Classical Music Discoveries

On December 16, 1771 the Archbishop of Salzburg, Sigismund von Schrattenbach passed away in Salzburg. As with most young adults, the first passing of a relative or great friend can be a rather traumatic experience as he or she, realizes for the first time that life here on earth, does not last forever and at the end, eternal consequences take hold. This was also true for young Wolfgang as for the first time, he had to face death and perhaps, this gave him cause to think about what happens after this life. Symphony 14 in A Major would be the last piece Wolfgang would compose when he was 15. When the symphony first starts, you realize that this is not your typical Mozart symphony. Something else is at work here. Musicologists refer to this as Mozart’s most inspired work of his youthful 15 years. However, few realize that this piece maybe more programmic than just a fine example of Vienesse and Italian fusion. If you listen carefully, parts of this symphony will definitely remind you of Beethoven’s Pastoral Symphony which would not be composed for another 37 years, almost to the day of Mozart completing Symphony 14 in 1 day – December 30, 1771. This 4 movement symphony is scored for 2 flutes, 2 oboes, 2 horns and strings. This performance is by the CMD Philharmonic of Moscow. After a mourning period of about a month, young Mozart, now 16 years old, composed Sonata in D for Harpsichord Four-Hands. For our listeners that love the sound of a harpsichord, you will love this piece. Also, you will hear the beginnings of several melodies that Mozart would use many times throughout his life. This work is performed by our resident conductors Dominique Beaulieu and Joana Filipe Martinez. We are sure this will become an instant favorite with our listeners as this work is very rarely performed and this is also, one of the very few recordings of this work. Soon after the completion of the previous work, a new Archbishop of Salzburg was appointed. Mozart composed Symphony 15 in G Major in the new Archbishop’s honor. This 4 movement work is scored for strings, 2 oboes, 2 horns, bassoon and continuo. Although this music was composed for a very religious occasion, this symphony is extremely innovative and daring. Also, the last movement is filled with good humor and frivolity, with enough musical jokes to certainly bring the house down in 1772. Sadly, as those who have seen the movie “Amadeus” knows all too well, the new Archbishop did not have even the remotest sense of humor. Sadly, this symphony only served to put Mozart on the new Archbishop’s list of impudent young men. The Archbishop was always very serious and Mozart was on the opposite end of the spectrum. Thus, a constantly personality conflict ensued. This performance is also by the CMD Philharmonic of Moscow. Thank you for listening to these works that took place during a life changing event in Mozart’s lifetime. This recording is available now in our online store at: http://www.classicalsavings.com/store/p360/Mozart_-_The_Archbishops.html

On December 16, 1771 the Archbishop of Salzburg, Sigismund von Schrattenbach passed away in Salzburg. As with most young adults, the first passing of a relative or great friend can be a rather traumatic experience as he or she, realizes for the first time that life here on earth, does not last forever and at the end, eternal consequences take hold. This was also true for young Wolfgang as for the first time, he had to face death and perhaps, this gave him cause to think about what happens after this life. Symphony 14 in A Major would be the last piece Wolfgang would compose when he was 15. When the symphony first starts, you realize that this is not your typical Mozart symphony. Something else is at work here. Musicologists refer to this as Mozart’s most inspired work of his youthful 15 years. However, few realize that this piece maybe more programmic than just a fine example of Vienesse and Italian fusion. If you listen carefully, parts of this symphony will definitely remind you of Beethoven’s Pastoral Symphony which would not be composed for another 37 years, almost to the day of Mozart completing Symphony 14 in 1 day – December 30, 1771. This 4 movement symphony is scored for 2 flutes, 2 oboes, 2 horns and strings. This performance is by the CMD Philharmonic of Moscow. After a mourning period of about a month, young Mozart, now 16 years old, composed Sonata in D for Harpsichord Four-Hands. For our listeners that love the sound of a harpsichord, you will love this piece. Also, you will hear the beginnings of several melodies that Mozart would use many times throughout his life. This work is performed by our resident conductors Dominique Beaulieu and Joana Filipe Martinez. We are sure this will become an instant favorite with our listeners as this work is very rarely performed and this is also, one of the very few recordings of this work. Soon after the completion of the previous work, a new Archbishop of Salzburg was appointed. Mozart composed Symphony 15 in G Major in the new Archbishop’s honor. This 4 movement work is scored for strings, 2 oboes, 2 horns, bassoon and continuo. Although this music was composed for a very religious occasion, this symphony is extremely innovative and daring. Also, the last movement is filled with good humor and frivolity, with enough musical jokes to certainly bring the house down in 1772. Sadly, as those who have seen the movie “Amadeus” knows all too well, the new Archbishop did not have even the remotest sense of humor. Sadly, this symphony only served to put Mozart on the new Archbishop’s list of impudent young men. The Archbishop was always very serious and Mozart was on the opposite end of the spectrum. Thus, a constantly personality conflict ensued. This performance is also by the CMD Philharmonic of Moscow. Thank you for listening to these works that took place during a life changing event in Mozart’s lifetime. This recording is available now in our online store at: http://www.classicalsavings.com/store/p360/Mozart_-_The_Archbishops.html

