Maestro: Independent Classical Spotlight

Maestro: Independent Classical Spotlight

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Maestro: Independent Classical Spotlight episodes

  • Maestro 015: Composers in 2010 pt. 2

    Maestro Classical Podcast 015: Composers in 2010 pt. 2 featuring Max Richter, Rachel Grimes and Quartet San Francisco Max Richter "infra 4" (mp3) from "Infra" (Fat Cat Records) More On This AlbumOriginally conceived as a Royal Ballet-commissioned collaboration between composer Max Richter, choreographer Wayne McGregor and artist Julian Opie, Max Richter's gorgeous score to 'infra' is deservedly given life of its own in this album-length release from FatCat's instrumental/orchestral imprint 130701 Records. The initial setting for 'infra' was as a ballet - written in autumn 2008 and premiered in November of the same year at The Royal Opera House in London – although here Richter’s score is given the full scope of a standalone new album. Expanded and extended from the original piece, 'infra' comprises music written for piano, electronics and string quintet, including the full performance score as well as material that has subsequently developed from the construction of the album – more a continued reference to the ballet than as a "studio album" in the strictest sense. The composition resonates with Max's characteristic musical voice – majestic, involved textures; fluent and sweeping melodies; an enigmatic and inherently intellectual understanding of harmonic complexities that compels and mesmerizes. Richter's work on the ballet came initially from McGregor's invitation, a request for 25 minutes of music for his piece, inspired by T.S. Elliot's 'The Wasteland' and named after the Latin term for 'below'. This eventually became more collaborative as the project developed – Wayne would ask for Max to extend or alter certain passages of music in accordance with his own amendments to his choreography and concept, whilst logging the whole process for a BBC documentary (broadcast, along with the ballet in full, on BBC2 in November 2008). The dance performance was backed with digital images created by Julian Opie – observational scenes of street life, haunting and curiously balletic despite being of the everyday – and Max's score is an appropriately close reference to the traveling theme: "I started thinking about making a piece on the theme of journeys. Like a road movie. Or a traveler's notebook. Or like the second unit in a film - when the scene has been played, and the image cuts away to the landscape going by. This started me thinking about Schubert's devastating and haunting "Winterreise" (Winter Journey), so I used some melodic material from Schubert as a found object in parts of my new piece." Rachel Grimes"Every Morning" from "Books of Leaves for Solo Piano" (Violinjazz Recordings) Buy at Amazon MP3 More On This Album BBC Pioneering Neo-Classicist reveals her solo debut by Spencer Grady, October 13, 2009: "We owe Rachel Grimes big." "..with Music for Egon Schiele …found the conviction and confidence to match her voice.." "Her most wondrous gift was always her ability to paint the most evocative pictures in purest ivory and her lightness of touch allows majestic statements such as the Corner Room and Long Before Us to ring out, echoing with sensuousness and sentiment before drawing the listener back in." New York Times – Live Review by Allan Kozinn, October 14, 2009: "..offered glimpses of an alternate universe in which expansive, unified projects are everything." "..overall serenity.." "..her evident fascination with French music: Ravel and Debussy hover nearby (in the watery imagery and modal harmonies of "Bloodroot" for example)" Quartet San Francisco "Crowdambo" (mp3) from "Látigo" (Violinjazz Recordings) Buy at Napster Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Description of "Crawdambo" from Quartet San Francisco violinist, Jeremy Cohen: "I wrote this piece as an homage to my teacher and mentor, Anne Crowden, who passed away in 2004. Anne instilled in me a dedication to musical expression that truly became the basis of my violin-playing. She communicated to me how important it is that the joy of music-making be evident in my playing at every moment. In this little musical “thank you” to Anne I found myself cooking up a musical soup of favorite sounds, techniques, and rock and classical-infused ideas held together by a mambo rhythm."

