Classical Music Discoveries

“Scipio’s Dream” is a dramatic serenade in 1 act composed by Mozart when he was 15 years old for his beloved patron, Archbishop Schrattenbach. After the archbishop’s death, Mozart dedicated it to the new archbishop, Count Colloredo. However, the serenade went through a few ending changes to reflect what Mozart thought of the new Archbishop of Salzburg. This work was given a private performance for Colloredo on May 1, 1771, however, only 1 aria and the final chorus were performed. This was done not to give away the real intent of this work. “Scipio’s Dream” was never performed in Mozart’s lifetime. The work was not performed in its entirety until 1979 for “Mozart Week in Salzburg.” Purchase now at: http://www.classicalsavings.com/store/p375/Mozart%3A_Scipio%27s_Dream_%28Il_sogno_di_Scipione%29.html

Ravello Records proudly presents the digital single PIECE BY PIECE, the PARMA debut of composer Beth Mehocic. Her work of the same name is scored for flute, bass clarinet, trumpet, bass trombone, violin, contrabass, and percussion and is performed by the Moravian Philharmonic Chamber Players. Piece by Piece was commissioned by the Erick Hawkins Dance Company of New York City in honor of their former director and composer-in-residence, Lucia Dlugoszewski. Dlugoszewski is known for her developments in avant-garde music technique and experimental music; thus, Mehocic includes a number of these techniques in the piece, including pitch bends, rapid glissandi, muting techniques, and extreme ranges. These effects are made all the more striking by Mehocic’s kaleidoscopic orchestration—brassy wails, brittle string snaps, and nasally trumpet pervade the piece. Piece by Piece also creates the illusion of free rhythm and meter in a completely metered setting, with an energy that is constantly shifting. The rhythmic and timbral play result in a spirited, kinetic work, with each instrument always interacting with another. Each sound dances around, or with, or against the next—a vibrantly patterned collage of musical color. Purchase now at: http://www.classicalsavings.com/store/p374/Piece_by_Piece.html

Ravello Records proudly presents the digital single PIECE BY PIECE, the PARMA debut of composer Beth Mehocic. Her work of the same name is scored for flute, bass clarinet, trumpet, bass trombone, violin, contrabass, and percussion and is performed by the Moravian Philharmonic Chamber Players. Piece by Piece was commissioned by the Erick Hawkins Dance Company of New York City in honor of their former director and composer-in-residence, Lucia Dlugoszewski. Dlugoszewski is known for her developments in avant-garde music technique and experimental music; thus, Mehocic includes a number of these techniques in the piece, including pitch bends, rapid glissandi, muting techniques, and extreme ranges. These effects are made all the more striking by Mehocic’s kaleidoscopic orchestration—brassy wails, brittle string snaps, and nasally trumpet pervade the piece. Piece by Piece also creates the illusion of free rhythm and meter in a completely metered setting, with an energy that is constantly shifting. The rhythmic and timbral play result in a spirited, kinetic work, with each instrument always interacting with another. Each sound dances around, or with, or against the next—a vibrantly patterned collage of musical color. Purchase now at: http://www.classicalsavings.com/store/p374/Piece_by_Piece.html

In this broadcast we are proud to feature Sony Classical’s latest release: Boston, the original motion picture soundtrack by Jeff Beal. This movie documentary, starring Matt Damon, tells of the history of the Boston Marathon from its humble origins starting with only 15 runners, to the first female runners, through the tragedy of 2013 and ultimately, the triumph of 2014. To learn more about this film, please visit their official website at: BostonMarathonFilm.com To learn more about the composer, please visit: JeffBeal.com Purchase now at: http://www.classicalsavings.com/store/p373/Boston_%28Original_Motion_Picture_Soundtrack%29.html

In this broadcast we are proud to feature Sony Classical’s latest release: Boston, the original motion picture soundtrack by Jeff Beal. This movie documentary, starring Matt Damon, tells of the history of the Boston Marathon from its humble origins starting with only 15 runners, to the first female runners, through the tragedy of 2013 and ultimately, the triumph of 2014. To learn more about this film, please visit their official website at: BostonMarathonFilm.com To learn more about the composer, please visit: JeffBeal.com Purchase now at: http://www.classicalsavings.com/store/p373/Boston_%28Original_Motion_Picture_Soundtrack%29.html

