Classical Music Discoveries

Soprano Willa Webber and J2 Music have issued Ave Maria Shalom, a new song that is a prayer for peace, independent of faith and religion that is especially appropriate in these times. This special mix is now available on iTunes at https://itunes.apple.com/de/album/ave-maria-shalom/id1206065089?i=1206065274&app=itunes&ign-mpt=uo%3D4 Music and lyrics for Ave Maria Shalom are by Willa Webber, with production by Marlon Klein. Ms. Webber writes, “After recording some takes of the "Ave Maria" by Franz Schubert in Fonojet Audio Studio, Berlin, I wanted to create something unique over these harmonies. I started to improvise, using words from the Latin and the Arabic "Ave Maria", ending everything with the Hebrew "Shalom". After some time I recorded a take that I felt was complete. German producer Marlon Klein made a mix out of it that I am very happy about. This track is close to my heart.” Willa Webber’s haunting soprano, combined with a musical education from around the world has led her on a genre-bending journey, mixing Classical with House, Opera with Dance and creating a new space for Traditional music within the Millennial DJ community. Coming from a classical and operatic background, Webber was awarded the coveted Karl Erb Stiftung Music Scholarship and has performed with high-profile ensembles including the Berlin Philharmonic and Berlin Symphonic Orchestra. In the midst of her background in classical performance, her muse lured her first to India, and later to New York City, where she delved into the kaleidoscopic presence of various and vast musical and cultural worlds. Her successes within the Classical community led Webber to explore songwriting and composition in NYC, combining the genre with influences from Jazz, Folk and World Music. This culminated in the highly regarded Global Acoustic Project, in which she sings in no less than 10 languages and includes an array of cultural influences. Her five year collaboration with Haitian-born New York City DJ, Producer and multi-instrumentalist Jephté Guillaume resulted in the full length release Blue and Deep, which saw the title track make waves in the International House, Dance and Pop worlds. Webber’s career has since expanded to highly acclaimed scores (Rosita la favorite del Tercer Reich, Viking Women), feature film roles (Anna Wunder in Father Rupert Mayer) audiobooks, staged musical readings and performances (Diva in Sommer 14 at the renowned Bertolt Brecht Theater, Berlin). Webber recently finished her Artist Residency at the International Music and Theatre Days in Kolobrzeg/Poland. She had been featured on the Global Christmas Compilation this Winter and will be part of the Global Chill Compilation this Spring (J2 Music/Water Music Records). An accompanying video for AVE MARIA SHALOM can be seen at https://www.youtube.com/watch?v=i1-pwC2MTng&feature=youtu.be. Visit her at http://www.willawebber.com/#home. Willa Webber is managed by J2 Records of Santa Monica, California. For photos and more about her, please contact Jeffrey James Arts Consulting at 516-586-3433 or jamesarts@att.net. #podcast #ClassicalMusicDiscoveries

SHADOWING PIANO QUARTET AND PIANO SOLOS Ruth Lomon composer & piano Eileen Hutchins piano Katherine Winterstein violin Scott Woolweaver viola Patrick Owen cello OVERVIEW Navona Records proudly presents renowned composer Ruth Lomon’s SHADOWING, her debut album on the label. The release showcases her remarkable skill in writing for the piano, pushing the instrument’s timbre and color to its limits to create animated sound worlds such as those of the title work, Shadowing. Lomon writes of the colors in the piece: “’Shadowing’ means to have such a light touch, such a light tread, that one can move freely through the forest, observing without being observed… It is the equivalent of manifesting and then becoming like smoke, and then manifesting again…” Lomon incorporates more radical colors—such as prepared piano—in Five Ceremonial Masks, which is inspired by masks used by the Navajo people in their Yeibichai Night Chant ceremonies. Native American imagery also appears in the second movement of Esquisses, “La Fête,” in which the rhythmic and melodic properties of the music are inspired by the Turtle Dance as seen by Lomon at New Mexico’s Taos Pueblo. The first movement of Esquisses, “Les Cloches,” incorporates overtone partials and change-ringing patterns of European flared tower bells, creating a distinctive pianistic color, culminating in the introspective, balladic “Memoires de…” to conclude the piece. The album is completed with the recent The Sunflower Variations, a theme and 10 variations for solo piano. The colorful piece takes its theme from “The Sunflower,” a song for contralto and viola from Lomon’s earlier Five Songs after Poems by William Blake. Purchase now at: http://www.classicalsavings.com/store/p346/Shadowing.html TRACK LISTING 01 SUNFLOWER VARIATIONS Eileen Hutchins piano SHADOWING PIANO QUARTET Eileen Hutchins piano Katherine Winterstein violin Scott Woolweaver viola Patrick Owen cello 02 I. Canto Hondo, Deep Song 03 II. Los Angelos Timidos, The Shyest Angels 04 III. Running with the Wolves ESQUISSES Eileen Hutchins piano 05 I. Les Cloches, The Bells 06 II. La Fête, The Holiday 07 III. Mémoires de…, Memories of… FIVE CEREMONIAL MASKS (not in broadcast) Eileen Hutchins piano 08 I. Changing Woman 09 II. Dancer 10 III. Spirit 11 IV. Clown 12 V. Talking Power FIVE CEREMONIAL MASKS A bonus performance by the composer, Ruth Lomon piano 13 I. Changing Woman 14 II. Dancer 15 III. Spirit 16 IV. Clown 17 V. Talking Power Purchase now at: http://www.classicalsavings.com/store/p346/Shadowing.html

