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Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Alfred Walter (Conductor) - Strauss Ii, J.: Edition - Vol. 18 - Johann Strauss Ii: Cagliostro-Quadrille, Op. 369
Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Alfred Walter (Conductor) - Strauss Ii, J.: Edition - Vol. 38 - Johann Strauss Ii: Lagerlust, Polka Mazur, Op. 431
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Michael Dittrich (Conductor) - Strauss Ii, J.: Edition - Vol. 46 - Johann Strauss Ii: Marien-Quadrille, Op. 51 (Arr. V. Haklik)
Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Dohnanyi (Artist) - Strauss Ii, J.: Edition - Vol. 5 - Johann Strauss Ii: Kennst Du Mich? Op. 381
Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Alfred Walter (Conductor) - Johann Strauss Ii Edition, Vol.47 - Johann Strauss Ii: Faust-Quadrille, Op. 277 (Arr. A. Kulling)
Johann Strauss Ii (Composer), Austrian Radio Symphony Orchestra (Orchestra), Peter Guth (Conductor) - Strauss Ii, J.: Edition - Vol. 27 - Johann Strauss Ii: Spanischer Marsch, Op. 433
Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Johannes Wildner (Conductor) - Strauss Ii, J.: Edition - Vol. 21 - Johann Strauss Ii: Figaro-Polka, Polka-Francaise, Op. 320
Johann Strauss Ii (Composer), Slovak State Philharmonic (Orchestra), Alfred Walter (Conductor) - Johann Strauss Jr : Edition /vol.14 - Johann Strauss Ii: St. Petersburg (Quadrille On Russian Themes), Op. 255
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Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Johannes Wildner (Conductor) - Strauss Ii, J.: Edition - Vol. 33 - Johann Strauss Ii: Bouquet-Quadrille, Op. 135
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Michael Dittrich (Conductor) - Strauss Ii, J.: Edition - Vol. 46 - Johann Strauss Ii: Annika-Quadrille, Op. 53 (Arr. V. Haklik)
Johann Strauss Ii (Composer), Slovak State Philharmonic (Orchestra), Alfred Walter (Conductor) - Johann Strauss Jr : Edition /vol.14 - Johann Strauss Ii: Romance No. 1 In G Minor, Op. 243
Johann Strauss Ii (Composer), Alfred Walter (Conductor), Koice Slovak State Philharmonic Orchestra (Orchestra) - Johann Strauss Ii Edition, Vol.12 [Import] - Johann Strauss Ii: Man Lebt Nur Einmal! (Waltz) Op. 167
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Johannes Wildner (Conductor) - Strauss Ii, J.: Edition - Vol. 15 - Johann Strauss Ii: Bijoux-Polka, Op. 242
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Michael Dittrich (Conductor) - Strauss Ii, J.: Edition - Vol. 34 - Johann Strauss Ii: Der Kobold, Polka Mazurka, Op. 226
Johann Strauss Ii (Composer), Slovak State Philharmonic Orchestra (Orchestra), Alfred Walter (Conductor) - Strauss Ii, J.: Edition - Vol. 30 - Johann Strauss Ii: Klug Gretelein, Walzer, Op. 462
Johann Strauss Ii (Composer), Alfred Walter (Artist) - Johann Strauss Ii: Complete Orchestral Edition [Box Set] - Johann Strauss Ii: Debut Quadrille, Op. 2 (Debut-Quadrille)
Johann Strauss Ii (Composer), Austrian Radio Symphony Orchestra (Orchestra), Peter Guth (Conductor) - Strauss Ii, J.: Edition - Vol. 27 - Johann Strauss Ii: Spanischer Marsch, Op. 433
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Christian Pollack (Conductor) - Johann Strauss Ii Edition, Vol.50 - Johann Strauss Ii: Da Nicken Die Giebel, Polka Mazurka, Op. 474
Johann Strauss Ii (Composer), Slovak Radio Symphony Orchestra (Orchestra), Michael Dittrich (Conductor) - Strauss Ii, J.: Edition - Vol. 46 - Johann Strauss Ii: Graduale
The secret, it appears, was in the touch. The Broadwood was constructed so the sounding board connected directly to the instrument’s outer frame, conveying powerful vibrations where Beethoven needed them most: at the keyboard and through the floor at his feet.