Navona Records proudly presents DRESS CODE, the debut release from Colorado-based string ensemble Altius Quartet. Comprised of violinists Joshua Ulrich and Andrew Giordano, violist Andrew Krimm, and cellist Zachary Reaves, the quartet’s core mission is to strive for universality in their music and communicate directly with their listeners. It’s this outlook that led to DRESS CODE’s eclectic blend of genres, with works from eighteenth-century classical repertoire to 1980s pop being presented both on their own and combined in new arrangements. Altius attributes the album’s appeal for a wide range of musical palates to “each work being derived from a universal source of invention and innovation, representative of the times in history from whence they came.” Interspersed between the album’s more contemporary arrangements are movements of two classical works from vastly different eras. Drawing from the classical period themes of Franz Josef Haydn’s Quartet in C Major, Op.74 No. 1 (1793) and the ragtime sensibilities of William Bolcom’s Three Ghost Rags (1970), the quartet emulates the works’ playfulness in a way which makes for seamless transitions between their more mainstream song selections. Reaves provides fresh arrangements of these popular staples, which include a medley of Led Zeppelin’s “Stairway to Heaven” and “Kashmir”; Ben E. King’s “Stand by Me”; and a-ha’s “Take on Me.” Perhaps the most unique arrangement among these newer pieces is Take It, an unlikely pairing of Michael Jackson’s “Beat It” and Dave Brubeck’s “Take Five.” The result is a bold endeavor which pays equal homage to both songs while creating an invigorating new composition in the process; one that effortlessly combines the appeal of classical, jazz, and pop. DRESS CODE offers much in the way of musical treats, all of which are bolstered by Altius’ proficient playing and clear cohesion as an ensemble. And even after the album concludes, perceptive listeners might even discover some hidden gems from the quartet’s playbook lying just beneath the surface. Purchase now at: http://www.classicalsavings.com/store/p359/Dress_Code_-_Altius_Quartet.html TRACK LISTING Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 01 I. Allegro moderato Dave Brubeck/Michael Jackson arr. Zachary Reaves 02 Take it William Bolcom Three Rags 03 II. Graceful Ghost Led Zeppelin arr. Zachary Reaves 04 Stairway to Heaven/Kashmir Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 05 II. Andantino grazioso William Bolcom Three Rags 06 I. Poltergeist Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 07 III. Menuetto: Allegro – Trio William Bolcom Three Rags 08 III. Incineratorag Ben E. King arr. Zachary Reaves 09 Stand by Me Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 10 IV. Vivace a-ha arr. Zachary Reaves 11 Take on Me BONUS TRACK Mack Rice arr. Zachary Reaves 12 Mustang Sally Purchase now at: http://www.classicalsavings.com/store/p359/Dress_Code_-_Altius_Quartet.html