Mozart composed “The Liberation of Bethulia”, based on the Book of Judith, when he was 15 years old, while his family was returning to Salzburg from a musical tour of Italy. Commissioned by the Prince of Aragon, it is the only oratorio Mozart ever wrote. The work’s 2 parts are comprised of 16 arias, with solo or choral parts, choir and orchestra. This ambitious work was never performed in Mozart’s lifetime, however, this work was known to exist by other composers. As a curious note, Mozart’s famous nemesis from the movie “Amadeus”, Antonio Salieri, assigned one of his students a compositional exercise to set an aria from this work for four voices in November of 1812. This student would become the famous composer, Franz Schubert. This exercise was published in 1940 as a composition by Schubert. The story behind this oratorio revolves around Judith, a daring and beautiful widow, who is upset with her Jewish countrymen for not trusting God to deliver them from their foreign conquerors. She then sets out to the enemy camp, with her loyal maid and slowly develops a very trusting relationship with the enemy general, Holofernes. Gaining his complete trust, she is allowed access to his tent. One night, while the general is in a drunken stupor, Judith enters the tent and decapitates him and takes the head back to her fearful countrymen. The Assyrians, having lost their leader, lose courage and return to Assyria, saving Israel. Though Judith is courted by many, she remains unmarried for the rest of her life. This production, by the CMD Grand Opera Company of Venice, is now available at ClassicalRecordings.co

In his second project with PARMA Recordings, Swiss composer Georges Raillard gifts us with 12 solo classical guitar compositions on BUTTERFLIES IN THE LABYRINTH OF SILENCE, all performed by renowned guitarist David William Ross. The album follows the Sinking Islands suite, Raillard’s first project with PARMA Recordings, which appeared on BETWEEN THE ECHOES, a Navona Records compilation album featuring chamber works. On BUTTERFLIES IN THE LABYRINTH OF SILENCE, we hear the full spectrum of Raillard’s imagination. At times, the compositions feature gliding melodies that barely rise above a whisper, while other parts of the album are thunderous refrains that catapult from the speakers. Raillard utilizes various playing methods in his works, including fingerpicking, long ringing strums, single note melodies, and sustained pedal points. Raillard has a unique way of effectively matching the inflection of his compositions to the title of the songs. This is a testament to both Raillard as an imaginative composer and to the evocative playing of Ross. On He Burst Out Laughing, the track aptly begins with the guitar mimicking a person laughing, with rolling bursts of spontaneous energy. It is immediately followed by the denouement of the laughter, highlighted by post-crescendo serenity, only for the laughing guitar to roar once again. Night Waves is a tranquil piece punctuated first by sliding chords that call to mind ocean waves lapping on the beach in the still of the night. A series of single note melodies wind and cascade like the tide coming in and out. Measuring Clouds is an airy composition split into two movements. The title comes from the second movement, with its four-tone ostinato, shifting harmonies and counterpoints. The album comes to a close with Patio, which is interspersed with sharp slightly dissonant strums and rhythmic raps on the guitar’s body before descending into a series of peaceful and wandering chord patterns, ultimately circling back to how it began, ending on an ominous burst of tension. With its range of moods, colors, and techniques, BUTTERFLIES IN THE LABYRINTH OF SILENCE is an introspective collection of imaginative compositions executed to perfection. Purchase now at: http://www.classicalsavings.com/store/p319/Butterflies_in_the_Labyrinth_of_Silence.html TRACK INFO David William Ross guitar 01 SHELLS ON THE BEACH 02 NIGHT WAVES 03 PACEMAKER 04 TO PILAR 05 THE LABYRINTH OF SILENCE 06 SUMMER EVENING AT THE RHINE 07 BUTTERFLY 08 THREE CHILD’S PLAYS FOR SELINA 09 DANCE OF THE SHADOWS 10 MEASURING CLOUDS 11 HE BURST OUT LAUGHING 12 PATIO Purchase now at: http://www.classicalsavings.com/store/p319/Butterflies_in_the_Labyrinth_of_Silence.html #ClassicalMusicDiscoveries #PodomaticUnlimited #PARMARecordings #Podcast #guitar