With the hearing machine in place to amplify the sound and vibrations even further, the instrument became a physical extension of his body. He could feel its resonance to his core. Given this, it seems unlikely that the loud dynamics in Beethoven’s music were a response to deafness, as is often suggested. It seems even less likely when you also consider that in his thirties Beethoven suffered from loudness recruitment.
This condition, in which some sounds register as much louder than they actually are, is familiar to people with hearing loss. As a result, Beethoven plugged his ears with cotton to make playing the piano bearable. So if anything, loudness recruitment would have made loud music painful for him to listen to.
And it was the instruments at his disposal, rather than the frequencies he could or couldn’t hear, which affected the pitch range of Beethoven’s music. The mighty Hammerklavier Sonata (1818) provides a striking example of this. The first three movements were written for a six-octave Viennese piano, extending from the F two and a half octaves below middle C to the F three and half octaves above. Beethoven used this full range in the Hammerklavier.
But just before he began the final movement, he received the Broadwood. The range of the music shifted to fit the new instrument’s lower six-octave range, which instead extended to the Cs three octaves either side of middle C. So the entire sonata could not be played on either of the instruments Beethoven had available while he was writing it. A more modern piano would be needed for that.
Despite the remarkable lengths Beethoven went to in order to feel the music, there was a period during which he composed in near total deafness. It is probably safe to say that it includes only the relatively small number of late works from about 1815. That includes public works like Symphony No. 9 and the Missa Solemnis, but is dominated by the intimate last five string quartets and last five piano sonatas. These have long been considered among his most challenging and rewarding works.
From the outset they provoked extraordinary responses. In the five years after its premiere in 1824, more was written about the Ninth Symphony than had been written about any of his previous compositions. Unprecedented effort was put into trying to understand his music. Many of the quartets and sonatas received unusually extensive reviews that helped readers come to terms with compositions many of them found baffling.
Those reviews have helped to establish some of the very beliefs now in question. In particular, Joseph Fröhlich’s long review of the Ninth, published in 1828, the year after Beethoven died, suggested for the first time that the tragedy-joy narrative of the symphony was Beethoven’s musical autobiography.
It showed that Beethoven had triumphed over deafness. Works that follow a similar outline (like the Fifth Symphony), or that glorify heroism (the Eroica), were understood in the same way, even though Beethoven wrote those two pieces when he could still hear music quite well. It’s even suggested that the works in which Beethoven does not present this titanic battle are less important.
The most significant thing to be learned from studying the history of Beethoven’s deafness, however, may be that his music has a much broader emotional range than he is often given credit for. His oeuvre includes the Pastoral Symphony with its relaxed evocations of the countryside; beautiful and lyrical songs from the cycle An die ferne Geliebte, and delightful and impish small piano pieces like the late Bagatelles, most of which Beethoven wrote when he was using the Broadwood and the hearing machine.
These works, written in successive decades as his deafness grew more advanced, show a composer whose technique and emotional range continually broadened even as his hearing failed. Beethoven did not triumph over deafness. He learned to work with it and around it.
Words by Robin Wallace, author of 'Hearing Beethoven: A Story of Musical Loss and Discovery. This article first appeared in the September 2018 issue of BBC Music Magazine.
The best classical music for working from home
classical-music.com Monday, 6 April 2020 14:14:26
Oliver Condy, Editor
There are times in the month when the magazine team really needs to get its collective heads down to get pages to the printer – for that slightly manic week or so, I tend to reach for Tudor choral music.
Byrd’s Ave Verum, Tallis’s O Nata Lux, a spot of Gibbons, perhaps some Tomkins. It never fails to bring the blood pressure down and focus the mind.
