for Orchestra, Op. 31 (1928)
This was his first serial work for full orchestra and a demonstration piece of the possibilities of the 12-tone row. In the mysterious, then turbulent, Introduction, the row is assembled note by note; the expressive, long-phrased theme, played by the cellos, comprises four successive forms of the row – prime, retrograde-inversion, retrograde, inversion – harmonised by other row forms; Variation 1 has the Theme in the bass – and so on. The score alternates between the harshest and most delicate textures, vividly orchestrated.
Prompted by the death of the young Manon Gropius and composed in Berg’s last summer, this concerto is a haunting study in ambiguity. For, although 12-tone in structure, it uses a note row comprising a succession of thirds which incorporate the tuning of the violin’s open strings plus a five-note scale – elements that enable Berg constantly to insinuate nostalgic echoes of tonality, and even to introduce a Carinthian folk tune and a Bach chorale. The work has a more secure place in the repertoire than any other 12-tone score.
Boulez 12 Notations (1945)/Notations I-IV, VII (1980/98)
In 1945, when he was still studying with Messiaen and Leibowitz, 20-year-old Boulez composed a set of tiny, violently contrasted piano studies, each only 12 bars long, exploring the possibilities of 12-tone technique. Thirty years later, be began to orchestrate these, completing Nos I-IV in 1980, and adding VII in 1998. These are not just arrangements, however, but recompositions, amplifying tiny gestures in the original pieces into great swirls and tirades of complex and colourful texture for vast orchestra.
Copland’s last substantial work for orchestra uses two 12-tone rows. The first forms the awesome 12-note chords that frame the work’s course; the second row generates the austere contrapuntal argument that builds to a rhetorical climax before dissolving in a passage of mystical withdrawal – the ‘inscape’ of the title.
Copland once said that he took up serialism because it helped him discover chords he would not otherwise have heard. Yet the hard-bitten textures of Inscape sound no less characteristic of him than his popular Americana.
Stravinsky’s ballet was composed over several years. In proceeding from modal fanfares, via dances devised from chromatic four-tone motifs, to fully 12-tone dances at its centre, it reflects his gradual approach to 12-tone composition. Its mix of stylistic allusions, from Medieval cadences and Monteverdi to Webern and jazz, also pre-echoes the status of serialism more recently as just one technique among many.
Yet, the pervasive influence of Stravinsky’s idiosyncratic personality ensures that this most disparate of his scores comes over as a perfectly balanced whole.
When World War II broke out, Shostakovich was offered the chance to teach at a conservatoire in Tashkent, but insisted on remaining in Leningrad with his family, working as a fire officer, until they were finally evacuated. He took the draft score of the Seventh Symphony with him, completing the last movement in the war capital Kuibyshev, where it was premiered.
VASILY PETRENKO: ‘The people of Russia were caught between two evils: which would they prefer? Stalin was a murderer but gave them national identity; Nazism promised genocide. I feel here he was raging against all anti-human force. At the beginning we are dealing with some of the most beautiful music ever written, which is then systematically destroyed.
You can hear that senseless, mechanical force in the motoric drums, the chilling banality of the march. You can hear his experience, too, of being a fire warden on the roofs of St Petersburg.
He refused to leave for a long time yet he was still evacuated before the really horrible things happened, before people started eating each other. What he had witnessed was the amazing strength of the human spirit, in defending each other and their city.
‘He felt a responsibility to get as many musicians as possible back from the front line to play in the Leningrad performance. They were given food: that’s why there are so many extra brass, harps, woodwinds – he was literally saving lives.
And so the Symphony is a memorial to the people of Leningrad. The live broadcast was a powerful symbol of resilience, for the country, and for the Allies.’
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.’
In the 1960s Steve Reich developed ‘phasing’, a system of gradually moving two identical lines of music out of sync with one another. He initially used tape loops in film soundtracks, then later applied this technique in a live setting where he used percussion to explore the concept further.
