Classical Music Discoveries

Welcome to the 40th edition of La Musica Chamber Music Hour sponsored by La Musica International Chamber Music Festival in Sarasota Florida. In this month’s broadcast we will be pleased to hear: “Piano Quartet in G minor, K. 478” by Mozart “Sonata a Quattro No. 5 in E-flat” by Rossini And the broadcast concludes with “Verklarte Nacht or Transfigured Night, Op. 4” by Schoenberg Musicians are: Federico Agostini, Michela Martin, Isabelle Faust, Curtis Macomber - violins Cynthia Phelps, Bruno Giuranna, Katherine Murdock - violas Alain Meunier, Angela Lee, Frans Helmerson - cellos Franco Petracchi - bass And Derek Han - piano For more information regarding La Musica International Chamber Music Festival, please visit their website at LaMusicaFestival.org We wish to thank the staff and musicians of La Musica for making this broadcast possible.

Cataloging the symphonies of Wolfgang Amadeus Mozart is not an easy task and can be quite confusing. Please remember while romantic and modern composers carefully numbered their symphonies, Mozart, did not. Thus, each one of Mozart’s 50-plus symphonies were just known as a symphony and nothing more. This adds greatly to the confusion and detective work needed to place Mozart’s compositions in the correct order. Case in point: Symphony in B-flat Major which was composed in 1768 in Salzburg, should have been numbered Symphony Number 8. However, for many years, the symphony was thought to be numbered Symphony Number 55. This symphony was known to Ludwig Ritter von Kochel as an incipit entry in the Breitkopf and Hartel catalog, which was regularly updated by Leopold Mozart and was assumed as correct. After all, the entries were registered by Leopold himself and who could doubt such a first-hand witness entry into the catalog? However, though the years, we have come to learn that not all of Leopold’s entries can be trusted. The case of the Lambach symphonies in our previous broadcast comes to mind. Over 100 years after the symphony was composed, upon a close observation of the autographed work in the Berlin State Library, it was noticed that Amadeus signed the copy with the title of Cavalier. Knowing the personality of Wolfgang this might not seem too surprising. However, in November of 1769, young Mozart was made the Concertmaster to the Archbishop of Salzburg and was given the official church title of Cavalier. Thus, Cavalier was NOT an attitude, but an official church title. Thus, Symphony Number 55 was composed, more than likely, in early 1768 and was not one of his later symphonies as testified by Leopold Mozart. Now, this brings up another problem. The title of Symphony Number 8 is already taken. So, do you renumber ALL of Mozart’s symphonies, which would create even more confusion? No, the decision was made not to number this symphony at all, but to give it the title of Symphony in B-flat Major. This is a 4-movement symphony and is scored for 2 oboes, 2 horns and strings, which is also the norm for an early Mozart symphony. Symphony Number 8 in D Major, is dated December 13, 1768 and was composed in Vienna. At the time the Mozart family was due to have returned to Salzburg, but Leopold Mozart writes of the delay “we could not bring our affairs to a conclusion earlier, even though I endeavored strenuously to do so.” Which is modern terms means: We were trying to get money due us from someone, before we left for Salzburg. Which is a case every musician understands all too well. This autographed symphony also resides in the Berlin State Library. This symphony is in 4-movements and is scored for 2 oboes, 2 horns, 2 trumpets, timpani and strings. Since the inclusion of trumpets and timpani are very unusual for an early work by Wolfgang we can assume this symphony was composed for an unknown ceremonial purpose.

