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Classical Music Discoveries

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 13129 Mozart: The Salzburg Divertimentos | File Type: audio/mpeg | Duration: 2208

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

 13327 PARMA Recordings: Alla Elana Cohen | File Type: audio/mpeg | Duration: 5209

Composer Alla Elana Cohen presents a full album of chamber works in her first Ravello Records release RED LILIES OF BELLS, GOLDEN LILIES OF BELLS, WHITE LILIES OF BELLS. Cohen is an extremely creative and evocative composer, her works are wildly imaginative. The album is rich with musical surprises that reward repeat listens. The album begins with Inner Temple Vol. 2 Ser. 1 “Brachot” (“Blessings”), a dramatic string quartet in three movements. The first movement begins with gliding lead violin lines before turning more brooding and less fluid, with bursts of sliding chords countered interspersed. A steady pizzicato shapes the second movement, played in turns by two violins and by viola and cello throughout nearly the entire length of the piece. The final movement is characterized by frenzied violin lines that positively soar. Cohen returns to the Inner Temple theme later in the album with Inner Temple Vol. 1 Ser. 12 “Brachot” and Inner Temple Vol. 1 Ser. 11 “Shabbat Nigunim,” both works for chamber orchestra which continue the spirit of the initial Inner Temple installment. The mood shifts slightly with the next composition, a triptych for chamber orchestra entitled Homage to Jean Cocteau and Jean Marais. Tension defines the sprawling first movement – both in the notes played and rests. The group’s mallet percussion plays an especially important role in setting the mood, which is as uneasy as it is beautiful. The second movement gives the listener a chance to catch their breath, featuring the same tense feeling albeit with more sustained chords than the first movement’s breakneck pace. The woodwinds take center stage on the third movement, giving an airy and lighter feel to the otherwise dense piece. Taken as a whole, Homage to Jean Cocteau and Jean Marais is a glorious journey and a true highlight of the entire album. Next up is the title track suite, Red Lilies of Bells, Golden Lilies of Bells, White Lilies of Bells, presented as a trio for violin, cello and piano. The first movement and third movements are almost entirely spoken word with just the hint of a melody. The second movement of the Trio contains variety of bell-like sonorities, especially in the piano part, with spatters of chords and bursts of sound. This trio is an outlier among the several larger personnel works on the album, as is the solo cello performance on Hoffmanniana and duet for soprano and viola on Inscriptions on a Bamboo Screen. The interplay between voice and strings on Inscriptions pushes both instruments to soar to higher and higher planes. The composer herself adds cup gong to the proceedings of the last movement, which compliments the percussive, steady plucking of the viola. And though the cello stands alone on Hoffmanniana, its collection of lively bowed and plucked techniques presents an intense display that matches the impact of its neighboring orchestral tracks. Cohen is to be especially exalted for her work with tension, fluidity, and varying tempos among her dynamic group of compositions presented in this collection. ​ HIGHLIGHTS Cohen is a distinguished composer, pianist, music theorist and teacher who came to the United States in 1989 from Soviet Russia. She now lives in Boston and is an Professor at both Berklee College of Music and the New England Conservatory of Music Acclaimed performers and ensembles have performed Cohen’s works, including Sebastian Baverstam, Mickey Katz, Bianca Garcia, Moran Katz, the Ariel String Quartet, JACK Quartet, Xanthos Ensemble, and more “Alla Cohen explores the new direction in classical music…all those who love Mozart and Beethoven will add to these names the name of Alla Cohen.” - Mikhail Kazinik, BFI Radio on 11/15/13 “The relentless intensity of Alla Cohen's music, its characteristic texture and powerful urgency, reveal a composer whose music emerges from the deepest sources of passion and engagement. Her expressive dynamic is matched by he(continued)