Listening to music is part of the job for me, but if I’m in need of background music to keep the brain ticking over I will always go to solo piano music.
So if I had to choose one piece to play on a loop, it would be Clair de lune by Debussy. It has an instantly calming effect on me and inspires utter stillness. Of course, there is the risk of becoming so relaxed I might slump at the desk and have a sleep. Perhaps it should be alternated with something a bit more lively to achieve maximum productivity…
For me, finding suitable classical music to work to can be a tricky business. Anything with peaks and troughs of volume have to be avoided, as does gloomy introspection or pieces that demand my concentration so much that I simply have to stop and listen – for the last of these reasons, a recent attempt to work to Schubert’s two Piano Trios ended in failure.
However, I am going to stick with the Austrian composer, in the form of his youthful Third Symphony. Don’t be put off by the ominous-sounding opening D, played in unison – this soon turns into a symphony of matchless effervescence, with one high-spirited movement leading onto the next. Carried along by Franz’s good humour, my sub-editing and writing tasks simply fly by.
For me, a cursory album selection on Spotify or Apple Music can become an hourlong trip down a musical rabbit hole. Therefore, in the hope of getting any work done, I steer clear of streaming platforms and pop on one of John Luther Adams’s almighty 40-minute soundscapes: Become Ocean and Become Desert.
For the duration of each piece, I am utterly transported. If you’re someone that’s easily distracted by melody, these orchestral works are the perfect solution. Evoking sounds of the sea and of vast desert plains, these spacious, powerful pieces of music are the answer if you’ve ever reached for the whale music or ‘sounds of rain’ and found yourself immensely disappointed.
How to watch concerts from home: the concerts and operas available to stream online during the coronavirus pandemic
classical-music.com Friday, 3 April 2020 22:01:19
The best classical music to discover during self-isolation
classical-music.com Friday, 3 April 2020 17:05:01
Oliver Condy, Editor
When not at my desk, the music I reach for most is by Mendelssohn – in recent weeks I’ve been rediscovering his string quartets which for me are the most perfect balance of poise, sophistication and indulgence.
Only the other day, I returned to a recording of No. 4 in E minor by the Elias String Quartet, the winner of the 2010 BBC Music Magazine Newcomer award. The Ebène Quartet’s recording of Nos 2 and 6 are well worth discovering too. Now – back to my spare room for some editing!
Call of the Champions (titled An American Journey in the US) came out in 2002 and is an album I return to often. Topping out the programme of celebratory and commemorative works by John Williams is his epic Call of the Champions – the official anthem of that year’s winter games in Salt Lake City – and it never fails to thrill.
Williams uses the Latin words for ‘Faster, Higher, Stronger’ (the Olympic motto), sung by Salt Lake City’s world-famous choir. The rest of the programme gathers together some of the composers of other great works for American celebrations, each of which never fail to surprise me each time I listen.
Williams’s gift for melody and orchestral detail shines through in works such as the Hymn to New England, Celebrate Discovery and the brilliant American Journey – a six-part suite written to accompany Steven Spielberg’s visual love letter to America at the millennium. Spirit-lifting music!
With 2020 rapidly turning into the year of gloom, my thoughts naturally turn back to happier times. Such as, say, the summer of 1997. My first year in full-time employment as editorial assistant on Classic CD magazine, this was a time of making new friends, exploring my new home city of Bath (and its many pubs) and, of course, immersing myself in the magical world of classical music.
Part of my soundtrack to that summer was In a Nutshell, the CBSO and Simon Rattle’s glorious disc of orchestral works by Percy Grainger. It’s a wonderfully intoxicating listen, in which the Australian beguiles you with his exotic soundworld both in his own music and in his extravagantly orchestrated arrangements of piano works by Ravel and Debussy. There’s plenty of jollity in there too, mind. I loved it then and, as I sit here with a cheering glass of Sancerre, I love it just as much today.