Pianist Sang-Hie Lee performs original works written for two pianos, by internationally recognized composers Gerald Chenoweth, Eun-Hye Park, Lewis Nielson, Daniel Perlongo, and Paul Reller, in ARS NOSTRA: BUT NOW THE NIGHT. Along with collaborating pianist Martha Thomas, the pieces showcase the instrument as a “super piano”, unveiling textures and new combinations of sounds not accessible with a soloist.  Aber Jetzt Die Nacht by Lewis Nielson, begins by contrasting a distinct motive against outbursts of relatively abstract, dissonant music. About halfway through, the work reveals its true structural goal of exploring the extremes of a piano’s color. This new direction is signaled by two glissandi, initiating the appearance of many more dramatic and unusual piano sounds, including knocking of the instrument’s case and playing touch harmonics inside the piano.  Sonata For Two Pianos by Paul Reller, contains four major sections shaped by continuous notes moving from different rhythms, from rock and roll to jazz, flowingfast-slowest-fastest-slow, which can be seen as a microcosm of a classical four-movement sonata.  Influences of Ives and McDowell blend with classic balance and symmetry, creating leaps and chaotic dissonances alongside moments of exotic harmonies and calmer melodies.  TRACK LISTINGSang-Hie Lee and Martha Thomas piano duo  Eun-Hye Park1 CHERA IN NAIN (A Widow in Nain) (2009)Kyoung Cho, narrator  Lewis Nielson2 ...ABER JETZT DIE NACHT... (2013)  Gerald Chenoweth3 CELESTIAL PHENOMENA (2008)Big BangStarshineBlack HoleNight Sky - Dawn  Paul Reller4 SONATA FOR TWO PIANOS (2008)Moderato con motoMeno mossoAllegro  Daniel Perlongo5 WINDHOVER FOR PIANO DUO (2009)IntroPart 1Part 2Part 3Part 4Trio cantabile

CADENCE, the new vocal music compilation from Navona Records, offers a set of inspired, emotive premiere recordings by composers Christopher J. Hoh, David Kirtley, Joanne D. Carey, and Timothy Kramer in works juxtaposing the ethereal and the earthy, the diaphanous and the muscular, and the serene and the agile.  Hoh’s Remembering All sets five poems by the renowned Carl Sandburg, whom Hoh calls “a composer’s poet.” His treatment enhances the text with a spacious, compelling composition. By turns luminous, jaunty or lyrical, it dramatizes love and longing through intriguing music.  Kirtley’s focus too is on poetry, but in this case it is the Japanese art of the haiku, which provides the inspiration.  Best known for its precise, simple form and short length, haiku offers a fascinating point of entry for Kirtley in the Haiku Songs of Karigane, as the composer carefully crafts a haunting, sanguine sound that unveils deep emotions within the lean words of five haiku by Kaoru Karigane.  William Blake’s works have frequently been set to music, but The Lamb and The Tyger have rarely been given such a rigorous treatment.  Carey’s complex, nuanced language highlights the mysterious symbolism of Blake’s prose, coupling sophisticated musical figures alongside the enigmatic contemplations found in the text.  Lux aeterna by Kramer is the composer’s own unique version of the traditional Mass setting, in this case created specifically for performance in the Cologne Cathedral in Germany. The radiant harmonies bound across dynamic peaks and valleys, bringing the listener on a sublime emotional journey. Click Here to Purchase   TRACK LISTING  David KirtleyHAIKU SONGS OF KARIGANEpoetry by Kaoru KariganeJennifer Bird, soprano; Mutsumi Moteki, piano 1 I. Karasu-uri2 II. Hanamizuki3 III. Nekojarashi4 IV. Daikan ya5 V. Mizutorimo  Joanne D. Carey6 THE LAMBpoetry by William BlakeThe Stanbery Singers  |  Paul Stanbery, conductor  7 THE TYGERpoetry by William BlakeVox Futura  |  Andrew Shenton, conductor  Timothy Kramer8 LUX AETERNAfrom the Requiem MassKühn Choir  |  Marek Vorlíček, conductor  Christopher J. HohREMEMBERING ALL: FIVE SANDBURG POEMSpoetry by Carl SandburgThe Stanbery Singers  |  Paul Stanbery, conductor 9 I. Joy10 II. Monotone11 III. Under the Harvest Moon12 IV. I Sang13 V. Follies Click here to purchase ​

Die Walkure, WWV 86B, is a music drama in three acts by Richard Wagner with a German libretto by the composer. It is the second of the four works that form Wagner's cycle: The Ring of the Nibelung. The story of Die Walküre is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda. In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries". It received its premiere in Munich on 26 June 1870. Wagner originally intended the work to be premiered as part of the entire cycle, but was forced to allow the performance at the insistence of his patron King Ludwig II of Bavaria. It was first presented as part of the complete cycle on 14 August 1876 at Wagner's Bayreuth Festival. The work made its United States premiere at the Academy of Music in New York on 2 April 1877. This performance is conducted by Joana Filipe Martinez and is performed by the CMD German Opera Company of Berlin. This series is sponsored by Flowers.FM