Drumming was composed in 1971 on Reich’s return to New York from Ghana, where he was inspired by the country’s music ensembles. With no changes in melody or rhythm, it’s the slight shifts in timing and pitch that create momentum.
Testing the limits of minimalism, Reich then created a piece that uses nothing but the human body as an instrument. Clapping Music features two performers, one of whom maintains a 12-quaver-long clapping phrase, while the other shifts by one quaver every 12th bar. They move out of sync before returning to unison 144 bars later.
Nagoya Marimbas, composed in 1994 for a brace of marimbas, signalled a change in Reich’s compositional style, with motifs undergoing more melodic development, while still maintaining the technique of phasing.
Reich’s most recent percussion work, Quartet, was dedicated to Currie, and features two pianos and vibraphones. With constant changes of key, melodies are continually introduced and abandoned alongside a strong pulse.
The BBC National Orchestra and Chorus of Wales (BBC NOW) has chosen Ryan Bancroft to succeed renowned Danish conductor Thomas Søndergård as its next principal conductor. Bancroft will occupy the position for an initial period of three years beginning in September 2020.
Søndergård, who was BBC NOW’s principal conductor for six years, will be joining the Royal Scottish National Orchestra as music director with tours to China and the US planned for next season.
29-year-old Californian conductor Ryan Bancroft has been in high demand since winning both First Prize and the Audience Prize at Copenhagen’s Malko Competition for Young Conductors in April 2018. Besides previous concerts with BBC NOW last season in Aberystwyth and at the Vale of Glamorgan Festival, he has appeared with the Stockholm Philharmonic, Rotterdam Philharmonic, Norwegian National Opera Orchestra and the BBC Scottish Symphony.
Bancroft was born in Los Angeles in 1989. He studied the trumpet, harp, flute and cello as well as Ghanaian music and dance at the California Institute of the Arts in Santa Clarita. Moving to Europe, Bancroft then studied orchestral conducting at the Royal Conservatoire of Scotland, where he also played the trumpet for the BBC Scottish Symphony Orchestra. His principal mentors were Edward Carroll, Kenneth Montgomery and Jac van Steen. He is now based in the Netherlands.
‘My passion is for the people who play music and the audiences who love it,’ says Bancroft. ‘That puts me in excellent company here in Wales. Our recipe for spellbinding performances combines our unique sounds and stories with equal parts collaboration, growth and vision.’
Additionally, BBC NOW has announced that the current conductor laureate Tadaaki Otaka, who joined the ensemble in 1987, will continue his work with the orchestra for another three years during Bancroft’s tenure.
Ryan Bancroft in the final round of the Malko Competition for Young Conductors in April 2018
‘This excellently recorded performance is strikingly direct. The ebb and flow of the drama is brilliantly captured’
This week’s free download is Then Farewell from Janáček’s The Diary of One Who Disappeared, performed by Nicky Spence (tenor), Václava Housková (mezzo-soprano), Victoria Samek (clarinet), VOICE and Julius Drake (piano). It was recorded on Hyperion and was given five stars in the September issue of BBC Music Magazine.
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BBC Radio 3 has today announced its plans for the coming season, including a celebration of the 250th anniversary of Beethoven’s birth. Throughout 2020, Beethoven Unleashed will take over Composer of the Week on a fortnightly basis to explore the master’s tormented life and the history of his works.
The 25 weeks of programmes will examine the great composer's legacy and address the question of his status as a ‘hero’ in music history. Live recordings of performances by the BBC Orchestras and Choirs will complete Donald Macleod’s Composer of the Week in this anniversary series.
Radio 3 will also be celebrating the 100th anniversary of Germany’s Weimar Republic, the interwar government which lasted from 1919 to 1933 and saw rapid artistic growth in the country. Weimar Week will feature on Radio 3’s evening schedule, with special editions of The Essay and Free Thinking discussing the period’s innovations.
Sara Mohr-Pietsch moves from her role as presenter of Choir and Organ, which has come to an end, to a new late-night classical music programme Night Tracks.