Navona Records proudly presents DRESS CODE, the debut release from Colorado-based string ensemble Altius Quartet. Comprised of violinists Joshua Ulrich and Andrew Giordano, violist Andrew Krimm, and cellist Zachary Reaves, the quartet’s core mission is to strive for universality in their music and communicate directly with their listeners. It’s this outlook that led to DRESS CODE’s eclectic blend of genres, with works from eighteenth-century classical repertoire to 1980s pop being presented both on their own and combined in new arrangements. Altius attributes the album’s appeal for a wide range of musical palates to “each work being derived from a universal source of invention and innovation, representative of the times in history from whence they came.” Interspersed between the album’s more contemporary arrangements are movements of two classical works from vastly different eras. Drawing from the classical period themes of Franz Josef Haydn’s Quartet in C Major, Op.74 No. 1 (1793) and the ragtime sensibilities of William Bolcom’s Three Ghost Rags (1970), the quartet emulates the works’ playfulness in a way which makes for seamless transitions between their more mainstream song selections. Reaves provides fresh arrangements of these popular staples, which include a medley of Led Zeppelin’s “Stairway to Heaven” and “Kashmir”; Ben E. King’s “Stand by Me”; and a-ha’s “Take on Me.” Perhaps the most unique arrangement among these newer pieces is Take It, an unlikely pairing of Michael Jackson’s “Beat It” and Dave Brubeck’s “Take Five.” The result is a bold endeavor which pays equal homage to both songs while creating an invigorating new composition in the process; one that effortlessly combines the appeal of classical, jazz, and pop. DRESS CODE offers much in the way of musical treats, all of which are bolstered by Altius’ proficient playing and clear cohesion as an ensemble. And even after the album concludes, perceptive listeners might even discover some hidden gems from the quartet’s playbook lying just beneath the surface. Purchase now at: http://www.classicalsavings.com/store/p359/Dress_Code_-_Altius_Quartet.html TRACK LISTING Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 01 I. Allegro moderato Dave Brubeck/Michael Jackson arr. Zachary Reaves 02 Take it William Bolcom Three Rags 03 II. Graceful Ghost Led Zeppelin arr. Zachary Reaves 04 Stairway to Heaven/Kashmir Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 05 II. Andantino grazioso William Bolcom Three Rags 06 I. Poltergeist Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 07 III. Menuetto: Allegro – Trio William Bolcom Three Rags 08 III. Incineratorag Ben E. King arr. Zachary Reaves 09 Stand by Me Franz Joseph Haydn String Quartet in C major, Op. 74, No. 1 10 IV. Vivace a-ha arr. Zachary Reaves 11 Take on Me BONUS TRACK Mack Rice arr. Zachary Reaves 12 Mustang Sally Purchase now at: http://www.classicalsavings.com/store/p359/Dress_Code_-_Altius_Quartet.html

Wagner’s “Tristan and Isolde”, an opera in 3 acts based on a libretto by the composer, was composed between 1857 and 1859. The opera’s premiere was at the National Theater in Munich on June 10, 1865. Wagner referred to the work not as an opera, but as an “action.” This opera is widely considered as one of Wagner’s peaks as the opera makes unprecedented use of chromaticism, tonality, orchestral color and harmonic suspension. This opera, or action, was enormously influential among Western classical composers such as Gustav Mahler, Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Benjamin Britten, Max Steiner and many others. “Tristan and Isolde” continues to be the driving influence for almost all of today’s composers in classical music. Wagner’s libretto also heavily influenced symbolist poets of the 19th and 20th centuries. Due to it’s influence, “Tristan and Isolde” is considered the greatest work by Wagner ever composed. This “action” also, interestingly enough carries somewhat of a morbid history with it. The original premiere had to be postponed until the lead soprano recovered from a hoarseness. The original tenor, who sang the role of Tristan died after the 4th performance, prompting speculation that the part was too stressful to sing. This “stress” also claimed the lives of conductors Felix Motti in 1911 and Joseph Keilberth in 1968. Both conductors died while conducting the 2nd act of the opera. Also noteworthy is that for many years, it was traditional that the roles of Tristan and Isolde were only sung by husband and wife teams. This performance, conducted by Kenneth Hedgecock and performed by the CMD German Opera Company of Berlin, is available now at: http://www.classicalsavings.com/store/p358/Wagner%3A_Tristan_und_Isolde.html