    11 min
  • 014: Solo Feature: San Francisco Symphony

    Today’s episode will be our first ever, solo focus feature on the San Francisco Symphony aka SFS. SFS has a long history of presenting world premieres and receiving various awards. They recently received 3 Grammy awards for an album we will play today for Best Classical Album, Best Engineered Classical Album, and Best Choral Performance. www.sfsymphony.org SFS The Black and White Ball SFS Season Schedule and Tickets San Francisco Symphony, Michael Tilson Thomas "Symphony No. 3 in E-Flat Major "Eroica", Op. 55" from "Beethoven: Symphony No. 3 "Eroica"" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This AlbumAlbum Notes This album is the companion concert recording for Keeping Score, the San Francisco Symphony's multi-media project on PBS, national public radio, web sites and education. For more information visit www.keepingscore.org. San Francisco Symphony, Michael Tilson Thomas "Symphony No. 4 in F minor, Op. 36" from "Tchaikovsky: Symphony No. 4" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Album Notes This album is the companion concert recording for Keeping Score, the San Francisco Symphony's multi-media project on PBS, national public radio, web sites and education. For more information visit www.keepingscore.org. Michael Tilson Thomas, San Francisco Symphony, San Francisco Symphony Chorus "Symphony No. 8 in E-Flat Major" (mp3) from "Mahler: Symphony No. 8 in E-Flat Major - Adagio from Symphony No. 10" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Michael Tilson Thomas, San Francisco Symphony, San Francisco Symphony Chorus "Symphony No. 8 in E-Flat Major" (mp3) from "Mahler: Symphony No. 8 in E-Flat Major - Adagio from Symphony No. 10" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Michael Tilson Thomas, San Francisco Symphony, San Francisco Symphony Chorus "Symphony No. 8 in E-Flat Major" (mp3) from "Mahler: Symphony No. 8 in E-Flat Major - Adagio from Symphony No. 10" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Michael Tilson Thomas, San Francisco Symphony, San Francisco Symphony Chorus "Symphony No. 8 in E-Flat Major" (mp3) from "Mahler: Symphony No. 8 in E-Flat Major - Adagio from Symphony No. 10" (San Francisco Symphony) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Album Notes Mahler's Eighth Symphony is his largest-scale work and among music's most epic statements. Scored for huge orchestra, chorus, two children's choirs, and eight vocal soloists, Mahler 8 is sometimes called the Symphony of a Thousands — which is just a slight exaggeration. Fusing an ancient hymn of praise with Goethe's ecstatic story of Faust's redemption, Mahler 8 is an overwhelming musical experience. Description The San Francisco Symphony and Michael Tilson Thomas present Mahler's Adagio from Symphony No. 10 and Symphony No. 8 featuring soloists Laura Claycomb, Anthony Dean Griffey, Katarina Karnéus, Quinn Kelsey, James Morris, Yvonne Naef, Elza van den Heever & Erin Wall, the San Francisco Symphony Chorus, the San Francisco Girls Chorus and the Pacific Boychoir. Conductor: Michael Tilson Thomas Orchestra: San Francisco Symphony Soloist: Erin Wall, Elza van den Heever, Katarina Karnéus, Yvonne Naef, Anthony Dean Griffey, Quinn Kelsey, James Morris Chorus: San Francisco Symphony Chorus, Pacific Boychoir, San Francisco Girls Chorus

    37 min
  • Maestro 013: Composers in 2010

    Florent Ghys "Soli" (mp3) from "Baroque Tardif: Soli" (Cantaloupe Music) Buy at iTunes Music Store Buy at Napster More On This Album Album Notes: Cantaloupe Music continues its series of EPs. These are available via digital music services and in a limited edition physical pressing available to members of our subscription-only Cantaloupe Club.

    After receiving a traditional French diploma in music, Florent Ghys researched experimental and minimalist music--leading him to Bang on a Can's Summer Festival at MASS MoCA in 2007. Returned to his hometown in Bordeaux and missing the community he found around the summer festival, Ghys asked himself, "What would I write if I had to write for an ensemble in which I am the only player?"

    Ghys says of his process: "The reasons for this schizophrenic question are multiple. Returning to Bordeaux from Paris, I had the feeling of being musically isolated - of being out of tune with my new environment - and I couldn't stop writing. I was also interested in the idea of breaking the boundary between the composer and the musician. and the feeling I had of sitting in the audience while my music was being played onstage wasn't, to be honest, all that satisfying.

    "I didn't intend to compose a solo for myself playing the upright bass, nor did I intend to compose a piece for me and a fleet of clones, but I did intend to create a 'multiple-me' ensemble.

    "I know multi-track recording will never replace live recording, but multi-tracking was an interesting starting point to see if it would change my compositional process while writing strictly for me - after all, the instrumentation for the EP was linked only to the instruments I can actually play. I could have an upright bass, a bass, a guitar, an electric guitar, a voice. I could also use a pianino (a small 6 octaves piano) and hit some dishes in my kitchen." Baroque Tardif: Soli is the first in a series of three EPs from Florent Ghys.

     

    Olivier Manchon "Come Back" (mp3)

    "Memoires (feat. Gregoire Maret)" (mp3) from "Orchestre de Chambre Miniature - Volume 1" (ObliqSound) Buy at iTunes Music Store More On This AlbumAlbum Notes: Olivier Manchon > violin Hiroko Taguchi > viola Christopher Hoffman > cello Alan Hampton > double bass John Ellis > tenor saxophone (tks 1, 4, 7), bass clarinet (tk 3) Hideaki Aomori > clarinet (tk 5, 8), bass clarinet (tk 6) Gregoire Maret > harmonica (tk 2) Produced by Olivier Manchon. Description: Orchestre de Chambre Miniature - Volume 1 is the personal project of French violinist and composer Olivier Manchon, better known for his collaborations with indie acts My Brightest Diamond and Sufjan Stevens, and as co-leader of orchestral pop group Clare and the Reasons. With this mini chamber orchestra, Manchon showcases his skills as a gifted composer and arranger, creating a cinematic narrative of jazz and classical music performed on strings and woodwinds. The album also features John Ellis (Charlie Hunter, John Patitucci, Sting) on clarinet and saxophone and Gregoire Maret (Pat Metheny, Herbie Hancock, Marcus Miller) on harmonica.

    www.obliqsound.com

     