 13327 PARMA Recordings: Alla Elana Cohen | File Type: audio/mpeg | Duration: 5209

Composer Alla Elana Cohen presents a full album of chamber works in her first Ravello Records release RED LILIES OF BELLS, GOLDEN LILIES OF BELLS, WHITE LILIES OF BELLS. Cohen is an extremely creative and evocative composer, her works are wildly imaginative. The album is rich with musical surprises that reward repeat listens. The album begins with Inner Temple Vol. 2 Ser. 1 “Brachot” (“Blessings”), a dramatic string quartet in three movements. The first movement begins with gliding lead violin lines before turning more brooding and less fluid, with bursts of sliding chords countered interspersed. A steady pizzicato shapes the second movement, played in turns by two violins and by viola and cello throughout nearly the entire length of the piece. The final movement is characterized by frenzied violin lines that positively soar. Cohen returns to the Inner Temple theme later in the album with Inner Temple Vol. 1 Ser. 12 “Brachot” and Inner Temple Vol. 1 Ser. 11 “Shabbat Nigunim,” both works for chamber orchestra which continue the spirit of the initial Inner Temple installment. The mood shifts slightly with the next composition, a triptych for chamber orchestra entitled Homage to Jean Cocteau and Jean Marais. Tension defines the sprawling first movement – both in the notes played and rests. The group’s mallet percussion plays an especially important role in setting the mood, which is as uneasy as it is beautiful. The second movement gives the listener a chance to catch their breath, featuring the same tense feeling albeit with more sustained chords than the first movement’s breakneck pace. The woodwinds take center stage on the third movement, giving an airy and lighter feel to the otherwise dense piece. Taken as a whole, Homage to Jean Cocteau and Jean Marais is a glorious journey and a true highlight of the entire album. Next up is the title track suite, Red Lilies of Bells, Golden Lilies of Bells, White Lilies of Bells, presented as a trio for violin, cello and piano. The first movement and third movements are almost entirely spoken word with just the hint of a melody. The second movement of the Trio contains variety of bell-like sonorities, especially in the piano part, with spatters of chords and bursts of sound. This trio is an outlier among the several larger personnel works on the album, as is the solo cello performance on Hoffmanniana and duet for soprano and viola on Inscriptions on a Bamboo Screen. The interplay between voice and strings on Inscriptions pushes both instruments to soar to higher and higher planes. The composer herself adds cup gong to the proceedings of the last movement, which compliments the percussive, steady plucking of the viola. And though the cello stands alone on Hoffmanniana, its collection of lively bowed and plucked techniques presents an intense display that matches the impact of its neighboring orchestral tracks. Cohen is to be especially exalted for her work with tension, fluidity, and varying tempos among her dynamic group of compositions presented in this collection. ​ HIGHLIGHTS Cohen is a distinguished composer, pianist, music theorist and teacher who came to the United States in 1989 from Soviet Russia. She now lives in Boston and is an Professor at both Berklee College of Music and the New England Conservatory of Music Acclaimed performers and ensembles have performed Cohen’s works, including Sebastian Baverstam, Mickey Katz, Bianca Garcia, Moran Katz, the Ariel String Quartet, JACK Quartet, Xanthos Ensemble, and more “Alla Cohen explores the new direction in classical music…all those who love Mozart and Beethoven will add to these names the name of Alla Cohen.” - Mikhail Kazinik, BFI Radio on 11/15/13 “The relentless intensity of Alla Cohen's music, its characteristic texture and powerful urgency, reveal a composer whose music emerges from the deepest sources of passion and engagement. Her expressive dynamic is matched by he(continued)

 1330 La Musica Chamber Music Hour 43 | File Type: audio/mpeg | Duration: 5232

The 31st season of La Musica International Chamber Music Festival was another smashing success. However, don’t be dismayed, over the next several months we will revisit the music of these concerts. In this broadcast we will play for you the opening concert from April 3, 2017. You will hear: Mendelssohn’s “Piano Trio in D minor, No. 1, Op. 49 Webern’s “Langsamer Satz for String Quartet” Richard Strauss’ “Piano Quartet in C minor, Op. 13” Musicians are: Federico Agostini, Antonio Meneses, Derek Han, Claudio Cruz, Cecilia Ziano, JeongHyoun Lee and Bruno Giuranna