On MARIMBA CONCERTI WITH PERCUSSION ORCHESTRA (2006), Robert McCormick conducts his McCormick Percussion Group – an ensemble comprised of 20 marimbists and accompanied by guest pianist Corey Holt Merenda throughout. Guest conductor Cayenna Rosa Ponchione appears on her composition The Creation, the album’s concluding track. Other compositions on the album include The Alabados Song by Paul Bissell; Concertino for Two Marimbas and Six Percussionists by Jan Van Landerhem; Concertino for Marimba and Four Percussionists by Chihchun Chi-sun Lee; Concerto for Marimba and Percussion Ensemble by Daniel Adams; and Concertino for Marimba and Percussion Ensemble by Paul Reller. In expressing his gratitude for the record, Landerhem said he was “touched by the ensemble’s poetry and technical precision. The sound and the performance of the ensemble are of high professional standards, and could be compared with the best percussion ensembles I have heard. This is also true for the performances of the other compositions.” McCormick is currently Professor of Music at the University of South Florida and timpanist with Opera Tampa. He is a former member of the Harry Partch Ensemble and served as principle percussionist and assistant timpanist with the Florida Orchestra for twenty seasons. He has authored several articles, solos and two percussion texts: Percussion for Musicians and 32 Duets for Percussion. Robert was the 2006 recipient of the Florida Music Educator of the Year Award, the 2007 Grand Prize winner of the Keystone Percussion Composition Award, and the 2010 recipient of the Jerome Krivanek Distinguished University Teacher Award. Purchase now at: http://www.classicalsavings.com/store/p334/Marimba_Concerti.html

On MARIMBA CONCERTI WITH PERCUSSION ORCHESTRA (2006), Robert McCormick conducts his McCormick Percussion Group – an ensemble comprised of 20 marimbists and accompanied by guest pianist Corey Holt Merenda throughout. Guest conductor Cayenna Rosa Ponchione appears on her composition The Creation, the album’s concluding track. Other compositions on the album include The Alabados Song by Paul Bissell; Concertino for Two Marimbas and Six Percussionists by Jan Van Landerhem; Concertino for Marimba and Four Percussionists by Chihchun Chi-sun Lee; Concerto for Marimba and Percussion Ensemble by Daniel Adams; and Concertino for Marimba and Percussion Ensemble by Paul Reller. In expressing his gratitude for the record, Landerhem said he was “touched by the ensemble’s poetry and technical precision. The sound and the performance of the ensemble are of high professional standards, and could be compared with the best percussion ensembles I have heard. This is also true for the performances of the other compositions.” McCormick is currently Professor of Music at the University of South Florida and timpanist with Opera Tampa. He is a former member of the Harry Partch Ensemble and served as principle percussionist and assistant timpanist with the Florida Orchestra for twenty seasons. He has authored several articles, solos and two percussion texts: Percussion for Musicians and 32 Duets for Percussion. Robert was the 2006 recipient of the Florida Music Educator of the Year Award, the 2007 Grand Prize winner of the Keystone Percussion Composition Award, and the 2010 recipient of the Jerome Krivanek Distinguished University Teacher Award. Purchase now at: http://www.classicalsavings.com/store/p334/Marimba_Concerti.html

Becoming a Freemason was very important to Mozart. He was admitted as an apprentice on December 14, 1784. He was promoted to a journeyman Mason on January 7, 1785 and he became a master Mason shortly thereafter. Many of the lodges had many composers as members and since young Mozart was widely considered the best composer of them all, he was freely admitted and welcomed in all the lodges throughout Europe. Mozart’s position within the Masonic movement sided on the rationalist, Enlightenment-inspired membership, as opposed to those members oriented with the mystical occult. They believed that the conventional social rank was not coincident with the nobility of spirit, but that people of the lowly class could be noble in spirit just as nobly born could be mean-spirited. This view appears in Mozart’s operas; for example, in “The Marriage of Figaro”, the low-born Figaro is the hero and the noble Count is the villain. The Freemasons used music in their ceremonies as they believed that “the purpose of music in the Masonic ceremonies is to spread good thoughts and unity among the members” so that they could “be united in the idea of innocence and joy.” Available now at: http://www.classicalsavings.com/store/p371/Mozart_-_The_Freemason_Works.html