This week we are going to break away from the Sir Neville Marriner recordings as we have reached a milestone in young Mozart’s life that was too important to pass. When Amadeus was 12 years old, he was commissioned by the Jesuit priest, Father Ignaz Parhammer to compose music for the consecration of the new Orphanage Church in Vienna. Mozart not only accepted the commission, but he also wrote a Trumpet Concerto, suitable to be performed by a young boy as the offertory. However, due to cataloging errors, both works were considered lost for many years. The premiere performance of the “Mass in C minor or Missa Solemnis” took place on December 7, 1768, in the presence of the court. The 12-year-old Mozart conducted the performance which consisted of boys at the new orphanage who handled all the parts in the chorus and orchestra. This may sound like a calamity waiting to happen, but the reviews of the concert called it “resounding with universal acclaim and utmost admiration.” This mass is considered to be Mozart’s most ambitious work to be performed up until that point in time. This performance by the CMD German Opera Company of Berlin and conducted by Dominique Beaulieu was performed and recorded in the Orphanage Church of Vienna and is available now at ClassicalRecordings.co

Symphony No. 9 in D minor, Op. 125 (also known as "the Choral"), is Ludwig van Beethoven's final complete symphony. Completed in 1824, the symphony is one of the best-known works in classical music. Among critics, it is almost universally considered one of Beethoven's greatest works, and many consider it one of the greatest compositions in the western musical canon. The symphony was the first example of a major composer using voices in a symphony (thus making it a choral symphony). The words are sung during the final movement by four vocal soloists and a chorus. They were taken from the "Ode to Joy", a poem written by Friedrich Schiller in 1785 and revised in 1803, with additions made by the composer. Today, it stands as one of the most performed symphonies in the world. In 2001, Beethoven's autographed score of the Ninth Symphony, held by the Berlin State Library, was added to the United Nations Memory of the World Programme Heritage list, becoming the first musical score so honored. We are pleased to present to you this new recording by the CMD German Opera Company of Berlin and conducted by Dominique Beaulieu. This stellar performance is now available at our online CD store ClassicalRecordings.co. This recording is available on either a CD or as a digital download.

Looking for a great way to build your classical music library? Visit ClassicalRecordings.co today and get 20% off your entire purchase by using the code 20 OFF at checkout. Our special 20% off Winter Sale ends on January 30th and supplies are limited on many titles. So, please hurry for the best selection! Again, visit ClassicalRecordings.co and enter the code 20OFF at checkout to get your 20% discount off your entire order.

Cataloging the Mozart Symphonies and determining the difference between a symphony by Amadeus and his father Leopold can lead to some unusual investigations by modern musicologists. Here we offer our listeners a case worthy of the best detectives found in any mystery novel. So, put on you sleuthing hat and let’s see what thoughts you may have on this specific case, which we will call “The Lambach Mystery.” The date is January 1769 and the Mozart family began their journey between Salzburg and Vienna. As was customary, they stopped at the Lambach Abbey in Upper Austria for room and meals. Monasteries, at this time, offered rooms and meals for travelers and maintained a chapel for the liturgy and entertainment. This stop over is not mentioned in the correspondence of the Mozart family and is only known through two manuscripts left in the monastery as a gift, or as payment, for room and board for the night. These two manuscripts were found at the beginning of the 20th century in the archives in the Lambach Abbey. One manuscript, the Old Lambach Symphony, was shown to be composed by Amadeus. The other manuscript, the New Lambach Symphony, was shown to be composed by Leopold. For many years, this was naturally assumed to be correct and was entered into the Mozart catalog as such. However, in 1964 Anna Abert published a new hypothesis that the title pages of the two Lambach Symphonies were either accidentally or purposefully reversed. She noted that the “New Lambach Symphony” was rather archaic in style and thus “less good” than the “Old Lambach Symphony” which was full of multiple themes and youthful inventiveness. So, dear listener, we put it to you. Do you think Leopold may have switched the title pages in order to take claim for a much better symphony? Perhaps while at the monastery, Leopold did his usual amount of bragging and couldn’t let the monks think that the lesser of the two symphonies was his. Or maybe the title switch was purely accidental during the coming years? Maybe the two manuscripts were dropped and pages became mixed by an unknowing monk only trying to rectify a brief mistake? Or maybe the confusion of trying to save the manuscripts during the Nazi occupation of Austria was to blame? We will let our listeners decide on which symphony belongs to which composer. Is the “New Lambach Symphony” really Leopold’s or does it belong to Amadeus? First, we will listen to the “Old Lambach Symphony” which was originally attributed to Amadeus. Now, we will listen to the “New Lambach Symphony” which is attributed to Leopold Mozart. After you have heard both symphonies, please leave a comment about this broadcast letting us know your thoughts as to who wrote which symphony. We will give the results in a later broadcast.  