 1330 La Musica Chamber Music Hour 43 | File Type: audio/mpeg | Duration: 5232

The 31st season of La Musica International Chamber Music Festival was another smashing success. However, don’t be dismayed, over the next several months we will revisit the music of these concerts. In this broadcast we will play for you the opening concert from April 3, 2017. You will hear: Mendelssohn’s “Piano Trio in D minor, No. 1, Op. 49 Webern’s “Langsamer Satz for String Quartet” Richard Strauss’ “Piano Quartet in C minor, Op. 13” Musicians are: Federico Agostini, Antonio Meneses, Derek Han, Claudio Cruz, Cecilia Ziano, JeongHyoun Lee and Bruno Giuranna

 13206 JS Bach: Easter Oratorio, BWV 249 | File Type: audio/mpeg | Duration: 2891

Johann Sebastian Bach’s “Easter Oratorio, BWV 249 was composed in Leipzig and first performed on April 1, 1725. The first version of the work was called a cantata and later was upgraded to an oratorio when it was revised 10 years later in 1735. The work was originally based on another secular cantata by Bach which is a lost work, although the libretto still survives. Picander, the author of the cantata, is also the likely author of the oratorio. Unlike the Christmas Oratorio, the Easter Oratorio has no narrator, but has 4 characters assigned to the 4 voice parts. Simon Peter (tenor) and John the Apostle (bass) appear in the first duet and are hurrying to Jesus’ tomb. Finding the tomb empty, they meet Mary Magdalene (alto) and the “other Mary”, Mary Jacobe (soprano). The mixed choir appears only in the final movement and in some versions of the work, partly in the beginning duet. The performance by the CMD Grand Opera Company of Venice and conducted by Joana Filipe Martinez is scored for soprano, alto, tenor and bass soloists, a mixed chorus, 3 trumpets, timpani, 2 oboes, english horn, bassoon, 2 recorders, transverse flute, 2 violins, viola and continuo. This performance is available in our online music store - http://www.classicalsavings.com/store/p364/J.S._Bach%3A_Easter_Oratorio%2C_BWV_249.html

 13206 JS Bach: Easter Oratorio, BWV 249 | File Type: audio/mpeg | Duration: 2891

Johann Sebastian Bach’s “Easter Oratorio, BWV 249 was composed in Leipzig and first performed on April 1, 1725. The first version of the work was called a cantata and later was upgraded to an oratorio when it was revised 10 years later in 1735. The work was originally based on another secular cantata by Bach which is a lost work, although the libretto still survives. Picander, the author of the cantata, is also the likely author of the oratorio. Unlike the Christmas Oratorio, the Easter Oratorio has no narrator, but has 4 characters assigned to the 4 voice parts. Simon Peter (tenor) and John the Apostle (bass) appear in the first duet and are hurrying to Jesus’ tomb. Finding the tomb empty, they meet Mary Magdalene (alto) and the “other Mary”, Mary Jacobe (soprano). The mixed choir appears only in the final movement and in some versions of the work, partly in the beginning duet. The performance by the CMD Grand Opera Company of Venice and conducted by Joana Filipe Martinez is scored for soprano, alto, tenor and bass soloists, a mixed chorus, 3 trumpets, timpani, 2 oboes, english horn, bassoon, 2 recorders, transverse flute, 2 violins, viola and continuo. This performance is available in our online music store - http://www.classicalsavings.com/store/p364/J.S._Bach%3A_Easter_Oratorio%2C_BWV_249.html

 13128 Mozart: Litany of the Venerable Sacrament of the Altar in B-flat Major, K 125 | File Type: audio/mpeg | Duration: 2483