Early Music Now is a permanent addition to Radio 3’s listings, aiming to present Europe’s best Baroque recordings. The BBC Radio 3 New Generation Baroque Ensemble, partnering with the Royal College of Music, will make its debut to promote the work of young performers of Early Music.
Elizabeth Alker’s Unclassified, which had made appearances on the station as a temporary series, will become a permanent fixture, focusing on contemporary and experimental music. Joining Radio 3’s current contemporary programme the New Music Show, Unclassified will present composers whose works are influenced by pop, electronica and jazz as well as classical music.
Following the 2018 premiere of the specially commissioned ambient NHS Symphony, acclaimed young composer Alex Woolf returns to Radio 3 with M1 Symphony, a soundscape inspired by Britain’s first motorway juxtaposing recorded speech and sound effects with an orchestral score performed by the BBC Philharmonic.
Finally, a new late-night jazz programme will be launched in early November. The programme will focus on modern jazz, bringing up-to-date news and music by both British and international jazz-players. It replaces Geoffrey Smith's Jazz, which will finish at the end of September.
Other new programmes include another series of Slow Radio, with a sonic journey down the Thames and landscape recordings made in Greenland. Plus, Gareth Malone will host a programme about people who refuse to listen to music. Finally, a partnership with New York’s prestigious Museum of Modern Art will explore the relationship between personal experience and the spectator’s perception of modern art through the theme of sight.
Early Music Now will air on Mondays 4.30-5pm, from 16 September.
Unclassified will air on Thursdays 11.30-12.30pm, from 3 October.
The new jazz programme will air at midnight on Saturdays, from 2 November.
Night Tracks will air Mondays, Tuesdays and Wednesdays 11pm-12.30am, and on Thursdays 11-11.30pm, beginning on 30 September.
Geoffrey Smith's Jazz will be replaced by a new programme focusing on modern jazz.
Choir and Organ will be replaced by Jazz Record Requests on Sundays from 4-5pm.
An early solo departure – the documentary score, Bodysong, in 2003 – lead Greenwood to receive his first orchestral commission.
2004’s Smear was premiered by the London Sinfonietta and in the same year Greenwood was announced as Composer in Residence with the BBC Concert Orchestra.
His first commission for the BBCCO, Popcorn Superhet Receiver, would play a role in his first full film score in 2007.
Paul Thomas Anderson’s There Will Be Blood is an Oscar-nominated masterpiece – though Greenwood’s visceral score was ineligible thanks to the use of that earlier piece.
He was, however, nominated for his first BAFTA and won both a Critics Choice award and a London Evening Standard award.
His second score, for Anh Hung Tran’s film Norwegian Wood (2010) would see the composer utilise another existing work, this time Doghouse (composed the same year). Music from that score would go on to be performed at the BBC Proms.
Greenwood would compose the score to yet another critically acclaimed film in 2011. We Need To Talk About Kevin, Lynne Ramsey’s uncompromising 2011 family drama, saw the composer create an unsettling soundscape.
The following year Greenwood reunited with Paul Thomas Anderson for The Master, which cemented their creative partnership. They followed it with Inherent Vice in 2016 and Phantom Thread in 2017. 2017 also saw him reunite with Lynne Ramsey for the acclaimed film You Were Never Really Here, starring Joaquin Phoenix. Greenwood received his first Oscar and Golden Globe nominations for Phantom Thread, not to mention an Ivor Novello award.
His film work has proffered some of the most intense and original scores for some while, with pretty much all of them dealing with humanity’s dark side, its flaws and complex emotional depths.