The title of the song is 'Lacrimosa' My name is Artem Cithara This is my first classical piece The vocalist on this piece is Caroline Joy I do not have a website

As we near the end of the Mozart’s tour of Italy, we find the Mozart family concluding their tour in Milan Italy. Here the 15-year-old Mozart would compose his last symphonies in the city of Milan and also, one of his most emotional symphonies, which we will play in next week’s broadcast. However, now we will play Symphony in C Major or Symphony 46. This 4-movement symphony is scored for 2 oboes, 2 horns, 2 trumpets, timpani and strings. Bassoons and a harpsichord could also be used, if available, to reinforce the bass line and to act as a continuo. The authenticity of the symphony is uncertain as the autograph page was destroyed in World War 2. Symphony 13 in F Major is also in 4 movements. The 2nd movement is scored for strings alone. The 3rd movement is a minuet and may have been composed earlier and inserted into the symphony. It is noteworthy that the minuet is entirely in Leopold’s hand. Symphony 13 is the last conventional symphony written by Wolfgang. Beginning with Symphony 14, which we will cover next week, Wolfgang begins to leave the traditional classical period style behind and begins to evolve music into the very early romantic era, a truly astounding feat for a young teenager of 15. This symphony is scored for strings, 2 oboes, 2 horns, bassoon and continuo. Divertimento 1, while the title is in the hand of Leopold, this previously considered lost work, is scored for 2 clarinets, 2 horns or wind ensemble and strings and is widely considered to be a work composed exclusively by Wolfgang. In this work, we find one of the earliest uses of the clarinet by Wolfgang. The clarinet was not a standard instrument in the classical period orchestra, however, from this point on, Wolfgang would employ the use of clarinets whenever they were available. Thank you for listening to these closing works of Mozart’s Milan period. These works are performed by the CMD Philharmonic of Paris under the direction of Dominique Beaulieu. This recording is available now in our online store ClassicalRecordings.co Order this CD at: http://www.classicalsavings.com/store/p357/Mozart_-_The_Milan_Period.html

As we near the end of the Mozart’s tour of Italy, we find the Mozart family concluding their tour in Milan Italy. Here the 15-year-old Mozart would compose his last symphonies in the city of Milan and also, one of his most emotional symphonies, which we will play in next week’s broadcast. However, now we will play Symphony in C Major or Symphony 46. This 4-movement symphony is scored for 2 oboes, 2 horns, 2 trumpets, timpani and strings. Bassoons and a harpsichord could also be used, if available, to reinforce the bass line and to act as a continuo. The authenticity of the symphony is uncertain as the autograph page was destroyed in World War 2. Symphony 13 in F Major is also in 4 movements. The 2nd movement is scored for strings alone. The 3rd movement is a minuet and may have been composed earlier and inserted into the symphony. It is noteworthy that the minuet is entirely in Leopold’s hand. Symphony 13 is the last conventional symphony written by Wolfgang. Beginning with Symphony 14, which we will cover next week, Wolfgang begins to leave the traditional classical period style behind and begins to evolve music into the very early romantic era, a truly astounding feat for a young teenager of 15. This symphony is scored for strings, 2 oboes, 2 horns, bassoon and continuo. Divertimento 1, while the title is in the hand of Leopold, this previously considered lost work, is scored for 2 clarinets, 2 horns or wind ensemble and strings and is widely considered to be a work composed exclusively by Wolfgang. In this work, we find one of the earliest uses of the clarinet by Wolfgang. The clarinet was not a standard instrument in the classical period orchestra, however, from this point on, Wolfgang would employ the use of clarinets whenever they were available. Thank you for listening to these closing works of Mozart’s Milan period. These works are performed by the CMD Philharmonic of Paris under the direction of Dominique Beaulieu. This recording is available now in our online store ClassicalRecordings.co Order this CD at: http://www.classicalsavings.com/store/p357/Mozart_-_The_Milan_Period.html