When I’m feeling overwhelmed with the state of the world, which, at the moment, is most of the time, there are certain albums I always find myself reaching for. Víkingur Ólafsson’s 2018 recording of Bach keyboard works - which went on to win BBC Music Magazine's Recording of the Year in 2019 - is one such album.
It’s almost slightly hackneyed to talk about Bach as the great ‘de-stresser’, but it’s true. His music is a soothing balm in times of great worry, and always brings you back to neutral when your mind has been straying to stressful places, like, for example, the 5 o’clock news briefing. Ólafsson brings such depth and power to his music – he gives it some serious welly and doesn’t pussyfoot around it.
If you’re feeling slightly paralysed by anxiety, I’d recommend switching on track five: the Andante from Bach’s Organ Sonata No. 4. From a place of utter serenity, it slowly bubbles its way through various expansions of the theme, until it finally reaches a place of absolute strength and power. It’s the perfect journey of a piece to give you the get-up-and-go spirit we all need at the moment.
Dutch keyboardist Ronald Brautigam’s fortepiano recordings of the Beethoven sonatas for BIS made between 2004 and 2010 are now gathered together in one box. Brautigam plays on Paul McNulty’s replicas of original instruments dating from 1788 to 1819.
Kovacevich gets to the heart of Beethoven’s sonatas with playing that teeters on the edge of sanity, roars with ferocious power and frequently moves the listener to tears. The finest to date.
BBC announces classical music programme for Culture in Quarantine
classical-music.com Thursday, 2 April 2020 00:06:44
As part of its Culture in Quarantine initiative, BBC Arts has announced a series of classical music broadcasts across its radio, TV and online platforms.
Max Richter’s Sleep – an eight-hour orchestral work designed to be listened to as you sleep – will be broadcast through the night on BBC Radio 3 on Saturday 11 April, from 11pm to 7am the next morning.
Also on Radio 3, artists will host performances from their homes. Artists include harpsichordist Mahan Esfahani, guitarist Craig Ogden and pianist and cellist Sheku and Isata Kanneh-Mason.
Joining them, composers will be contributing by the writing short musical ‘postcards’ for Radio 3.
The Afternoon Concert series will showcase musicians from the BBC orchestras, who will perform short works of their choice at home. Radio 3 in Concert, usually held in the evenings, will now be broadcasting repeats of earlier broadcasts, as chosen by the ensembles who were set to be featured on the programme in the coming months.
Over on BBC TV, all 19 of the choir members from Tenebrae are coming together online for a virtual choir performance on BBC Four. The singers will come together via video link, under the direction of Nigel Short, to perform an Easter Sunday concert.
BBC Young Musician is also set to return in May with the category finals, hosted – for the first time – by organist Anna Lapwood. Highlights programmes will be broadcast on BBC Four, with full episodes available on BBC iPlayer. The finals have been postponed to autumn.
As part of Beethoven Unleashed, the BBC’s yearlong celebration of the 250th anniversary of Beethoven, the Royal Opera’s recent performance of Fidelio – the great composer’s only opera – will be broadcast on BBC Four.
Radio 3 is also launching the Classical Companion Collection online: a set of articles, quizzes, symphony guides and podcasts based on materials from the BBC archives.
classical-music.com Tuesday, 31 March 2020 17:59:59
In just a few short weeks, Coronavirus has delivered a blow to all aspects of our lives. Schools closed, hospitals overwhelmed, lockdowns imposed and, at the time of writing, cases on the rise. Our hearts go out to anyone affected by this terrible disease.
In the arts world, concert series, festivals and all manner of live music-making have been halted… The arts world is reeling from thousands of cancelled events and many are struggling to come to terms with life off the road.
Musicians, however, are responding with good spirit, many of them performing programmes to vast online audiences via the wonders of Twitter, Facebook, YouTube and more. Armed with little more than a smartphone, tripod, broadband connection and a little imagination, many have brought heart-warming concerts direct to our houses.