Jonny Greenwood – Filmography
There Will Be Blood (2007)
Norwegian Wood (2010)
We Need To Talk About Kevin (2011)
The Master (2012)
Inherent Vice (2016)
You Were Never Really Here (2017)
Phantom Thread (2017)
Jonny Greenwood's Three Miniatures from Water - No. 3, 88 (No. 1) and Horror vacui - for solo violin and 68 strings are performed at the BBC Proms on Tuesday 10 September at 10.15pm
Verdi et al. Messa per Rossini: 11. Agnus Dei (Veronica Simeoni, Orchestra del Teatro alla Scala di Milano/Riccardo Chailly)
Ethel Smyth Violin Sonata in A minor: IV. Finale. Allegro vivace (Tasmin Little, John Lenehan)
Berlioz Harold en Italie: 3. Sérénade d’un montagnard des Abbruzes à sa maîtresse (Tabea Zimmermann, Les Siècles/François-Xavier Roth)
Xenakis Pléïades: IV. Mélanges (DeciBells, Domenico Melchiorre)
Schubert Symphony No. 3: IV. Presto vivace (City of Birmingham Symphony Orchestra/Edward Gardner)
Vivaldi Il Giustino, Act II: Scene 1. Sento in seno ch’in pioggia di lagrime (Anastasio) (Accademia Bizantina, Ottavio Dantone, Silke Gäng)
Gulda Concerto for Cello, Wind Orchestra and Band: I. Overture (Edgar Moreau, Raphaël Merlin, Les Forces Majeures)
Roxanna Panufnik Magnificat & Nunc Dimittis: I. Magnificat (Richard Johnson, Exultate Singers/David Ogden)
Tchaikovsky Symphony No. 4: IV. Finale (London Symphony Orchestra/Gianandrea Noseda)
Weber Piano Sonata No. 2: III. Menuetto capriccioso. Presto assai (Paul Lewis)
Francis Lai Love Story – Theme (Arr. Campbell) (Jess Gillam, BBC Concert Orchestra/Ben Dawson)
Berlioz Harold in Italy: II. Marche de pèlerins chantant la prière du soir (Tabea Zimmermann, Les Siècles/François-Xavier Roth)
Arthur Lourié A Phoenix Park Nocturne (Vladimir Feltsman)
Ramin Djawadi The Rains of Castamere (Arr. Lawson) (VOCES8)
Philip Glass Etude No. 2 (Jeremy Denk)
Tallis Suscipe quaeso Domine (prima pars) (The Gentlemen of HM Chapel Royal, Hampton Court Palace/Carl Jackson)
Debussy Livre I: II. Pour les tierces (Roger Muraro)
Rachmaninov Prelude in G minor, Op. 23 No. 5 (Live at Philharmonie, Berlin) (Yuja Wang)
Stravinsky The Firebird: Tableau II, XIX: Disparition du palais et des sortilèges de Kastchei, animation des chevaliers petrifies. Allegresse génerale (Royal Liverpool Philharmonic Orchestra/Vasily Petrenko
Amy Beach Violin Sonata in A minor, Op. 34: II. Scherzo. Molto vivace (Tasmin Little, John Lenehan)
Hauscha Dew and Spiderwebs (Hauschka)
Frank Horvat The Thailand HRDs: No. 5, Boonsom Nimnoi (Mivos Quartet)
Trad. Deep River (Arr. Coleridge-Taylor, Kanneh-Mason) (Sheku Kanneh-Mason, Isata Kanneh-Mason, Braimah Kanneh-Mason)
Mendelssohn Lieder ohne Worte, Op. 19: No. 6 in G minor (Andante sostenuto) ‘Venetian Gondola Song’ (Jan Lisiecki)
Wim Henderickx Nostalgia (Boho Strings)
Mozart Così fan tutte, Act 1: Aria ‘Come scoglio’ (Héloise Mas, Alexander Sprague, Nazan Fikret, Francesco Vultaggio, European Opera Centre, Biagio Pizzuti, Royal Liverpool Philharmonic Orchestra/Laurent Pillot)
Philip Glass Melodies for Saxophone (arr. for trumpet): No. 3 (Craig Morris)
Giovanni Paisiello Partimento in F minor (Nicoleta Paraschievescu)
Ramin Djawadi The Rains of Castamere (VOCES8)
Triumphal Parade (Scottish National Jazz Orchestra/Tommy Smith)
Josquin Des Prez Miserere mei, Deus, IJ. 50: I. Miserere mei, Deus (Cappella Amsterdam/Daniel Reuss)
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)
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
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)
When Leonard Bernstein read WH Auden’s 1947 poem The Age of Anxiety, he found himself, to use his own words, ‘breathless’ in his excitement. Describing the Pulitzer Prize-winning work as ‘one of the most shattering examples of pure virtuosity in the history of English poetry’, the composer set himself the challenge of writing a symphony inspired by it.