The 31st Season of La Musica International Chamber Music Festival begins on April 3rd in Sarasota Florida. La Musica’s 3rd concert on April 9th features Schubert’s “String Trio in B-flat Major, D. 581,” Mendelsohn’s “String Quintet in A Major, No. 1, Op. 18,” and concludes the evening with Smetana’s “Piano Trio in G minor, Op. 15” Their 4th concert on April 12th features the highly anticipated “Quartet in A minor for Violin, Viola, Guitar and Cello, No. 15” by Paganini, Boccherini’s “Quintet in D Major for Guitar and String Quartet G. 448, No. 4” also known as the “Fandango” and the concert closes with Schumann’s very popular “Piano Quintet in E-flat Major, Op. 44” There are still available seats for these concerts at LaMusicaFestival.org To stimulate your appetite a bit for these concerts we will play for you Smetana’s “Piano Trio in G minor, Op. 15” and Boccherini’s “Quintet in D Major for Guitar and String Quartet.” We would also like to send a special invitation to all of our International listeners and all of our US Listeners that are tired of the long cold winter. Sarasota Florida is VERY warm this time of year and their beaches on the Gulf of Mexico are clean, warm and very inviting. So we invite all of our listeners, wherever you are, to come and enjoy some of the finest music in the world by night and enjoy the warm sun and beaches during the day. We promise you, that you will not regret a single moment of it. Purchase tickets at: https://www.lamusicafestival.org/festival/online-orders

The 31st Season of La Musica International Chamber Music Festival begins on April 3rd in Sarasota Florida. The second concert on April 6th features J.C. Bach’s “Keyboard Quartet in G Major, WB 66; Mozart’s “Divertimento for String Trio in E-flat Major, K. 563” and closes with Dvorak’s “Piano Quartet in D Major, Op. 23.” There are still available seats for this concert at LaMusicaFestival.org To whet your appetite a bit for this concert we will play for you the works by Mozart and Dvorak.. We would also like to send a special invitation to all of our International listeners and all of our US Listeners that are tired of the long cold winter. Sarasota Florida is VERY warm this time of year and their beaches on the Gulf of Mexico are clean, warm and very inviting. So we invite all of our listeners, wherever you are, to come and enjoy some of the finest music in the world by night and enjoy the warm sun and beaches during the day. We promise you, that you will not regret a single moment of it. Purchase tickets here: https://www.lamusicafestival.org/festival/online-orders

In this show we highlight La Musica's opening concert on April 3, 2017. 8:00 p.m. Sarasota Opera House Single concert price: $40.00 Mendelssohn, Piano Trio in D minor No. 1, Op. 49 Federico Agostini, Antonio Meneses, Derek Han Webern, Langsamer Satz for String Quartet Claudio Cruz, Cecilia Ziano, Bruno Giuranna, JeongHyoun Lee R. Strauss, Piano Quartet in C minor, Op. 13 Claudio Cruz, Bruno Giuranna, JeongHyoun Lee, Derek Han Purchase tickets here: https://www.lamusicafestival.org/festival/concerts