In this broadcast we feature a new release from BSX Records, The Film Music of John Williams. We will hear selections from: Schindler’s List, The Terminal, Memoirs of a Geisha, JFK, The Patriot, Sabrina, Monsignor, Dracula, Fiddler on the Roof and AI - Artificial Intelligence. Featured soloists include: Elizabeth Hedman, Donald T. Foster, David Washburn, Karen Hogle Brown and Dan Redfeld. This CD is now available for purchase at ClassicalRecordings.co Purchase now at: http://www.classicalsavings.com/store/p303/Schindler%27s_List_the_Film_Music_of_John_Williams.html THREE PIECES FROM SCHINDLER’S LIST Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 1. Theme from Schindler’s List (4:39) 2. Jewish Town (Krakow Ghetto – Winter ’41) (4:51) 3. Remembrances (5:45) 4. THE TERMINAL: Viktor’s Tale (4:02) Donald T. Foster, clarinet • Dan Redfeld, piano Arranged by John Williams 5. MEMOIRS OF A GEISHA: The Chairman's Waltz (2:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld after the original by John Williams 6. Tango (Por Una Cabeza) (4:22) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Carlos Gardel, Lyrics by Alfredo Le Pera Arranged by John Williams 7. JFK: Main Theme (5:36) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 8. THE PATRIOT: Main Theme (4:20) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 9. SABRINA: Main Theme (5:43) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by John Williams 10. MONSIGNOR: Main Theme (2:35) David Washburn, trumpet • Dan Redfeld, piano Arranged by Dan Redfeld 11. DRACULA: End Credit (3:55) Elizabeth Hedman, violin • Dan Redfeld, piano Arranged by Dan Redfeld 12. FIDDLER ON THE ROOF (4:30) Elizabeth Hedman, violin • Dan Redfeld, piano Music by Jerry Bock, Lyrics by Sheldon Harnick Adaptation, arrangement & violin cadenzas by John Williams 13. A.I. - ARTIFICIAL INTELLIGENCE: Where Dreams are Born (4:33) Karen Hogle Brown, soprano • Dan Redfeld, piano Arranged by Dan Redfeld #podcast #ClassicalMusicDiscoveries #JohnWilliams #PodomaticUnlimited

Mithridates, King of Pontus is a 3-act opera composed by the 14-year-old Mozart while touring Italy in 1770. The opera was an instant success being performed 21 times. Most musicians in Italy were very confident that Mozart’s opera would be a complete failure. How could any 14-year-old boy compose a successful opera, a feat that had taken other composers almost a lifetime to master? Now, like elsewhere in Europe, composers much older than Mozart, had become humbled and often enraged, at the overwhelming God-given talents of Mozart. To further add insult to injury, young Mozart composed the opera in the Italian Baroque style and this opera has since become the example by which other Baroque opera is measured by. Thus, Mozart not only composed the opera in the most popular style of the day, but also showed that he had completely mastered the style and could compose in this style far superior to that of his much older contemporaries. This performance is by the CMD Grand Opera Company of Venice and is available now at ClassicalRecordings.co Purchase now at: http://www.classicalsavings.com/store/p340/Mozart%3A_Mithridates%2C_King_of_Pontus.html #ClassicalMusicDiscoveries #PodomaticUnlimited #podcast #Mozart