    14 min
  • Maestro 012: New Signings to IODA, feat: Violinjazz Recordings, The Philadelphia Orchestra
    Quartet San Francisco "Take Five" (mp3) from "QSF Plays Brubeck" (Violinjazz Recordings) Buy at iTunes Music Store Buy at Rhapsody Buy at Amazon MP3 More On This Album In celebration of the 50th anniversary of the release of Time Out, QSF pays tribute to the mastery of Brubeck with the first-ever all Brubeck string quartet CD! Grammy nominees for their last two releases (2006 and 2007)and International Tango competition winners (New York , 2004), Quartet San Francisco expresses itself in its agility and standout virtuosic playing. Quartet San Francisco is Jeremy Cohen and Alisa Rose , violinists, Keith Lawrence, violist, and Michelle Djokic, cellist. As crossover specialists they excel in multiple styles ó from jazz to tango, pop to funk, blues to bluegrass, gypsy swing to big band and beyond . Nominee, 52nd Annual GRAMMY© Awards Best Classical Crossover Album Best Engineered Album, Classical NPR Weekend Edition, Sunday January 31, 2010 The Philadelphia Orchestra, Stewart Goodyear, David Bilger, Christoph Eschenbach "Piano Concerto No. 1 in C Minor, Op. 35" (mp3) from "Shostakovich: Piano Concertos Nos. 1&2" (The Philadelphia Orchestra) Buy at iTunes Music Store More On This Album Album Notes Composer: Shostakovich Piano Concerto Nos. 1 and 2 Composed in 1933 and 1957 Christoph Eschenbach: Conductor Steward Goodyear: Piano Recorded live October 13, 2006, Verizon Hall, The Kimmel Center for the Performing Arts It is not unusual for performers to play in challenging situations, however few situations are more challenging than the one captured on this recording. In a testament to his skill and artistry, Stewart Goodyear stepped in to play when the featured soloist for this concert canceled on the morning of the first rehearsal. Not only did Goodyear literally hop on a train to make it in time for an afternoon rehearsal, he stepped into the very challenging programmed repertoire without blinking. Two Shostakovitch Concertos on one program? No problem - and they are played with such passion and excitement that it was rightfully lauded in the press as one of the best concerts in recent memory. PRODUCTION CREDITS Producer: Charles Gagnon Balance Engineer: Charles Gagnon Recording Engineer: Charles Gagnon Editor: Charles Gagnon Christoph Eschenbach Bio Photo: Jessica Griffin Stewart Goodyear Bio Photo: Andrew Garn The Philadelphia Orchestra, Christoph Eschenbach "Symphony No. 9 in D Minor, Op. 125 "Choral"" (mp3) from "Beethoven: Symphony No. 9" (The Philadelphia Orchestra) Buy at iTunes Music Store More On This Album Symphony No. 9 in D minor, Op. 125 (ìChoralî) Composed from 1822-24: Ludwig van Beethoven Recorded live May 20, 2006, Verizon Hall, The Kimmel Center for the Performing Arts This is part of Christoph Eschenbach's 2005-06 season Beethoven cycle with the Philadelphia Orchestra. It was originally aired on NPR's Performance Today in a Beethoven "marathon" of consecutive symphonies, and has received wide public and critical acclaim. Of the three in the recorded history of The Philadelphia Orchestra, only the Eschenbach and the Muti are currently available. Album Notes Christoph Eschenbach Conductor Marina Mescheriakova Soprano Jill Grove Mezzo-soprano Vinson Cole Tenor Alan Held Bass-baritone The Philadelphia Singers Chorale David Hayes Music Director
    16 min
  • Maestro 011: feat. Apolkalypse Now's new album Polkastra!
     Polkastra from "Apolkalypse Now" (Ancalagon LLC) Buy at iTunes Music Store More On This Album Polkastra An eclectic and international cast of characters including a Canadian folk fiddler, the Met's contrabassoonist, an Israeli accordionist and percussionist, a jack-of-all-trades bassist, a French Horn playing record store clerk and an internationally renowned violin soloist met in a New Jersey studio to record a polka album just for fun. An idea that began as a lark quickly grew into an eccentric, virtuosic and energetic exploration of the roots of polka: folk, country, classical and jazz. Polkastra is a unique world music project that celebrates both the joy of music and the power of dance to unite cultures. From the American Midwest and the North of Canada to the mountains of Bohemia and the deserts of Israel - Apolkalypse Now poses the important question "Would you like sauerkraut, poutine, goulash or hummus with that?" http://www.facebook.com/pages/Polkastra/85797268829 http://www.polkastra.com Ama Deus Ensemble, Valentin Radu from "Beethoven: Symphony No. 9 & Die Ruinen von Athen" (Lyrichord) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This Album The Symphony No. 9 in D minor, Op. 125 "Choral" The last complete symphony composed by Ludwig van Beethoven. Completed in 1824, the Ninth Symphony is one of the best-known works of the Western repertoire, considered both an icon and a forefather of Romantic music, and one of Beethoven's greatest masterpieces. The composer struggled for more than ten years before completing the work, and turned to the mighty Missa Solemnis while he considered his final symphony. Using voices in an orchestral symphony had never been attempted before. Beethoven finally decided to incorporate part of the Ode an die Freude ("Ode to Joy"), a poem by Friedrich Schiller, with text sung by soloists and a chorus in the new symphony's last movement. It is, indeed, the first example of a major composer using the human voice on the same level with instruments in a symphony, creating a work of a grand scope that sets the tone for the Romantic symphonic form. Ludwig van Beethoven (1770-1827)  Smetana Quartetfrom "Beethoven: String Quartets Nos 11-16 incl. Grosse Fuge / Smetana Quartet" (Supraphon Music a.s.) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This Album Album Notes Smetana Quartet Plays Late Beethoven (3 CDs) L. van Beethoven: String Quartets No. 11 in F minor, Op. 95, No. 15 in A minor, Op. 132, No. 14 in C sharp minor, Op. 131, No. 12 in E flat major, Op. 127, No. 13 in B-flat major, Op. 130, Grosse Fuge in B flat major, Op. 133, No. 16 in F major, Op. 135 The Smetana Quartet (1945-1989) played Beethoven's quartets 1490 times over the course of their career! The recordings which make up this complete collection are from the years 1961-70, and the performances were played from memory! The recordings glow with youthful energy and tireless searching. The Smetana Quartet has been called perhaps the best ensemble of the years 1960-80. London Symphony Orchestra, Bernard Haitink from "Beethoven: Symphonies Nos. 4 & 8" (LSO Live) Buy at iTunes Music Store Buy at eMusic Buy at Rhapsody Stream from Rhapsody Buy at Amazon MP3 More On This Album Symphony No. 8 in F Major, Op. 93 The work was begun in the summer of 1812, immediately after the completion of the Seventh Symphony. At the time Beethoven was 41 years old. As Antony Hopkins has noted, the cheerful mood of the work betrays nothing of the grossly unpleasant events that were taking place in Beethoven's life at the time, which involved his interference in his brother Johann's love life. The work took Beethoven only four months to complete, and was dedicated to the banker Count Moritz Fries, who, according to Karl Holz, paid Beethoven a regular subsidy for some years until his bankruptcy in 1825. The premiere took place on February 27, 1814, at a concert at which the mighty Seventh Symphony (which had been premiered two months earlier) was also played. Beethoven was growing increasingly deaf at the time, but nevertheless led the premiere. Reportedly, "the orchestra largely ignored his ungainly gestures and followed the principal violinist instead". Critics immediately noted that the Eighth did not reach the heights of its predecessor, launching a long tradition of complaining that the Eighth Symphony is not something different (more heroic, more emotive) from what it is. However, many listeners seem to be able to enjoy the symphony anyway, and it appears frequently today on concert programs as well as on recordings. When asked by his pupil Carl Czerny why the Eighth was less popular than the Seventh, Beethoven is said to have replied "because the Eighth is so much better." A critic wrote that "the applause it [the Eighth Symphony] received was not accompanied by that enthusiasm which distinguishes a work which gives universal delight; in short-as the Italians say-it did not create a furor." Beethoven was angered at this reception because he considered the Eighth "much better" than the Seventh. Source: http://en.wikipedia.org/wiki/Symphony_No._8_(Beethoven) http://www.lso.co.uk
    19 min
  • Maestro 010: feat. Indie Classical Artists
    George Zacharias "Nel cor pi√π non mi sento, Op. 38, MS 44" (mp3) from "Unaccompanied" (Divine Art) Buy at iTunes Music Store Buy at Rhapsody More On This AlbumArtist: George ZachariasIt takes a particular and extreme level of skill and dedication to perform virtuoso works for unaccompanied solo violin; suffice it to say these are qualities held by George Zacharias without doubt. This is a tour-de-force of musicianship and technique - and wonderful music too. Bartok's Sonata is presented in its original version and of the two awesome Paganini works, the 'God Save the King' Variations are very rarely heard. Dejan Laziƒ?, London Philharmonic Orchestra, Kirill Petrenko "Concerto No. 2 in C Minor, Op. 18" (mp3) from "Rachmaninov: Piano Concerto No. 2 in C Minor, Op. 18 - Moments Musicaux, Op. 16" (Channel Classics Records) Buy at iTunes Music Store Buy at Rhapsody Buy at Napster More On This AlbumArtist: Dejan Lazic Pianist Dejan Lazic was born in Zagreb, Croatia, and grew up in Salzburg where he studied at the Mozarteum. He is quickly establishing a reputation worldwide as ìa brilliant pianist and a gifted musician full of ideas and able to project them persuasivelyî (Gramophone). The New York Times hailed his performance as ìfull of poetic, shapely phrasing and vivid dynamic effects that made this music sound fresh, spontaneous and impassionedî. As recitalist and soloist with orchestra, he has appeared at major venues in Berlin, Paris, London, Vienna, New York, Chicago, Tokyo, Buenos Aires and Sydney, and at the Edinburgh, Schleswig-Holstein, Verbier, Huntington and Menuhin/Gstaad Festivals. In the 2006/2007 season he gave his debut at the New York Lincoln Center and the Amsterdam Concertgebouw to great critical acclaim. Orchestral engagements included the Philharmonia Orchestra London with Vladimir Ashkenazy, Rotterdam and Hong Kong Philharmonic Orchestras, Australian and Netherlands Chamber Orchestras, Danish Radio Sinfonietta and Bamberg Symphony Orchestra. Upcoming engagements are with London Philharmonic Orchestra and Kirill Petrenko, Swedish Radio Symphony Orchestra, Atlanta and Indianapolis Symphony Orchestras and Basel Chamber Orchestra. He will be in season 2008/09 ìartist in residenceî at the Netherlands Chamber Orchestra. He has a growing following in the Far East where he returns in spring 2008 for engagements with the Sapporo Symphony and for recitals in Tokyo and Beijing as well as for an engagement with Seoul Philharmonic Orchestra. In 2009 a national Australian tour is planned with the Australian Chamber Orchestra. In the next season he will appear in recitals at the BBC Belfast, in Istanbul and Salzburg, Queen Elisabeth Hall London and at Vienna Musikverein to mention just a few. Alongside his solo career, Dejan Lazic is also a passionate chamber musician. He collaborates with artists such as Benjamin Schmid, Thomas Zehetmair, Gordan Nikolic and Richard Tognetti. Dejan records exclusively for Channel Classics. In autumn 2007 the first publication of the double portrait series with a Scarlatti/Bartok program is planned. The second CD will be