PARMA Recordings artists Peter Greve and Hans Bakker have come together to give us LINES TO INFINITY, a stunning album that revolves around emotive and dramatic scores for primarily piano and flute. The two composers hail from the Netherlands and share a knack for creating thoughtful contemporary chamber works that appeal to the listener’s imagination. Peter Greve first contributes Sonata for flute and piano, a modal piece that was written in 2005 but has roots in the 1950s, when Greve observed Turkish folk music on a trip through the country. The first and third movements are tonal in their makeup, while the middle section uses an atonal idiom. The third and more modal movement incorporates elements of the Turkish folk music that Greve observed so long ago. It also utilizes asymmetric measure types, with both 10/8 and 13/8 making an appearance. The piano primarily serves as the rhythmic guide of this track, while the flute takes the lead. Greve’s second composition, Dialogues for narrator, flute, cello, and piano, centers around the idea of human communication, specifically between lovers in a relationship. The two lovers are represented by flute & cello collectively, while the piano represents the various friends & family who are amidst the peripheral of the lovers’ relationship. The piece can be broken into four movements: Discussion, Dispute, Reflection, and Celebration. The flow and tone of the music follows these parameters; the mood starts light until the conversation slowly descends into chaos, moves to contemplation and finally confirmation of the relationship. In the third movement, a poem by the Argentine poet Jorge Bucay is interjected among the music. Hans Bakker contributes three works to this album. Leys for flute solo draws upon the phenomenon of ley lines for its hymn-like cascading melody. Listeners might remember the melody from Brenne for violin and piano or Leys III for flute, violin, and guitar from Navona Records’ PINNACLE compilation album. Easy Piece for violoncello and piano is a straightforward but efficient duo piece that represents peace, solitude, and hope. Its effectiveness as a work is in its simplicity; it would not be out of place as the main motif in a romantic film. The centerpiece of Bakker’s contributions is the piece Trio for flute, oboe, and clarinet, a sprawling 11-minute opus split into three movements. In Part I, the instruments each take turns playing 16th note variations, sometimes intersecting playfully within the rhythm. The piece is able to navigate multiple accidentals while still sounding like it's revolving around one key. Part II features the flute beginning this piece followed then by the oboe taking over the melody, as if in direct response. The theme, though, seems to be the off-beat quarter notes. The three instruments come back together just once in rhythm before the flute takes over again with a more aggressive 16th note melody, which builds in intensity and leads us back to the introductory passage. The coda introduces a new rhythm, the triplet, which makes a few brief appearances before part II ends abruptly. Part III is finally the clarinet’s time to shine, evoking a frolicking and playful finale. Purchase now at: http://www.classicalsavings.com/store/p324/Lines_to_Infinity.html TRACK INFO 1 LEYS/ KRACHTLIJNEN FOR FLUTE SOLO HANS BAKKER Cora Greevenbosch flute 2 EASY PIECE – PETITE PIÈCE FOR VIOLONCELLO AND PIANO HANS BAKKER Ludmila Bubeníčková cello Lucie Kaucká piano SONATA FOR FLUTE AND PIANO PETER GREVE Petr Hladík flute Lucie Kaucká piano 3 VIVACE 4 LARGHETTO – PRESTO – TEMPO I 5 AKSAK: ALLEGRO MOLTO (ALLA TURCA) TRIO FOR FLUTE, OBOE AND CLARINET HANS BAKKER Markéta Soldánová flute Aleš Janeček clarinet Gabriela Kummerová oboe 6 ALLEGRETTO 7 ADAGIO 8 MODERATO “DIALOGUES” FOR FLUTE, CELLO AND PIANO PETER GREVE Markéta Soldánová flute Petr Nouzovský violoncello Lucie Kaucká piano 9 (continued)