Navona Records is proud to present PHOENIX ENSEMBLE: CHAMBER WORKS OF HENRI MARTEAU AND ALEXANDER ZEMLINSKY. The Phoenix Ensemble is a mixed instrument chamber music ensemble. Founded in 1991 by New York-based clarinetist Mark Lieb, the Phoenix Ensemble aims to “inspire a new and diverse audience for classical music.” They undertake this challenge by presenting two works by late romantic French composer Henri Marteau, who is relatively unknown in the music world, as well as presenting one work by Austrian composer Alexander Zemlinsky. Both composers were active at the turn of the 19th century. The album’s three suites are presented in reverse chronological order, starting with the first ever recording of Henri Marteau’s Serenede, Op 20, which was penned in 1922. The four movement suite – which features 2 flutes, 2 oboes, 2 clarinets, bass clarinet and 2 bassoons – begins with the delightful “Entranta,” a rollicking and regal composition that sets the tone for the entire nonet. Next up is Quintet for Clarinet and String Quartet, Op 13, which Marteau composed in 1908. Like Serenede, the four movement work is again inspired by the light and charming work of French composers like Johannes Brahms and Antonín Dvořák. With the selection of a mostly mysterious composer in Henri Marteau, the Phoenix Ensemble makes a lesser-known body of work sound like an old classic, and they educate modern listeners about a composer who has been largely unnoticed in his own era and forgotten by the passage of time. In the album’s liner notes, the Phoenix Ensemble claim that Marteau’s compositions remind them of “Les Six, the French musical movement of the day led by composers Francis Poulenc, Georges Auric and Darius Milhaud, whose aim was to rebel against the overly serious and complex grandeur of Richard Wagner.” The second composer featured by the Phoenix Ensemble is Alexander Zemlinsky, presenting Trio Op 3, which Zemlinsky wrote in 1896 at the tender age of 25. Trio Op 3 is a stunning display of originality, presented as a chamber trio (piano and cello joining Lieb on clarinet). It begins with a stirring first movement, “Allegro ma non troppo”, that immediately captures the listener’s attention. “Andante,” the second movement, is more expressive and evocative and even a bit moody, before the rousing third movement, “Allegro,” guides the suite to its conclusion. It’s in “Allegro” that Zemlinsky’s imaginative writing truly shines. The Phoenix Ensemble feels right at home in their performance, each note filled with confidence and charisma. By presenting somewhat obscure works from the early 20th century, Mark Lieb and the Phoenix Ensemble are able to educate their listeners on some of the lesser known composers of a past era while leaving their own imprint on the works. Purchase now at: http://www.classicalsavings.com/store/p329/Phoenix_Ensemble.html TRACK INFO SERENADE, Op 20 (1922) HENRI MARTEAU Catherine Gregory & Andrew Rehrig flute Arthur Sato & Michelle Farah oboe Mark Lieb & Moran Katz clarinet Angela Shankar bass clarinet Daniel Hane & Edward Burns bassoon 01 I. Entrata 02 II. Adagietto 03 III. Scherzino 04 IV. Tema con variazioni QUINTET FOR CLARINET AND STRING QUARTET, OP 13 (1908) HENRI MARTEAU Mark Lieb clarinet Igor Pikayzen & Bryan Hernandez-Luch violin Eva Gerard viola Carrie Bean Stute cello 05 I. Andante - Moderato assai 06 II. Allegretto moderato 07 III. Andante sostenuto 08 IV. Andante sostenuto – Allegro molto TRIO IN D MINOR, OP 3 (1896) ALEXANDER ZEMLINSKY Mark Lieb clarinet Alice Yoo cello Wayne Weng piano 09 I. Allegro ma non troppo 10 II. Andante 11 III. Allegro Purchase now at: http://www.classicalsavings.com/store/p329/Phoenix_Ensemble.html