Hieronymus Joseph Franz de Paula Graf Colloredo von Wallsee und Melz is now the Archbishop of Salzburg and Mozart, as still having the church title of Cavalier, is now under the employ of the new Archbishop. Colloredo, with considerable pressure for the Imperial Court in Vienna, was elected to the new Archbishop of Salzburg position, as Colloredo dutifully implemented reforms as dictated by Emporer Joseph II. Under his reign pilgrimages and superstitious practices were banned, processions were restricted, church decoration was limited and musical settings of the mass were shortened. Also, many Latin hymns were replaced with German hymns. Due to these changes, the Archbishop was greatly resented by the citizens of Salzburg. This resentment would last until Colloredo fled Salzburg on December 12, 1801 to evade the advancing French troops under the command of Napoleon Bonaparte. While Colloredo was ultimately successful in enforcing Joseph II’s changes. Colloredo was described as unpopular with the citizens of Salzburg, extremely autocratic with a dictatorial attitude that provoked hostility in the cathedral chapter and of civil servants. However, Colloredo is well known in musical history as a patron and employer of Wolfgang Amadeus Mozart. He did, however, become exceptionally annoyed with Mozart’s frequent absences and after a number of arguments, Mozart’s position as Church Cavalier was terminated with the words “Let him go then, I don’t need him.” Colloredo was a devoted fan of Mozart. He not only commissioned several works but he also played the violin in the church orchestra whenever a work by Mozart was being performed. “Litany of the Venerable Sacrament of the Altar in B-flat” was commissioned, composed and performed in March 1772. This work is scored for soprano, alto, tenor, bass, mixed chorus, 2 flutes, 2 oboes, 2 horns, 2 trumpets, 3 trombones, strings and organ. This performance by the CMD Philharmonic of Paris is conducted by Dominique Beaulieu Purchase now at: http://www.classicalsavings.com/store/p362/Mozart%3A_Litaniae_de_venerabili_altaris_sacramento_in_B-flat_Major%2C_K._125.html

 13128 Mozart: Litany of the Venerable Sacrament of the Altar in B-flat Major, K 125 | File Type: audio/mpeg | Duration: 2483

Hieronymus Joseph Franz de Paula Graf Colloredo von Wallsee und Melz is now the Archbishop of Salzburg and Mozart, as still having the church title of Cavalier, is now under the employ of the new Archbishop. Colloredo, with considerable pressure for the Imperial Court in Vienna, was elected to the new Archbishop of Salzburg position, as Colloredo dutifully implemented reforms as dictated by Emporer Joseph II. Under his reign pilgrimages and superstitious practices were banned, processions were restricted, church decoration was limited and musical settings of the mass were shortened. Also, many Latin hymns were replaced with German hymns. Due to these changes, the Archbishop was greatly resented by the citizens of Salzburg. This resentment would last until Colloredo fled Salzburg on December 12, 1801 to evade the advancing French troops under the command of Napoleon Bonaparte. While Colloredo was ultimately successful in enforcing Joseph II’s changes. Colloredo was described as unpopular with the citizens of Salzburg, extremely autocratic with a dictatorial attitude that provoked hostility in the cathedral chapter and of civil servants. However, Colloredo is well known in musical history as a patron and employer of Wolfgang Amadeus Mozart. He did, however, become exceptionally annoyed with Mozart’s frequent absences and after a number of arguments, Mozart’s position as Church Cavalier was terminated with the words “Let him go then, I don’t need him.” Colloredo was a devoted fan of Mozart. He not only commissioned several works but he also played the violin in the church orchestra whenever a work by Mozart was being performed. “Litany of the Venerable Sacrament of the Altar in B-flat” was commissioned, composed and performed in March 1772. This work is scored for soprano, alto, tenor, bass, mixed chorus, 2 flutes, 2 oboes, 2 horns, 2 trumpets, 3 trombones, strings and organ. This performance by the CMD Philharmonic of Paris is conducted by Dominique Beaulieu Purchase now at: http://www.classicalsavings.com/store/p362/Mozart%3A_Litaniae_de_venerabili_altaris_sacramento_in_B-flat_Major%2C_K._125.html