Becoming a Freemason was very important to Mozart. He was admitted as an apprentice on December 14, 1784. He was promoted to a journeyman Mason on January 7, 1785 and he became a master Mason shortly thereafter. Many of the lodges had many composers as members and since young Mozart was widely considered the best composer of them all, he was freely admitted and welcomed in all the lodges throughout Europe. Mozart’s position within the Masonic movement sided on the rationalist, Enlightenment-inspired membership, as opposed to those members oriented with the mystical occult. They believed that the conventional social rank was not coincident with the nobility of spirit, but that people of the lowly class could be noble in spirit just as nobly born could be mean-spirited. This view appears in Mozart’s operas; for example, in “The Marriage of Figaro”, the low-born Figaro is the hero and the noble Count is the villain. The Freemasons used music in their ceremonies as they believed that “the purpose of music in the Masonic ceremonies is to spread good thoughts and unity among the members” so that they could “be united in the idea of innocence and joy.” Available now at: http://www.classicalsavings.com/store/p371/Mozart_-_The_Freemason_Works.html

One of the central tenets of Albert Camus’ philosophy is the indomitability of the human spirit, a subject on which he famously mused that “In the depth of winter, I finally learned that within me there lay an invincible summer.” This quote encapsulates the theme of WINTER’S WARMTH, Navona’s latest orchestral compilation featuring works from John A. Carollo, J.A. Kawarsky, Andrew Schultz, and R. Barry Ulrich. These composers present conceptual pieces that all act as soundtracks to our resiliency during the toughest moments of the human experience. Let Freedom Ring, the first of Carollo’s two contributions to the album, focuses specifically on the freedoms of the American experience, utilizing an aesthetic of performer interpretation to exemplify the inalienable rights of Americans. A triumphant instrumental mood conjures intense feelings of patriotism despite being set in a minor key. The shifting phases of Kawarsky’s Episodes speaks to the need to overcome life’s unpredictable changes. Amidst the crawls and crescendos of the piece’s orchestral mood, the piano retains center stage through the piece, pointing to a steadfast confrontation of turbulent times. The piano and orchestra often engage in a call-and-response manner of conversation, with strings and piano working to develop the central theme introduced with clarinet as the piece concludes. Carollo’s second piece, The Transfiguration of Giovanni Baudino, similarly focuses on these themes of change, with the composer describing his fascination with the process of transfiguration and the “transformations we experience as human beings living through life’s demands and delights, its turmoil and tribulations.” The composition is appropriately tumultuous, journeying through numerous, intense orchestral moods. Schultz contributes the majestic Falling Man/Dancing Man, a piece inspired by two contrasting depictions of human reactions to war – a photo of a man leaping to his death from the burning World Trade Center on September 11, 2001 and a snapshot of celebration in the streets after an allied victory in World War II. This creates a clear juxtaposition of themes throughout, given life by the composition’s lofty three movements which breathe in and out with orchestral swells. Throughout, an inspired organ performance provides the work’s trailblazing element. The album’s name sake manifests in Ulrich’s Russian Winter, a short segment of a larger, string suite written in G minor. The title perfectly matches the imagery conjured by the cinematic nature of the composer’s writing; it’s easy to picture this piece playing in the background as grandiose shots of the cold Russian tundra loom in the distance. Despite the numerous themes explored on WINTER’S WARMTH, there remains an underlying feeling of hope which points to the triumph of humanity within times of hardship. These four composers’ talents work towards a cohesive album rife with musical commentary on what it means to thrive within the human experience. Purchase now at: http://www.classicalsavings.com/store/p372/Winter%27s_Warmth.html