Sergio Cervetti returns with an exciting collection of works on his sixth Navona Records release, SUNSET AT NOON. A diverse composer, his works range from instrumental and vocal music to electronic compositions, often reflecting his South American, French and Italian heritage. His vocabulary draws from an early interest in twelve-tone and minimalism, and his current approach is flexible and free of constraint. With SUNSET AT NOON, Cervetti focuses on keyboard-based compositions for half of the album, with a foray into chamber music on the other half. Cervetti’s keyboard compositions shine in this collection. On Ofrenda Para Guyunusa for Harpsichord, Cervetti delivers a peaceful and slightly meditative piece that very occasionally veers into Bachian territory. Some Realms I Owned is split into three piano movements – the first starts with a lively melodic line before landing on a relentless pedal point while Cervetti solos in a restrained manner; the second is the more contemplative of the three; and the third is a frantic piece featuring rapid arpeggios before settling on a more linear melodic sequence. I Can’t Breathe, while based on a wild piano performance, centers around a pulsating rhythm that at times sounds like the fervent keys of a typewriter. The performance and composition both match the composition’s urgent title; it’s a quick burst of desperate sounds clawing their way out of the speaker, not quite two and a half minutes long. Cervetti trades in his keyboards for clarinet and strings on And The Huddled Masses, a three-part suite, as well as Sunset At Noon, for violin and viola, a sprawling 18-minute opus that serves as the album’s grounding centerpiece. For the most part, Cervetti’s string scores deliver a more somber mood that counterbalances the upbeat and at times delirious vibe of the keyboard-based compositions. As the sacred vocal arrangement on Lux Lucet in Tenebris closes the album, its contrast with the album’s secular pieces acts as a testament to Cervetti’s imagination and compositional fortitude. He has a keen ability to combine several different sounding compositions on one album and have it come across as a complete and congruent work. But ultimately, that is Cervetti’s strength – he is an enigmatic composer whose work knows no boundaries. Purchase now at: http://www.classicalsavings.com/store/p328/Sunset_at_Noon.html TRACK TITLES SOME REALMS I OWNED, piano (2010) Sergio Cervetti, piano 01 I. The art of losing isn’t hard to master 02 II. ...à ceux qui ont perdu ce qui ne se retrouve jamais... 03 III. Even losing you... AND THE HUDDLED MASSES, clarinet quintet (2015) Alden Ortuño Cabezas, clarinet; Leonardo Pérez Baster, violin I; Luis Alberto Mariño Fernández, violin II; Yamed Aguillón Santa Cruz, viola; Lester Monier Serrano, cello; Enrique Pérez Mesa; conductor 04 I. The Tired, the Poor, and the Huddled Masses 05 II. Hâves, déguenillés 0:00 06 III. Noemí Álvarez Quillay 0:00 07 OFRENDA PARA GUYUNUSA, harpsichord (2011) María Teresa Chenlo, harpsichord SUNSET AT NOON, violin and viola (1995) Vit Muzik, violin; Dominika Mužíková, viola 08 I. In Memoriam Jon Mensinger 09 II. In Memoriam Michael Aiken 10 III. In Memoriam Patrick Kelly 11 IV. Hymn, In Memoriam Drew Dreeland 12 I CAN’T BREATHE, piano & percussion (2014) Sergio Cervetti, piano 13 LUX LUCET IN TENEBRIS, a cappella choir (2002) Kuhn Choir | Marek Vorlicek, conductor Purchase now at: http://www.classicalsavings.com/store/p328/Sunset_at_Noon.html

Maestro Yuri Botnari has been a favorite with our listeners for several years. In this live recording, Maestro Botnari conducts the National Radio Orchestra of Romania as they performed Tchaikovsky’s Romeo and Juliet Fantasy Overture and Symphony No. 5. This recording is available now at ClassicalRecordings.co and also through the Russian Music Society.