 13326 PARMA Recordings: Ergo - New Music for Piano and Chinese Folk Instruments | File Type: audio/mpeg | Duration: 2992

With his Navona debut ERGO, pianist and composer Zhen Chen makes an impressive contribution to the decades-long legacy of composers blending Chinese and western instruments and musical materials. This musical trend can be traced back 20 years, when a potent generation of Chinese and Taiwanese composers who began to explode across American and European concert stages. Luminary composers like Bright Sheng, Tan Dun, Chen Yi, and Zhou Long paved the way for younger Chinese artists like Zhen Chen, who uses ERGO to continue this blend of his native musical culture with many parts of the Western musical tradition. ERGO places piano alongside two of the most familiar traditional Chinese instruments to Western audiences: the pipa – a kind of Chinese lute – and the erhu – a bowed Chinese string instrument. Chen’s use of spacious piano accompaniments and straightforward and expressive melodies makes this combination sound natural while retaining its unique charm. While the album’s compositions don’t directly draw from Chinese folk tunes, Chen does an excellent job of creating musical contexts that suit the piano, pipa, and/or erhu, as well as his typically naturalistic subject matter. The titles of many of the composer’s pieces describe a landscape, which he, accordingly, seems to illustrate with his music. These pieces – such as Stroll by the Lake, Springfield, and others – are composed with clear forms that proceed with a gentle, rhythmically consistent piano accompaniment, from which a tender, sometimes plaintive, melody will emerge and develop in one or more solo instruments. Chen’s melodies and textures play to the strengths of his instrumental forces, and he demonstrates keen awareness of their coloristic similarities and differences. Moreover, his harmonic language tends towards pentatonic and natural minor scales, though the song Plum Blossom Chant, for voice and piano, beautifully mixes different forms of the minor scale. Two works on ERGO stand out in their style, rhythmic intensity, and playfulness: Turpan Tango and Dance Floor Banter. These pieces are based on Western dances – the tango and waltz, respectively – with Turpan Tango most notably departing from the album’s overall contemplative character for a more raucous mood. With this said, Chen’s earnestness, which abounds in his inward-looking music, remains a driving factor in these two dance pieces, and helps connect them with ERGO’s other works. Purchase now at: http://www.classicalsavings.com/store/p363/Ergo_-_New_Music_for_Piano_and_Chinese_Folk_Instruments_-_Zhen_Chen.html TRACK INFO Zhen Chen composer, piano Jiaju Shen pipa Feifei Yang erhu Yixuan Pang voice 01 JADE (piano, pipa) 02 SPRINGFIELD (piano, pipa, erhu) 03 REGRET (piano, erhu) 04 PLUM BLOSSOM CHANT (piano, voice) 05 STROLL BY THE LAKE (piano, pipa, voice) 06 TURPAN TANGO (piano, pipa, erhu) 07 DANCE FLOOR BANTER (piano, pipa) 08 LONGING (piano, erhu) 09 LAMENT (piano, voice) 10 RECOLLECTION (piano) Purchase now at: http://www.classicalsavings.com/store/p363/Ergo_-_New_Music_for_Piano_and_Chinese_Folk_Instruments_-_Zhen_Chen.html