He follows the course of Auden’s poem closely, beginning with a sombre Prologue in which four people – Malin, Quant, Rosetta and Emble– are depicted sitting in a NewYork bar, meditating on life. In the five movements that follow – called The Seven Ages, The Seven Stages, The Dirge, The Masque and The Epilogue – we join the characters as they get tipsy, take a cab back to Rosetta’s flat, party and then head off or fall asleep.
While Bernstein called the work his Second Symphony, the piano part gives it more of a feeling of a concerto. There is more than a hint of Ravel’s Piano Concerto in G, with glimpses of Shostakovich, Stravinsky, Gershwin and even Brahms. Bernstein played the piano part at the premiere, on 8 April 1949, with its dedicatee Serge Koussevitzky conducting.
In our October 2019 podcast, we discuss the news that Jules Buckley has been taken on the role of creative artist in association at the BBC Symphony Orchestra, and the family of a girl chorister has sued Berlin Cathedral Choir after it rejected her application for an audition.
Plus, we introduce our October issue, in which we talk to husband-and-wife team mezzo Magdalena Kožená and maestro Simon Rattle about their recording of works for voice and piano.
Luigi Boccherini (Composer), La Magnifica Communita (Orchestra), Enrico Casazza (Performer), Isabella Longo (Performer), Mario Paladin (Performer) - Boccherini: String Quintets, Vol. 6 - Boccherini: Quintet In A Major, Op.25 No.3 G.297- I. Mod
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Luigi Boccherini (Composer), Michael Erxleben (Artist) - Boccherini: Symphony In D Major, Op. 42, G. 520 - I. Allegro
Luigi Boccherini (Composer), Mayumi Seiler (Artist), Iris Juda (Artist) - Boccherini: String Sextet In E Flat Major, G454, Op. 23 No.1 - I. Allegro Molto
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Luigi Boccherini (Composer), Barbara Vignudelli (Artist), Flavio Emilio Scogna (Artist) - Boccherini: Stabat Mater - Boccherini: Stabat Mater: Tui Nati Vulnerati: Allegro Vivo - Adagio - Allegro Come Prima
Luigi Boccherini (Composer), Anner Bylsma (Artist), Hopkinson Smith (Artist) - String Quintets, Op.29 - Boccherini: String Quintets, Op. 29- No.6, G Minor, G 318 - I. Allegro Moderato Assai
Luigi Boccherini (Composer), Enrico Bronzi (Artist) - Boccerhini Edition Cd3 - Boccherini: Cello Concerto In C Major, G477 - Iii. Allegro
Luigi Boccherini (Composer), Ilario Gregoletto (Artist) - Boccherini: Complete Clavier Quintets Disc4 - Boccherini: Piano Quintet In D Minor, G416, Op.57 No.4 - Ii. Largo Cantabile
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Luigi Boccherini (Composer), Patrick Cohen (Artist) - Quatruor Mosaiques - Boccherini: Piano Quintet In E Minor, Op. 56-1, G407- 2. Adagio
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Luigi Boccherini (Composer), Eros Roselli (Artist) - Complete Guitar Quintets Disc2 - Boccherini: Guitar Quintet In D Major, G448 'fandango' - Iv. Fandango
Luigi Boccherini (Composer), Luigi Puxeddu (Artist) - Boccherini Edition Disc36 - Boccherini: Cello Sonata In E Flat G566- I. Moderato
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