PARMA Recordings artists Peter Greve and Hans Bakker have come together to give us LINES TO INFINITY, a stunning album that revolves around emotive and dramatic scores for primarily piano and flute. The two composers hail from the Netherlands and share a knack for creating thoughtful contemporary chamber works that appeal to the listener’s imagination. Peter Greve first contributes Sonata for flute and piano, a modal piece that was written in 2005 but has roots in the 1950s, when Greve observed Turkish folk music on a trip through the country. The first and third movements are tonal in their makeup, while the middle section uses an atonal idiom. The third and more modal movement incorporates elements of the Turkish folk music that Greve observed so long ago. It also utilizes asymmetric measure types, with both 10/8 and 13/8 making an appearance. The piano primarily serves as the rhythmic guide of this track, while the flute takes the lead. Greve’s second composition, Dialogues for narrator, flute, cello, and piano, centers around the idea of human communication, specifically between lovers in a relationship. The two lovers are represented by flute & cello collectively, while the piano represents the various friends & family who are amidst the peripheral of the lovers’ relationship. The piece can be broken into four movements: Discussion, Dispute, Reflection, and Celebration. The flow and tone of the music follows these parameters; the mood starts light until the conversation slowly descends into chaos, moves to contemplation and finally confirmation of the relationship. In the third movement, a poem by the Argentine poet Jorge Bucay is interjected among the music. Hans Bakker contributes three works to this album. Leys for flute solo draws upon the phenomenon of ley lines for its hymn-like cascading melody. Listeners might remember the melody from Brenne for violin and piano or Leys III for flute, violin, and guitar from Navona Records’ PINNACLE compilation album. Easy Piece for violoncello and piano is a straightforward but efficient duo piece that represents peace, solitude, and hope. Its effectiveness as a work is in its simplicity; it would not be out of place as the main motif in a romantic film. The centerpiece of Bakker’s contributions is the piece Trio for flute, oboe, and clarinet, a sprawling 11-minute opus split into three movements. In Part I, the instruments each take turns playing 16th note variations, sometimes intersecting playfully within the rhythm. The piece is able to navigate multiple accidentals while still sounding like it's revolving around one key. Part II features the flute beginning this piece followed then by the oboe taking over the melody, as if in direct response. The theme, though, seems to be the off-beat quarter notes. The three instruments come back together just once in rhythm before the flute takes over again with a more aggressive 16th note melody, which builds in intensity and leads us back to the introductory passage. The coda introduces a new rhythm, the triplet, which makes a few brief appearances before part II ends abruptly. Part III is finally the clarinet’s time to shine, evoking a frolicking and playful finale. Purchase now at: http://www.classicalsavings.com/store/p324/Lines_to_Infinity.html TRACK INFO 1 LEYS/ KRACHTLIJNEN FOR FLUTE SOLO HANS BAKKER Cora Greevenbosch flute 2 EASY PIECE – PETITE PIÈCE FOR VIOLONCELLO AND PIANO HANS BAKKER Ludmila Bubeníčková cello Lucie Kaucká piano SONATA FOR FLUTE AND PIANO PETER GREVE Petr Hladík flute Lucie Kaucká piano 3 VIVACE 4 LARGHETTO – PRESTO – TEMPO I 5 AKSAK: ALLEGRO MOLTO (ALLA TURCA) TRIO FOR FLUTE, OBOE AND CLARINET HANS BAKKER Markéta Soldánová flute Aleš Janeček clarinet Gabriela Kummerová oboe 6 ALLEGRETTO 7 ADAGIO 8 MODERATO “DIALOGUES” FOR FLUTE, CELLO AND PIANO PETER GREVE Markéta Soldánová flute Petr Nouzovský violoncello Lucie Kaucká piano 9 (continued)

Wiltrud Weber is an international vocal phenomenon. Singing in no less than nine languages, her unique, classically-trained style fuses operatic grandeur with unforgettably rich and colorful interpretations of jazz, folk and world music. Weber’s distinctive soprano voice has been called “haunting” and “soaring”—and her capacity to connect with an audience guarantees Wiltrud’s performances are unforgettable, transformational experiences. The winner of the coveted Karl Erb Stiftung music scholarship, Weber studied classical singing and piano at the Freiburg and the Frankfurt Music School before performing as solo soprano in oratorios, song recitals and operas throughout Germany with high-profile ensembles and orchestras such as the Berlin Philharmonic Orchestra and Berlin Symphonic Orchestra. Purchase this CD here: http://www.classicalsavings.com/store/p337/Wiltrud_Weber_-_Global_Acoustic_Project.html

Wiltrud Weber is an international vocal phenomenon. Singing in no less than nine languages, her unique, classically-trained style fuses operatic grandeur with unforgettably rich and colorful interpretations of jazz, folk and world music. Weber’s distinctive soprano voice has been called “haunting” and “soaring”—and her capacity to connect with an audience guarantees Wiltrud’s performances are unforgettable, transformational experiences. The winner of the coveted Karl Erb Stiftung music scholarship, Weber studied classical singing and piano at the Freiburg and the Frankfurt Music School before performing as solo soprano in oratorios, song recitals and operas throughout Germany with high-profile ensembles and orchestras such as the Berlin Philharmonic Orchestra and Berlin Symphonic Orchestra. Purchase this CD here: http://www.classicalsavings.com/store/p337/Wiltrud_Weber_-_Global_Acoustic_Project.html