 13326 PARMA Recordings: Ergo - New Music for Piano and Chinese Folk Instruments | File Type: audio/mpeg | Duration: 2992

With his Navona debut ERGO, pianist and composer Zhen Chen makes an impressive contribution to the decades-long legacy of composers blending Chinese and western instruments and musical materials. This musical trend can be traced back 20 years, when a potent generation of Chinese and Taiwanese composers who began to explode across American and European concert stages. Luminary composers like Bright Sheng, Tan Dun, Chen Yi, and Zhou Long paved the way for younger Chinese artists like Zhen Chen, who uses ERGO to continue this blend of his native musical culture with many parts of the Western musical tradition. ERGO places piano alongside two of the most familiar traditional Chinese instruments to Western audiences: the pipa – a kind of Chinese lute – and the erhu – a bowed Chinese string instrument. Chen’s use of spacious piano accompaniments and straightforward and expressive melodies makes this combination sound natural while retaining its unique charm. While the album’s compositions don’t directly draw from Chinese folk tunes, Chen does an excellent job of creating musical contexts that suit the piano, pipa, and/or erhu, as well as his typically naturalistic subject matter. The titles of many of the composer’s pieces describe a landscape, which he, accordingly, seems to illustrate with his music. These pieces – such as Stroll by the Lake, Springfield, and others – are composed with clear forms that proceed with a gentle, rhythmically consistent piano accompaniment, from which a tender, sometimes plaintive, melody will emerge and develop in one or more solo instruments. Chen’s melodies and textures play to the strengths of his instrumental forces, and he demonstrates keen awareness of their coloristic similarities and differences. Moreover, his harmonic language tends towards pentatonic and natural minor scales, though the song Plum Blossom Chant, for voice and piano, beautifully mixes different forms of the minor scale. Two works on ERGO stand out in their style, rhythmic intensity, and playfulness: Turpan Tango and Dance Floor Banter. These pieces are based on Western dances – the tango and waltz, respectively – with Turpan Tango most notably departing from the album’s overall contemplative character for a more raucous mood. With this said, Chen’s earnestness, which abounds in his inward-looking music, remains a driving factor in these two dance pieces, and helps connect them with ERGO’s other works. Purchase now at: http://www.classicalsavings.com/store/p363/Ergo_-_New_Music_for_Piano_and_Chinese_Folk_Instruments_-_Zhen_Chen.html TRACK INFO Zhen Chen composer, piano Jiaju Shen pipa Feifei Yang erhu Yixuan Pang voice 01 JADE (piano, pipa) 02 SPRINGFIELD (piano, pipa, erhu) 03 REGRET (piano, erhu) 04 PLUM BLOSSOM CHANT (piano, voice) 05 STROLL BY THE LAKE (piano, pipa, voice) 06 TURPAN TANGO (piano, pipa, erhu) 07 DANCE FLOOR BANTER (piano, pipa) 08 LONGING (piano, erhu) 09 LAMENT (piano, voice) 10 RECOLLECTION (piano) Purchase now at: http://www.classicalsavings.com/store/p363/Ergo_-_New_Music_for_Piano_and_Chinese_Folk_Instruments_-_Zhen_Chen.html

 1329 SWSO Youth Concerto Classic | File Type: audio/mpeg | Duration: 3500

Each year the Southwest Symphony Orchestra’s presentation of the Youth Concerto Classic is highly anticipated as youth from all over southern Utah audition to perform with the orchestra. This year the available performance slots were awarded to Britanee Dalton, piano; Elly Winder, viola; Abby Harris, cello and Sarah Sun, piano. Purchase the CD now at: http://www.classicalsavings.com/store/p353/SWSO_Youth_Concerto_Classic_2017.html

 1329 SWSO Youth Concerto Classic | File Type: audio/mpeg | Duration: 3500

Each year the Southwest Symphony Orchestra’s presentation of the Youth Concerto Classic is highly anticipated as youth from all over southern Utah audition to perform with the orchestra. This year the available performance slots were awarded to Britanee Dalton, piano; Elly Winder, viola; Abby Harris, cello and Sarah Sun, piano. Purchase the CD now at: http://www.classicalsavings.com/store/p353/SWSO_Youth_Concerto_Classic_2017.html

 13325 PARMA Recordings: Reawakening - The Music of Jeffrey Jacob | File Type: audio/mpeg | Duration: 4276

Composer and pianist Jeffrey Jacob returns to Navona Records with REAWAKENING, a collection of varied works for orchestra and chamber ensembles. Jacob’s lush, mystical style pervades the album, often blending his piano’s sound with orchestral arrangements to create rich musical imagery, as in The Loch Before Sunrise and A Mirror Upon the Waters. The title work is a composition for piano and orchestra, which was debuted on Ansonica Records' second Cuba-based album INTERSECTIONS. It’s one of the first pieces by an American composer to be recorded by the Cuban National Symphony in 50 years. Jacob found inspiration from Thomas Hardy’s poem of the same name, writing that Hardy’s “unforgettable images of the natural world as it struggles toward spring and rebirth were irresistible.” The Loch Before Sunrise and A Mirror Upon the Waters follow, both colorful works for piano and orchestra that explore imagery from different Alpine lakes. Music for Haiti for piccolo and strings contrasts these themes, evoking the sorrow, loss, hopefulness, and rebirth of Haiti following the devastation of its recent earthquake. Remembrance of Things Past, another piece inspired by literature, takes its title from a Shakespearean sonnet. It features a soloist showcase for oboe, as well as a meditative chaconne. Jacob’s Sonata for Cello and Piano has two remarkable contrasting movements, opposing the gentle opening “Lullaby” with a faster, more anxious movement with sweeping melodic lines. The album closes with a work for solo piano Rewakening, recalling the opening piece and bringing the album full circle. Purchase now at: http://www.classicalsavings.com/store/p361/Reawakening_-_the_Music_of_Jeffrey_Jacob.html TRACK INFO The Music of Jeffrey Jacob 01 AWAKENING FOR PIANO AND ORCHESTRA National Symphony Orchestra of Cuba | Enrique Perez Mesa conductor Jeffrey Jacob pianist 02 THE LOCH BEFORE SUNRISE The Capital Philharmonic of New Jersey | Daniel Spalding conductor Jeffrey Jacob pianist 03 A MIRROR UPON THE WATERS The Capital Philharmonic of New Jersey | Daniel Spalding conductor Jeffrey Jacob pianist 04 MUSIC FOR HAITI The Philadelphia Virtuosi Chamber Orchestra | Daniel Spalding conductor 05 REMEMBRANCE OF THINGS PAST The Philadelphia Virtuosi Chamber Orchestra | Daniel Spalding conductor SONATA FOR CELLO AND PIANO Lara Turner cello Jeffrey Jacob piano 06 Lullaby 07 Expectant; Soaring 08 REAWAKENING Jeffrey Jacob piano Purchase now at: http://www.classicalsavings.com/store/p361/Reawakening_-_the_Music_of_Jeffrey_Jacob.html