released in 2008 with a Schumann/Brahms program as well as a recording of the Khachaturian Concerto and the Rachmaninov Paganini Rhapsody with the Bamberg Symphony Orchestra and a CD with the London Philharmonic Orchestra and the Rachmaninov Concerto No. 2. His last recording of Schubertís sonata D960 and his earlier one with Beethoven Piano Concerto No. 2 have earned rave reviews. His compositions include various chamber music and orchestral works. In 2007/08 he will premiere his ìKinderszenenî op. 15 for piano solo. Album Notes: You're going to compose your concerto. You will work with great ease. The concerto will be of excellent qualitySo spoke Dr. Nikolai Dahl, of one of the pioneers of psychiatry in Russia, and in this way he successfully restored Sergey Rachmaninov's concentration during a period of creative despair after the failure of his first Symphony. Later, Rachmaninov himself was to write: ìEven though it seems unbelievable, this therapy truly helped me. I was already starting to compose by summer!îAlthough they were separated by the crisis which interrupted his work, both the second Piano Concerto and the ìMoments Musicauxî date from the composer's early period, during which he was active primarily as a composer rather than a pianist. This explains the character of the second Piano Concerto, which partakes of both chamber music and symphony, despite the dazzling virtuosity of the solo piano part. Unlike many of Rachmaninov's other works, the concerto, dedicated in thanks to his doctor, was never revised after the first performance-another indication of the ease and freshness with which Rachmaninov went to work.The formal simplicity (e.g., in the first movement: main theme in the minor, second theme in the relative major, the development section laid out as a large-scale accelerando with gradually increasing dynamics, recapitulation with both themes, although given out with different instrumentation) is just as classically conceived as the choice of tonalities for the three movements (opening and closing movements in C minor, the slow central movement in E major, just as in Beethoven's 3rd Piano Concerto, except for the introductory modulations), and the balanced alternation between the freely improvisatory, martially strict, and dancelike, as well as between polyphonic and homophonic writing. However, all three movements are in 2/2 time, making the frequent shifts between 2/2 and 3/2 in the third movement all the more refreshing....http://www.channelclassics.com/ New Century Saxophone Quartet "The Art of Fugue" (mp3) from "Bach: The Art of Fugue" (Channel Classics Records) Buy at Rhapsody Buy at Napster More On This AlbumArtist: New Century Saxophone QuartetThe New Century Saxophone Quartet is a pioneering and versatile group winning new-found enthusiasm for its diverse repertory of innovative contemporary works and imaginative adaptations comprising an extraordinary range of musical styles. The only ensemble of its kind to win First Prize of the Concert Artists Guild Competition, the quartet is the recipient of grants from the National Endowment for the Arts, Chamber Music America, and the Aaron Copland Fund for Music, and in its home state from the North Carolina Arts Council. New Century has been heard in major concert venues and on radio and television throughout the Americas and Europe; in recordings for the Channel Classics label; and in unusual performance settings including two Command Performances for President Clinton at the White House, an appearance with the United States Navy Band, and a Chinese New Year broadcast seen by a television audience of over 300 million worldwide. Peter Schickeleís Concerto for Saxophone Quartet and Orchestra is among the ensembleís numerous and widely-performed commissions and premieres, which also include works from Saturday Night Live bandleader Lenny Pickett, Bob Mintzer, Ben Johnston, David Ott, and Sherwood Shaffer. Album Notes:This project then is the culmination of over eight years studying, rehearsing, and performing Bach, and even in its "final" form on this disc represents a work in progress. As the quartet has discovered, one is never through learning Bach. Faced with the infinite possibilities of interpretation, one never plays it the same way twice. (Even in "extreme" interpretations, the music almost never suffers.) Also, one cannot spend this much time in the presence of the master without being fundamentally changed as a musician. The quartet has become keenly aware through this process that playing "The Art of Fugue" has changed everything ?ó the way they listen to each other, hear and experience an individual musical line and its relation to the surrounding parts, balance a chord or section of counterpoint, and even tune. The New Century Saxophone Quartet simply sounds different now, and they approach every piece, new and old, with a fresh perspective. It is their sincere desire to present the music of Bach in a way that is true to his intentions and the stylistic practices of the period, and yet with a vitality and freshness that can come from over 250 years of perspective. It is hoped you are as moved and inspired by the mastery of "The Art of Fugue" as they are.http://www.channelclassics.com/
    19 min
  • Maestro 009: feat. Indie Classical Artists-String Soloists