One of the central tenets of Albert Camus’ philosophy is the indomitability of the human spirit, a subject on which he famously mused that “In the depth of winter, I finally learned that within me there lay an invincible summer.” This quote encapsulates the theme of WINTER’S WARMTH, Navona’s latest orchestral compilation featuring works from John A. Carollo, J.A. Kawarsky, Andrew Schultz, and R. Barry Ulrich. These composers present conceptual pieces that all act as soundtracks to our resiliency during the toughest moments of the human experience. Let Freedom Ring, the first of Carollo’s two contributions to the album, focuses specifically on the freedoms of the American experience, utilizing an aesthetic of performer interpretation to exemplify the inalienable rights of Americans. A triumphant instrumental mood conjures intense feelings of patriotism despite being set in a minor key. The shifting phases of Kawarsky’s Episodes speaks to the need to overcome life’s unpredictable changes. Amidst the crawls and crescendos of the piece’s orchestral mood, the piano retains center stage through the piece, pointing to a steadfast confrontation of turbulent times. The piano and orchestra often engage in a call-and-response manner of conversation, with strings and piano working to develop the central theme introduced with clarinet as the piece concludes. Carollo’s second piece, The Transfiguration of Giovanni Baudino, similarly focuses on these themes of change, with the composer describing his fascination with the process of transfiguration and the “transformations we experience as human beings living through life’s demands and delights, its turmoil and tribulations.” The composition is appropriately tumultuous, journeying through numerous, intense orchestral moods. Schultz contributes the majestic Falling Man/Dancing Man, a piece inspired by two contrasting depictions of human reactions to war – a photo of a man leaping to his death from the burning World Trade Center on September 11, 2001 and a snapshot of celebration in the streets after an allied victory in World War II. This creates a clear juxtaposition of themes throughout, given life by the composition’s lofty three movements which breathe in and out with orchestral swells. Throughout, an inspired organ performance provides the work’s trailblazing element. The album’s name sake manifests in Ulrich’s Russian Winter, a short segment of a larger, string suite written in G minor. The title perfectly matches the imagery conjured by the cinematic nature of the composer’s writing; it’s easy to picture this piece playing in the background as grandiose shots of the cold Russian tundra loom in the distance. Despite the numerous themes explored on WINTER’S WARMTH, there remains an underlying feeling of hope which points to the triumph of humanity within times of hardship. These four composers’ talents work towards a cohesive album rife with musical commentary on what it means to thrive within the human experience. Purchase now at: http://www.classicalsavings.com/store/p372/Winter%27s_Warmth.html

Be sure to join the Southwest Symphony Orchestra in St. George Utah for an evening of resplendent sounds with TV and Movie composer - Kurt Bestor. Kurt’s credits include more than 40 film scores and more than 40 themes for national TV programs and commercials. Also southern Utah concert-goers will recognize Kurt as the producer and arranger of the Jenny Oaks-Baker CD “Wish Upon a Star” which earned Jenny and Kurt a Grammy nomination. Be sure and save the date, Friday, May 19th at 7:30 PM at the Cox Performing Arts Center at Dixie State University. Lucas Darger will be conducting the Southwest Symphony Orchestra. For more information and to order tickets, please visit the orchestra’s website at: SouthwestSymphony.co or call 435.652.7800