 13325 PARMA Recordings: Reawakening - The Music of Jeffrey Jacob | File Type: audio/mpeg | Duration: 4276

Composer and pianist Jeffrey Jacob returns to Navona Records with REAWAKENING, a collection of varied works for orchestra and chamber ensembles. Jacob’s lush, mystical style pervades the album, often blending his piano’s sound with orchestral arrangements to create rich musical imagery, as in The Loch Before Sunrise and A Mirror Upon the Waters. The title work is a composition for piano and orchestra, which was debuted on Ansonica Records' second Cuba-based album INTERSECTIONS. It’s one of the first pieces by an American composer to be recorded by the Cuban National Symphony in 50 years. Jacob found inspiration from Thomas Hardy’s poem of the same name, writing that Hardy’s “unforgettable images of the natural world as it struggles toward spring and rebirth were irresistible.” The Loch Before Sunrise and A Mirror Upon the Waters follow, both colorful works for piano and orchestra that explore imagery from different Alpine lakes. Music for Haiti for piccolo and strings contrasts these themes, evoking the sorrow, loss, hopefulness, and rebirth of Haiti following the devastation of its recent earthquake. Remembrance of Things Past, another piece inspired by literature, takes its title from a Shakespearean sonnet. It features a soloist showcase for oboe, as well as a meditative chaconne. Jacob’s Sonata for Cello and Piano has two remarkable contrasting movements, opposing the gentle opening “Lullaby” with a faster, more anxious movement with sweeping melodic lines. The album closes with a work for solo piano Rewakening, recalling the opening piece and bringing the album full circle. Purchase now at: http://www.classicalsavings.com/store/p361/Reawakening_-_the_Music_of_Jeffrey_Jacob.html TRACK INFO The Music of Jeffrey Jacob 01 AWAKENING FOR PIANO AND ORCHESTRA National Symphony Orchestra of Cuba | Enrique Perez Mesa conductor Jeffrey Jacob pianist 02 THE LOCH BEFORE SUNRISE The Capital Philharmonic of New Jersey | Daniel Spalding conductor Jeffrey Jacob pianist 03 A MIRROR UPON THE WATERS The Capital Philharmonic of New Jersey | Daniel Spalding conductor Jeffrey Jacob pianist 04 MUSIC FOR HAITI The Philadelphia Virtuosi Chamber Orchestra | Daniel Spalding conductor 05 REMEMBRANCE OF THINGS PAST The Philadelphia Virtuosi Chamber Orchestra | Daniel Spalding conductor SONATA FOR CELLO AND PIANO Lara Turner cello Jeffrey Jacob piano 06 Lullaby 07 Expectant; Soaring 08 REAWAKENING Jeffrey Jacob piano Purchase now at: http://www.classicalsavings.com/store/p361/Reawakening_-_the_Music_of_Jeffrey_Jacob.html

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