    Fabio Biondi "Les Quatre Saisons (L'Ete)" (mp3) from "Violon X" (Naive) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This AlbumFabio Biondi – violin:  Born in Palermo, Fabio Biondi began his international career at the age of twelve, performing his first solo concert with the RAI symphony orchestra. Driven early on by an inexhaustible cultural curiosity, Fabio Biondi was introduced to pioneers of the new approach to baroque music, an opportunity that was to expand his musical vision and change the direction of his career. In 1990, Fabio Biondi founded Europa Galante, an ensemble which, in just a few years thanks to their worldwide concert schedule and extraordinary recording successes, became the most internationally renowned and awarded Italian ensemble of baroque music. Fabio Biondi and his ensemble have been invited to play at the most important world festivals and concert halls, from La Scala in Milan to the Accademia di Santa Cecilia in Rome, the Suntory Hall in Tokyo, the Concertgebouw in Amsterdam, the Royal Albert Hall in London, the Musikverein in Vienna, the Lincoln Center in New York and the Sydney Opera House. Lara St. John, The SimÃ�n BolÃ�var Youth Orchestra of Venezuela, Eduardo Marturet (Ancalagon LLC) Lara St. John, The Sim√≥n Bol√≠var Youth Orchestra of Venezuela, Eduardo Marturet from "Vivaldi: The Four Seasons - Piazzolla: The Four Seasons of Buenos Aires" (Ancalagon LLC) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This AlbumLara St. John – violin: http://www.larastjohn.com/index.phpCanadian-born violinist Lara St. John has been described as "something of a phenomenon" by The Strad and a "high-powered soloist" by the New York Times . She has performed as soloist with the orchestras of Cleveland, Philadelphia, Minnesota, Seattle, Brooklyn, Toronto, Montreal, Vancouver, the Boston Pops and many more in North America. In Europe, she has played with the NDR Symphony (Hanover), Zurich Chamber Orchestra, Ensemble Orchestral de Paris, Bournemouth Symphony and the Amsterdam Symphony, among others. In Asia, solo appearances have included the Hong Kong Symphony, Tokyo Symphony, China Philharmonic in Beijing, Guangzhou Symphony and the Shanghai Broadcasting Orchestra. Lara has also performed with the Queensland Orchestra in Australia.The Los Angeles Times has written, "St. John brings to the stage personal charisma, an unflagging musical imagination and genuine passion." Recitals in major concert halls have included New York, Boston, San Francisco, Ravinia, Washington DC, Prague, Berlin, Toronto, Montreal and in the Forbidden City.To learn more about Lara check out her website!  Sara Sant'Ambrogio "Suite No. 3 in C Major, BWV 1009" (mp3) from "Bach: Suites for Solo Cello, Vol. 1" (Sebastian Records) Buy at iTunes Music Store Buy at Rhapsody Stream from Rhapsody More On This AlbumSara Sant'Ambrogio – cello:Grammy Award-winning cellist Sara Sant'Ambrogio first leapt to international attention when she won a medal at the Eighth International Tchaikovsky Violoncello Competition in Moscow, Russia. As a result of this prize, Carnegie Hall invited Sara to perform a recital that was televised nationally, as a part of a CBS News profile. The New York Times described her New York debut as "sheer pleasure".Sara has appeared as soloist with many orchestras, including Atlanta, Boston, Chicago, St. Louis, San Francisco, Prague Chamber Orchestra, Beijing Philharmonic, and Moscow State Philharmonic. She has performed throughout the world at most of the major music festivals and centers such as Aspen, Concertgebouw in Amsterdam, Hollywood Bowl, Kennedy Center, Lincoln Center, Musikverein in Vienna, Marlboro, Great Mountain in Korea, and Orchard and Suntory Halls in Tokyo.As well as being featured in a broad range of international press, including Vanity Fair, Marie Claire, Glamour, The Wall Street Journal, USA Today and ABC, Fox, and CNN Networks, Sara has also been the subject of a feature length documentary entitled "Eroica!" which has had multiple airings on PBS. Always trying to expand the audience and push the boundaries for classical music, Sara has shot 4 music videos that have been aired internationally on Classic FM TV and has enjoyed collaborating with artists as diverse as the singer Rufus Wainwright-with whom she inaugurated a new concert series in New York City- to the rock group Vast- with whom she recorded. Sara collaborated with the New York City Ballet playing solo Bach at 7 sold-out shows at Lincoln Center and has had her playing featured on movie soundtracks including her own arrangement of Delibes' duet from Lakme on the soundtrack of the documentary "Jones Beach Boys."Sara was invited to study with David Soyer at the Curtis Institute of Music at the age of 16 and after receiving her high school diploma from that venerable conservatory she then attended The Juilliard School as a scholarship student of Leonard Rose. While at Juilliard, Sara co-founded the Naumburg Award winning Eroica Trio with 2 childhood friends. One of the most successful chamber ensembles in America, the Trio tours worldwide extensively and has released 8 recordings for Angel/EMI Classics which have been nominated for multiple Grammy's. This is Sara's second recording for Sebastian Records. 
    20 min
  • Maestro 008: feat. Impressionistic Piano Works, Part 1
    Maestro 008: feat. Impressionistic Piano Works, Part 1 1. Anthony Goldstone "The Bumble Bee" (mp3) from "A Night at the Opera - Liszt, Gluck, Chopin, et al." (Divine Art) Buy at iTunes Music Store Buy at Rhapsody Buy at Napster Buy at appliedSB / Groupietunes Buy at Puretracks Buy at mTraks More On This Album "Flight of the Bumblebee" is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. The piece closes Act III, Tableau 1, right after the magic Swan-Bird gives Prince Gvidon Saltanovich (the Tsar's son) instructions on how to change into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concert piece possible. Nicolas Rimsky-Korsakov was a Russian composer, and a member of the group of composers known as "The Five." Noted particularly for a predilection for folk and fairy-tale subjects as well as his extraordinary skill in orchestration, his best known orchestral compositions—Capriccio espagnol, Russian Easter Festival Overture, and the symphonic suite Scheherazade—are considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. 