CLAY JUG EDIE HILL THE CROSSING | DONALD NALLY CONDUCTOR The choral music of Minnesota-based composer Edie Hill shines on CLAY JUG, a compendium of large and small works for a cappella choir and choir accompanied by chamber ensemble. Though the works featured on CLAY JUG vary in scope, they all demonstrate Hill’s keen sensitivity to ensemble texture and harmonic density, as well as the incorporation of text across four languages. In CLAY JUG, Hill excels at shifting the listener’s perspective as they listen to the choir. In the most straightforward cases, such as in The Fenix, Hill moves the choir in between the music’s foreground and background to accommodate a vocal soloist. More dramatic is what happens in From the Wingbone of the Swan and “Clay Jug” – an excerpt from a large work of Hill’s entitled A Sound Like This – wherein three or four musical layers converse within the choir itself, or between the choir and accompanying instruments. It is obvious in the works on CLAY JUG that Hill has a strong connection to the texts she sets. Three of the album’s works – The Fenix, Alma beata et Bella and Cancion de el Alma – draw their texts from very old European sources dating back to the 10th, 15th and 16th centuries, respectively. Hill does not necessarily modernize these ancient words in her settings of them, but she succeeds in meaningfully personalizing them through her musical language. Along these lines, Hill describes the influence of the language these works’ texts on their aesthetics, particularly in the case of The Fenix, which uses its poetry’s original medieval Anglo-Saxon language. Similarly, Alma beata et Bella seems to make homage to Renaissance-era musical tropes contemporaneous to its text’s origins, but, in both works, Hill’s individual voice comes through with only slight alteration. The works on CLAY JUG feature a musical language that pairs beautifully with choir, employing dissonance with care and purpose, as well as freely shifting texture to serve Hill’s compositional designs. Order now at: http://www.classicalsavings.com/store/p333/Clay_Jug.html TRACK LISTING Edie Hill composer The Crossing • Donald Nally conductor From the Wingbone of a Swan Edie Hill & Timothy O’Brien, text 1 i. Prelude to Speech 2 ii. Source 3 iii. Paleolithic Flute 4 The Fenix Text from the Exeter Book 5 Cancion de el alma: en una noche escura San Juan de la Cruz, text 6 Clay Jug Kabir, text; VERSIONS by Robert Bly 7 We Bloomed in Spring St. Teresa of Ávila, text; translated by Daniel Ladinsky 8 Alma Beata et Bella Jacopo Sannazaro, text Order now at: http://www.classicalsavings.com/store/p333/Clay_Jug.html

We have an escalating problem in the Mozart household and I will explain the problem to you. First, we have Leopold Mozart. Leopold has been dragging the Mozart family all over Europe for many years, showing the world what a marvelous teacher he is. His children, instructed under the Mozart technique, are all wonderful musicians, even at such a young age of 6 to 8 years old. Their understanding and ability to perform music eclipses that of most adults. The Mozart family concerts are continually sold out and they are requested to perform for Kings, Queens, Emperors and Empresses all over the known world. It is widely known that the Mozart children simply regurgitate what Leopold has taught them all to the complete astonishment of everyone in Europe and Asia. However, as the abilities of young Wolfgang increases, it becomes more and more difficult for Leopold to maintain the façade that he is the master and that Wolfgang is only the lowly student that relies solely on his father’s superior knowledge of music. Secondly, we have Wolfgang Amadeus Mozart, a truly gifted musician who is unquestionably the greatest composer the world will ever see. Young Mozart may need some initial guidance by his father and other composers, but soon his compositions eclipses every composer of his day and for generations to come. Now to the matter at hand, the 4 Symphonies in D. These are also known as Symphonies 44, 47, 45 and 11. All 4 symphonies were composed in Italy in the Italian style and they were composed in April of 1770 during the Mozart family’s musical tour of Italy. Wolfgang is 14 years old now and is beginning to test the dominating grip of his father Leopold. Young Mozart has already composed a few operas, piano concertos and several symphonies. Not to mention the many church works for the archbishop of Salzburg and everything has been met with great success. The pressure is on Leopold to show that, he being the master teacher, is a far better composer than his young son. However, this image is beginning to wear thin and even Europe’s nobility is beginning to realize that young Mozart might be a truly gifted musician all on his own and not a great musician because of his father Leopold’s instructional capabilities. The Symphonies in D thus continues a mild war between father and son. Wolfgang’s compositional skills are already far superior to Leopold’s, however Leopold must continue to prove that he is the superior musician even if this means taking credit for his son’s compositions. While Leopold took credit for the 4 symphonies in D, this continues to be questioned today by music historians. Some musicologists may say that Symphony 44 is full of youthful charm and inventiveness and must be composed by Wolfgang, however others say of the same symphony that it is contrived and archaic and must have been composed by Leopold. Thus, the debate continues to this very day. So, dear listener, we will play for you all 4 symphonies and we will let you decide if the symphony was written by the 14-year-old Wolfgang, or by his Father Leopold. We will play the 4 symphonies in order of composition. Order now at: http://www.classicalsavings.com/store/p339/Leopold_vs._Wolfgang%3A_The_4_Symphonies_in_D.html