You can read about some of these in the May issue of BBC Music Magazine, sent to press on 26 March and on sale from 16 April – the first issue in our 30-year history to have been produced entirely remotely.
Many of you will have trouble getting hold of your magazine from the shops – which is why we’ve set up a no-strings way for you to guarantee you get the next few issues. With a small one-off payment, we can send you next three issues to your house – and delivery will be on us. You'll still make a saving on the shop price, and you won't have to set up a Direct Debit, so this is absolutely risk-free. If you order by 29 March, you'll get our May issue, so you won't miss out.
If you live in the UK and are happy to set up a Direct Debit, however, we can offer you even greater saving on your first six issues.
Free Download: Beethoven's Sonata for Piano Four Hands in D
classical-music.com Tuesday, 31 March 2020 16:00:34
‘Hill and Frith have done us a service’
This week’s free download is the first movement of Beethoven’s Sonata for Piano Hands, performed by pianists Peter Hill and Benjamin Frith and recorded by Delphian. The album was awarded four stars for both performance and recording in the April issue of BBC Music Magazine.
If you'd like to enjoy our free weekly download simply log in or sign up to our website.
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classical-music.com Tuesday, 31 March 2020 14:10:58
We are here for you. If you're used to buying our magazine from the shops, you can order by 27 April and receive our next 3 issues delivered to your home for the reduced price of £15.27. This offer is risk-free, doesn’t require starting a Direct Debit and still offers you savings on the shop price.
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classical-music.com Monday, 30 March 2020 18:44:49
The Polish composer and conductor Krzysztof Penderecki has died aged 86.
Penderecki was a revered avant-garde composer, who, as well as writing operas, symphonies and concertos, was committed to sacred music, using sacred texts as the basis for many of his choral works. Venturing beyond the concert hall, his music was also used in films including The Shining, The Exorcist and Wild at Heart.
Having initially studied as a violinist, Penderecki went on to focus on composition at Krakow's Academy of Music in 1954. With Stalinism overthrown in Poland in the 1950s and the end of censorship, it was an exciting decade to be a young composer. Penderecki's early works were avant-garde in style, incorporating extended technique, note clusters and experimental sounds and textures.
Penderecki reached an international audience following the success of his 1960 work for strings Threnody for the Victims of Hiroshima, written as a response to the atomic bombing of Hiroshima in 1945 and a reminder of the horrors of nuclear warfare. The piece went on to be featured in BBC Music Magazine’s list of 20 works that defined a century.
He was the composer most commonly associated with 'sonorism', a style of music used by avant-garde Polish composers which focuses on the qualities of the sound itself: textures, timbres and contrasts. This was often linked to the creation of new sounds from traditional instruments using extended techniques and graphic notation, a prominent feature of Penderecki's compositions.
Citing his two greatest influences as JS Bach and Monteverdi, Penderecki went on to explore choral music, marked by the St Luke Passion, the first large-scale oratorio by a Polish composer since the 19th century. This was later followed by his Credo andPolish Requiem, the latter of which was dedicated to the heroes and victims of Polish history.
Later in his career, his avant-garde approach developed into more of a focus on neoromanticism. His First Violin Concerto was the first major example of this, with a soaring violin part.
Speaking to BBC Music Magazine in 2019, he said, ‘I was using the elements of different music – always in a form in which I was very much connected to the tradition, although the sounds were different. I was inventing new sounds – using old instruments to make them, particularly stringed instruments because I was a string player.’ He is known for his string works, with his first violin concerto dedicated to and premiered by Isaac Stern, and his second for Anne-Sophie Mutter, a violinist with whom he worked and recorded many times over the years.
Despite never having had any formal training, he conducted many of his own orchestral works in concert and on recordings.
Penderecki's other great passion was his arboretum, located 60 miles outside Krakow and the largest in Eastern Europe, with 1700 different species of tree. 'I go there, to the big trees and put my arms round one of them for a while,' he told James Naughtie in BBC Music Magazine last year. 'It is a huge. That gives me a feeling of power, and peace too.'