2. Marzia Ragazzoni, Fabiana Ragazzoni "Dalle Sei Burlesken, Op. 58 per pianoforte a quattro mani" (mp3) from "Cuore Ragione Ironia" (Materiali Sonori) Buy at iTunes Music Store Stream from Rhapsody More On This Album Max Reger was a German composer, conductor, pianist, organist, and teacher. During a composing life of little more than 25 years, Reger produced an enormous output in all genres, nearly always in abstract forms, although few of his compositions are well known today. Many of his works are fugues or in variation form, including what is probably his best known orchestral work, the Variations and Fugue on a Theme by Mozart (based on the opening theme of Wolfgang Amadeus Mozart's Piano Sonata, K. 331). He also wrote a large amount of music for organ, including the Fantasy and Fugue on BACH (this piece, based on the BACH motif, is considered one of the most difficult and demanding in organ literature). He was particularly attracted to the fugal form his entire life, once remarking: "Other people write fugues - I live inside them". He composed music in virtually every genre—opera being a notable exception.
    5 min
  • Maestro 007: feat. Tchaikovsky and J.S. Bach. Nutcracker Ballet Suite and Christmas Oratorio
    Maestro Classical podcast: episode 7, a holiday celebration feat. Tchaikovsky and J.S. Bach. 1. The London Symphony Orchestra "Nutcracker Ballet Suite: Waltz Of The Flowers" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) Pyotr Ilyich Tchaikovsky was a Russian composer of the Romantic era. While not part of the nationalistic music group known as "The Five", Tchaikovsky wrote music which, in the opinion of Harold C. Schonberg, was distinctly Russian: plangent, introspective, with modally-inflected melody and harmony. Despite the compositional efforts of The Five, Tchaikovsky dominates 19th century Russian music as its greatest talent. While his formal conservatory training instilled in him Western-oriented attitudes and techniques, his essential nature, as he always insisted, remained Russian. This was true both in his use of actual folk song and his deep absorption in Russian life and ways of thought. His natural gifts, especially for melody (what he called the "lyrical idea"), give his music a permanent appeal. However, it was his hard-won though secure and professional technique, plus his ability to use it for the expression of his emotional life, which allowed him to realize his potential more fully than any of his major Russian contemporaries. The Nutcracker is one of Tchaikovsky's best known works. While it has been criticized as the least substantial of the composer's three ballets, it should be remembered that Tchaikovsky was restricted by a rigorous scenario supplied by Marius Petipa. This scenario provided no opportunity for the expression of human feelings beyond the most trivial and confined Tchaikovsky mostly within a world of tinsel, sweets and fantasy. Yet, at its best, the melodies are charming and pretty, and by this time Tchaikovsky's virtuosity at orchestration and counterpoint ensured an endless fascination in the surface attractiveness of the score. The Nutcracker, Op. 71, is a fairy tale-ballet in two acts, three scenes, by Pyotr Ilyich Tchaikovsky, composed in 1891–92. Alexandre Dumas père's adaptation of the story "The Nutcracker and the Mouse King" by E.T.A. Hoffmann was set to music by Tchaikovsky (written by Marius Petipa and commissioned by the director of the Imperial Theatres Ivan Vsevolozhsky in 1891). In Western countries, this ballet has become perhaps the most popular ballet, performed primarily around Christmas time. The composer made a selection of eight of the more popular numbers from the ballet before the ballet's December 1892 premiere, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer's direction, on 19 March 1892 at an assembly of the St. Petersburg branch of the Musical Society[1]. The suite became instantly popular; the complete ballet did not achieve its great popularity until around the mid-1960s. Among other things, the score of The Nutcracker is noted for its use of the celesta, an instrument that the composer had already employed in his much lesser known symphonic ballad The Voyevoda (premiered 1891).^ Although well-known in The Nutcracker as the featured solo instrument in the "Dance of the Sugar Plum Fairy" from Act II, it is employed elsewhere in the same act. Buy at iTunes Music Store Buy at eMusic Buy at Amazon MP3 More On This Album 2. The London Symphony Orchestra "Nutcracker Ballet Suite: Dance Of The Sugar Plum Fairy" (mp3) from "Tchaikovsky: Nutcracker Suite / 1812 Overture" (Everest Records) More On This Album 3. Boston Bach Ensemble "Chorus: Jauchzet, frohlocket" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) The greatest musical setting of the Christmas story, compiled by Johann Sebastian Bach in 1734. Based on the Gospel of St. Luke, the text describes the nativity of Jesus and is adorned by some of Bach's most colourful and beautiful music. In modern performance, the piece is generally either presented as a whole, or split into two equal sections. The total running time for the entire work is nearly three hours. Scored for an Evangelist, four vocal soloists, four part chorus and full baroque orchestra, including trumpets, timpani and horns, the Christmas Oratorio is among Bach's best-loved works. The Boston Bach Ensemble was founded in 1992 by Julian Wachner and Peter Watchorn, and performed principally at Boston University. It has performed cantatas, oratorios and masses by J. S. Bach, and features a choir of twenty young professional singers and a period instrument orchestra comprising some of the leading specialist musicians from the US, Canada, Australia and Europe. In 1998 the BBE recorded a celebrated live performance of Bach's Christmas Oratorio, which featured distinguished vocal soloists, including the celebrated Dutch baritone, Max van Egmond. Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album 4. Boston Bach Ensemble "Recitative: Es begab sich aber" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album 5. Boston Bach Ensemble "Recitative: Nun wird mein liebster BrÃ�utigam" (mp3) from "J.S. Bach: Weihnachts-Oratorium - Christmas Oratorio, BWV 248" (Musica Omnia) More On This Album