TCHAIKOVSKY WORKS FOR VIOLIN & ORCHESTRA MOONKYUNG LEE LONDON SYMPHONY ORCHESTRA MIRAN VAUPOTIĆ CONDUCTOR OVERVIEW While speaking on Édouard Lalo’s Symphonie Espagnole, Op.21, Pyotr Tchaikovsky posited that his colleague “does not strive after profundity, but carefully avoids routine, seeks out new forms, and thinks about musical beauty more than observing established traditions.” Acclaimed violinist Moonkyung Lee endeavors to emulate this approach on her Navona debut TCHAIKOVSKY – WORKS FOR VIOLIN AND ORCHESTRA, in which she presents several performances of beloved Tchaikovsky alongside the London Symphony Orchestra under the baton of Miran Vaupotić. Lee finds particular success in this regard with her performance of Violin Concerto in D Major, Op.35, elevating several of the work’s unorthodoxies to the foreground. Her bow breathes new life into the unusual cadential sections in the first movement, its song-like Canzonetta second movement, and the Russian folk-infused finale. The album also includes a performance of the Méditation, a piece originally written as a middle movement for the violin concerto before its inclusion as the first movement of the Souvenir d’un lieu cher (Memory of a dear place), Op.42. Its nostalgic emotions are quintessential Tchaikovsky, and its subsequent popularity has led to presentations as a standalone piece. Lee chooses to perform an arrangement for violin and orchestra made by Glazunov in 1896. Finally, the violinist seizes the Sérénade mélancolique in B-flat minor, Op.26, Tchaikovsky’s first work for violin and orchestra. Like the Méditation and the violin concerto, it is filled with the intense emotion intrinsic to so much of his music. Lee singles out the end of the piece as particularly magical, lauding the moment “when the fragmented theme is reiterated by the clarinet and the solo violin in absolute stillness.” Purchase now at: http://www.classicalsavings.com/store/p332/Tchaikovsky_Works_for_Violin_and_Orchestra.html TRACK LISTING London Symphony Orchestra | Miran Vaupotić conductor Moonkyung Lee violin Pyotr Ilyich Tchaikovsky (1840-1893) VIOLIN CONCERTO IN D MAJOR, OP. 35 01 Allegro moderato 02 Canzonetta: Andante 03 Finale: Allegro vivacissimo 04 Méditation in D minor from Souvenir d’un lieu cher, Op. 42 05 Sérénade mélancolique in B-flat minor for violin and orchestra, Op. 26 Purchase now at: http://www.classicalsavings.com/store/p332/Tchaikovsky_Works_for_Violin_and_Orchestra.html #classicalmusicdiscoveries #parmarecordings #podcast #podomaticunlimited

In this month’s edition of La Musica Chamber Music Hour we will be pleased to hear: Mozart’s “Duo for Violin and Viola in G Major, K. 423” Brahms’ “Concerto for Violin, French Horn and Piano” Mendelssohn’s “String Quintet in B-flat Major, Op. 87” Musicians are: Anne Schoenholtz, Ruth Lenz and Pamela Frank - violins Bruno Giuranna and Daniel Avshalomov - violas Eric Kim - cello Derek Han - piano For more information and to purchase tickets for La Musica International Chamber Music Festival, please visit their website at LaMusicaFestival.org #podcast #classicalmusicdiscoveries #lamusica #podomaticunlimited