Like many European composers alive during the World Wars, Bohuslav Martinů (1890-1959) was nomadic. But while most of these artists’ music changed drastically based on their location, Martinů’s compositional style consistently referenced the culture of his Czech heritage. SMALL STORMS – cellist Meredith Blecha-Wells’ debut record – contains Martinů’s duos for cello and piano from the latter half of his life, with the performances of Blecha-Wells and pianist Sun Min Kim fully embodying the folkloric sensibility and conservative style that typify the composer’s oeuvre. Blecha-Wells’ beautiful playing is especially apt at capturing Martinů’s oft-celebrated gift for melody and lyricism. Consistent with his Romantic and Neoclassicist predilections, the works featured on SMALL STORMS come from genres originating in the nineteenth century, and, in some cases, even earlier. In her variations, nocturnes, and arabesques, the cellist looks not to redefine these time-tested genres, but instead personalizes their forms within the composer’s characteristic musical language. Blecha-Wells’ rendition of Martinů’s Seven Arabesques for Cello and Piano and Nocturnes for Cello and Piano are emblematic examples of the composer’s mixture of the European Classical tradition, elements of his native Czech culture, and the influence of his contemporaries. “Adante,” the fourth movement of the Suite Miniature, works along these lines and sounds most heavily inspired by folk music. Conversely, “Adante Moderato” from Arabesque might be the most modernist, namely in its dissonance and use of irregular time signatures. Throughout SMALL STORMS, the duo’s playing blends wonderfully, no matter a passage’s virtuosity or simplicity. It should come as no surprise that Martinů’s cello writing is highlighted in this recording – Blecha-Wells’ lyrical warmth and powerful athleticism triumphantly illustrate why the composer welcomed her instrument’s entire expressive continuum in his music. Purchase now at: http://www.classicalsavings.com/store/p368/Small_Storms_-_A_Collection_of_Short_Pieces_by_Bohuslav_Martinu.html

Like many European composers alive during the World Wars, Bohuslav Martinů (1890-1959) was nomadic. But while most of these artists’ music changed drastically based on their location, Martinů’s compositional style consistently referenced the culture of his Czech heritage. SMALL STORMS – cellist Meredith Blecha-Wells’ debut record – contains Martinů’s duos for cello and piano from the latter half of his life, with the performances of Blecha-Wells and pianist Sun Min Kim fully embodying the folkloric sensibility and conservative style that typify the composer’s oeuvre. Blecha-Wells’ beautiful playing is especially apt at capturing Martinů’s oft-celebrated gift for melody and lyricism. Consistent with his Romantic and Neoclassicist predilections, the works featured on SMALL STORMS come from genres originating in the nineteenth century, and, in some cases, even earlier. In her variations, nocturnes, and arabesques, the cellist looks not to redefine these time-tested genres, but instead personalizes their forms within the composer’s characteristic musical language. Blecha-Wells’ rendition of Martinů’s Seven Arabesques for Cello and Piano and Nocturnes for Cello and Piano are emblematic examples of the composer’s mixture of the European Classical tradition, elements of his native Czech culture, and the influence of his contemporaries. “Adante,” the fourth movement of the Suite Miniature, works along these lines and sounds most heavily inspired by folk music. Conversely, “Adante Moderato” from Arabesque might be the most modernist, namely in its dissonance and use of irregular time signatures. Throughout SMALL STORMS, the duo’s playing blends wonderfully, no matter a passage’s virtuosity or simplicity. It should come as no surprise that Martinů’s cello writing is highlighted in this recording – Blecha-Wells’ lyrical warmth and powerful athleticism triumphantly illustrate why the composer welcomed her instrument’s entire expressive continuum in his music. Purchase now at: http://www.classicalsavings.com/store/p368/Small_Storms_-_A_Collection_of_Short_Pieces_by_Bohuslav_Martinu.html

Young Mozart is now beginning to be internationally recognized for his musical talents apart from his father Leopold. In 1770 Wolfgang was awarded the “Order of the Golden Spur” by Pope Clement XIV, which effectively, was an honorary knighthood. In 1771, while touring Italy, Wolfgang was honored by Milan’s musical elite for his exceptional work. The 3 Divertimentos in this broadcast were composed in rapid succession and are sometimes referred to as the 3 Salzburg symphonies. These 3 compositions were not named by young Mozart and it is not known who actually penned the titles of divertimento. Mozart was clearly in great demand and was commissioned to compose works for dinner parties, receptions and any number of private or civic gatherings. While the commissions kept rolling in, astounding music flowed freely from Mozart’s quill. This performance by the CMD Philharmonic of Paris is conducted by Dominique Beaulieu and is available for purchase at: http://www.classicalsavings.com/store/p366/Mozart%3A_The_Salzburg_Divertimentos.html