    20 min
  • Maestro 006 feat. Johann Sebastian Bach, Lara St. John, & Trevor Pinnick
    Maestro Classical podcast - episode 006: Johann Sebastian Bach feat. Lara St. John & Trevor Pinnick Johann Sebastian Bach: (from Wikipedia.org) (31 March 1685 – 28 July 1750) was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation in composition for diverse musical forces, and the adaptation of rhythms and textures from abroad, particularly Italy and France. Lara St. John "Bach: The Six Sonatas & Partitas for Violin Solo" (Ancalagon) ALBUM NOTES Sei Solo a Violino senza Basso accompagnato (Six Solos for Violin without accompanying Bass) Completed: Cöthen, 1720 According to the date he inscribed on the title page of the manuscript, Johann Sebastian Bach completed his Six Solos for Violin without accompanying Bass sometime in 1720. On 21 March of that year, he turned 35. Already a father of four, for the past two and a half years Bach had been harpsichordist and director of the elite chamber orchestra at the court of the Prince of Cöthen. Bach reportedly "dearly loved" his employer, the young Prince Leopold (1694-1728), who was not only a committed music-lover but himself a keen amateur performer, and even occasionally a composer, who, according to Bach, "loved and understood" the art. And, as one of Leopold's best-paid court functionaries, Bach was highly valued in return. In May of that year, when the prince set out for his annual summer "rest cure" in the Bohemian spa town of Carlsbad (Karlovy Vary), his harpsichordist Bach, went with him, along with five other leading members of the court band. Away from his home, young family, and usual court responsibilities for almost two months at a time, Bach evidently made good compositional use of such relatively carefree summers as that of 1720, as he did of his time at Cöthen. In the space of less than six years residence at the court (from December 1717 to May 1723), Bach rolled out a dazzling stream of masterpieces across a no less amazing range of instrumental genres. The six Brandenburg Concerti (BWV 1046-1051), the crème of his new orchestral compositions for the Cöthen band, were finished in fair copy on 24 March 1721. The first volume of the Well-Tempered Clavier (BWV 846-869) was probably largely completed during 1722. The parallel sets of 15 Inventions (BWV 772-786) and 15 Sinfonias (BWV 787-801) date, like the violin Solos, from the very middle of his Cöthen stay, flanked in the years on either side, respectively, by the six English Suites (BWV 806-811) and six French Suites (BWV 812-817). From Cöthen, too, came the only other set of instrumental pieces that challenges the violin Solos on the grounds of sheer oddity: the Six Suites for Solo Cello (BWV 1007-1012), likewise scored without accompanying Bass. 1. Lara St. John "Partita No. 1 in B minor BWV 1002 (Corrente/Double)" (mp3) from "Bach: The Six Sonatas & Partitas for Violin Solo" (Ancalagon LLC) Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album 2. Lara St. John "Partita No. 2 In D minor, BWV 1004 (Sarabanda)" (mp3) from "Bach: The Six Sonatas & Partitas for Violin Solo" (Ancalagon LLC) Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album 3. Lara St. John "Partita No. 3 In E Major, BWV 1006 (Preludio)" (mp3) from "Bach: The Six Sonatas & Partitas for Violin Solo" (Ancalagon LLC) Buy at iTunes Music Store Buy at eMusic Stream from Rhapsody Buy at Amazon MP3 More On This Album Trevor Pinnick "Bach: Six Concertos for the Margrave of Brandenburg" ALBUM NOTES The Brandenburg Concertos While we know that Bach finished a sumptuous manuscript of six concertos (for 'plusieurs Instruments', as he titled it) in March 1721 for presentation to the Margrave of Brandenburg, it is not certain when Bach actually composed these works. Some might date from the weeks immediately preceding the dedication, but the existence of early versions of some pieces suggests that Bach may have compiled much of the set from a pool of existing works. His aims in revision and compilation seem to have been to present six entirely disparate solutions to the instrumental concerto genre, a genre which was by no means fixed and which could imply many instrumental combinations. This attitude of attempting an encyclopaedic survey of a musical genre and also of perfecting and refining the best of what he had already written became a major compositional concern for Bach over the last three decades of his life; the Brandenburg dedication may well mark the beginning of this process. 4. Trevor Pinnock "Brandenburg Concerto No. 1 in F Major, BWV 1046 (IV. Menuetto-Trio I-Polacca-Trio II)" (mp3) from "Bach: Six Concertos for the Margrave of Brandenburg" (AVIE Records) Buy at iTunes Music Store Buy at Puretracks Buy at Amazon MP3 More On This Album 5. Trevor Pinnock "Brandenburg Concerto No. 3 in G Major, BWV 1048 (I. [Allegro]" (mp3) from "Bach: Six Concertos for the Margrave of Brandenburg" (AVIE Records) Buy at iTunes Music Store Buy at Puretracks Buy at Amazon MP3 More On This Album 6. Trevor Pinnock "Brandenburg Concerto No. 2 in F Major, BWV 1047 (I. [Allegro]" (mp3) from "Bach: Six Concertos for the Margrave of Brandenburg" (AVIE Records) Buy at iTunes Music Store Buy at Puretracks Buy at Amazon MP3 More On This Album
    30 min

About Maestro: Independent Classical Spotlight

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A monthly podcast dedicated to the best of independent classical musicians, composers, and labels from around the world. Each episode is typically 2 or 3 tracks, and includes a brief narrative. The…