THE PRELUDES PROJECT is Holly Roadfeldt’s debut album on RAVELLO records, and features a complete recording of Chopin’s Op. 28 preludes for piano and a new set of twenty-six piano preludes written by American composer Kirk O’Riordan. In her performance of these works, Roadfeldt takes claim to one of the most iconic pieces in the solo piano repertoire, and also annoints O’Riordan’s new work as an impressive achievement among Classical music’s greatest sets of piano preludes. French composer Frédéric Chopin finished composing his Twenty-Four Preludes, Op. 28, in 1839, envisioning the set as a response to the twenty-four preludes in J. S. Bach’s monumental Well-Tempered Clavier. This connection is meaningful to any assessment of Chopin’s work, as Bach’s composition aimed to showcase the chromatic potential of a newly invented tuning system for keyboard instruments. By the same token, Chopin’s Op. 28 preludes put on display the unprecedented expressive powers of the modern piano, which was a relatively new instrument in 1839, and would continue to be refined over the course of the nineteenth century. To this end, Roadfeldt’s performance of the Chopin unquestionably captures the elegance, power, and intimacy that the composer explores in these pioneering preludes. In THE PRELUDES PROJECT, Roadfeldt also makes the persuasive case that, as Chopin’s preludes were to Bach’s Well-Tempered Clavier, so might O’Riordan’s preludes be to Chopin’s. Certainly, O’Riordan matches Chopin’s ability to create a vast collection of nuanced, indelible, and – most importantly – satisfactorily self-contained musical statements. As one expects, the Twenty-Six Preludes vary a great deal, but each achieves its beauty by crafting a unique space with the piano’s voice. In this way, O’Riordan’s preludes connect with the fundamental motivations underlying Bach and Chopin’s famous preludes: exploring the sound of the instrument. Of course, Holly Roadfeldt molds the piano’s sound in THE PRELUDES PROJECT, and, in her masterful rendering of Chopin and O’Riordan’s pieces, brings these two works side-by-side. As a result, one should consider Roadfeldt’s performance on this album as significant a contribution to piano music as the compositions she performs. Order now at: http://www.classicalsavings.com/store/p338/The_Preludes_Project.html TRACK LISTING DISC 1 Frédéric Chopin (1810-1849) PRELUDES, OP. 28 (1836-39) 01 No. 1 in C Major (Agitato) 02 No. 2 in A Minor (Lento) 03 No. 3 in G Major (Vivace) 04 No. 4 in E Minor (Largo) 05 No. 5 in D Major (Molto allegro) 06 No. 6 in B Minor (Lento assai) 07 No. 7 in A Major (Andantino) 08 No. 8 in F# Minor (Molto agitato) 09 No. 9 in E Major (Largo) 10 No. 10 in C# Minor (Molto allegro) 11 No. 11 in B Major (Vivace) 12 No. 12 in G# Minor (Presto) 13 No. 13 in F# Major (Lento) 14 No. 14 in Eb Minor (Allegro) 15 No. 15 in Db Major (Sostenuto) 16 No. 16 in Bb Minor (Presto con fuoco) 17 No. 17 in Ab Major (Allegretto) 18 No. 18 in F Minor (Molto Allegro) 19 No. 19 in Eb Major (Vivace) 20 No. 20 in C Minor (Largo) 21 No. 21 in Bb Major (Cantabile) 22 No. 22 in G Minor (Molto agitato) 23 No. 23 in F Major (Moderato) 24 No. 24 in D Minor (Allegro appassionato) DISC 2 Kirk O’Riordan (b. 1968) TWENTY-SIX PRELUDES FOR PIANO (2014) 01 I . molto legato; lightly and spirited 02 II. dancing, with quiet energy 03 III. misterioso, distant 04 IV. molto legatissimo; brooding 05 V. very slowly, deliberately 06 VI. agitato, unsettled 07 VII. floating, with trepidation 08 VIII. hushed, with energy 09 IX. child-like with simplicity 10 X. sparkling; bright, with energy 11 XI. freely, blurry 12 XII. gently, fragile 13 XIII. presto feroce, with intensity 14 XIV. very slowly, languishing 15 XV. molto misterioso; whispering 16 XVI. legatissimo; like bells 17 XVII. hypnotic, distant 18 XVIII. energetic, exuberant 19 XIX.(continued)

Wolfgang Amadeus Mozart began learning how to compose piano and harpsichord concertos when he was 11 years old. Unlike his studies of the art of opera composition by other composers, his father, Leopold, handled young Mozart’s education of the complex structural problems of composing in the piano concerto form. Piano concertos 1 through 4 were probably devised by Leopold as a compositional teaching method for Wolfgang. Though these works were long considered to be original, we now know that the concertos are actually orchestrations of sonatas by various German composers. Each sonata was re-imagined by Mozart into the form of a complete piano concerto. To support this theory, Leopold excluded the first four concertos from his 1768 list of Wolfgang’s early compositions suggesting that Leopold may not have considered them true compositions by his son. Also, the autographs of the four works show them to be joint projects by father and son and concerto number 4 is mainly in Leopold’s hand. CMD Philharmonic of Paris Joana Filipe Martinez - Piano Soloist and Conductor Purchase now at: http://www.classicalsavings.com/store/p336/Mozart%3A_Piano_Concertos_1-4.html