Acclaimed New York City-based violinist and singer-songwriter, DENI BONET, has just announced her signing to Zip Records, for her upcoming record, BRIGHT SHINY OBJECTS, due in early 2017. Zip Records, home to a strong roster of artists around the globe, is distributed by Sony/RED, US and PIAS/Rough Trade, Benelux). Established in 1997 by Arthur Herman, Zip Records, (with offices in San Francisco & Amsterdam) has released over 125 titles throughout the years. Representing artists from every continent, the well-received label is gearing up to release Deni's prominent, and highly anticipated release, which will hit stores early next year. Zip Records has worked with an array of genres from Singer-Songwriters to Guitar Pop, World, Hip Hop, Funk, Classical and more, bringing to the table an impressive catalog of artists. Deni Bonet proudly joins the roster, as her acclaim from fans and media alike, are excited for this highly-anticipated record. BRIGHT SHINY OBJECTS is a departure of Bonet’s usual song-based material, as the album is entirely instrumental. Showcasing her impeccable violin playing, and talent for crafting stunning arrangements, we hear Bonet taking an entirely different approach within this collection of songs. Creating a unique and eclectic sound, listeners will experience Bonet combining an array of genres from high-voltage rock to displaying her classical training. Deni Bonet’s BRIGHT SHINY OBJECTS is out January 27, 2017 via Zip Records. For all press inquiries, please contact Melissa Nastasi at City Bird Publicity: Melissa@CityBirdPublicity.com Follow Deni Bonet on Social Media: WEBSITE: www.denibonet.com FACEBOOK: www.facebook.com/DeniBonet TWITTER: www.twitter.com/DeniBonet INSTAGRAM: www.instagram.com/DeniBonet WIKIPEDIA: http://en.wikipedia.org/wiki/Deni_Bonet YOUTUBE: www.youtube.com/denibonet STUDIO RECORDING: www.OverdubStrings.Com

Our broadcast of "Sandy's Favorite Christmas Music" has been a favorite of our listeners for years. Now we are proud to present a follow-up broadcast which we are sure will also become a favorite of our listeners year after year. Songs in this broadcast are: 1. Hark, the Herald Angels Sing 2. It's the Most Wonderful Time of the Year 3. What is This Lovely Fragrance? 4. 12 Days of Christmas 5. It's Christmas Time 6. Pine Cones and Holly Berries 7. The Christmas Wish 8. How Far is It To Bethlehem? 9. O Holy Night 10. There is Faint Music 11. Where Are You Christmas? 12. Caroling, Caroling 13. Peace on Earth/Little Drummer Boy 14. A Christmas to Remember 15. Sleigh Ride

Sandy (hostess of Classical Music Discoveries) picks her favorite Christmas music. Tracks are: 1. I'll Be Home for Christmas 2. Merry Christmas Darling 3. The Peace Carol 4. Somewhere in My Memory 5. The Best Gift 6. The Secret of Christmas 7. Have Yourself a Merry Little Christmas 8. The Innkeeper (Let Him In) 9. Candlelight Carol 10. Shepherd's Pipe Carol 11. A Song and a Christmas Tree 12. I Saw Three Ships 13. When Christmas Comes to Town 14. Come, Dear Children 15. Merry Christmas, Merry Christmas The music for this show is available at: http://www.classicalsavings.com/store/p101/Sandy%27s_Favorite_Christmas_Music.html

When Ken was 12 years old, he became very interested in classical music, but with very little funds he would use the nearby Garden Grove Public Library to explore his new-found love of classical music. Searching through the library’s limited LP resources, Ken found an album, by the Chicago Symphony Orchestra, of Stravinsky’s “Song of the Nightingale.” Ken had never heard of Stravinsky before, so he checked out the album and was enthralled by the story and music. Since 1965, Ken has been a true lover of Stravinsky. The ballet of “The Song of the Nightingale” is based on Hans Christian Andersen’s “The Nightingale”. The first scene shows the Nightingale singing for the Emperor of China, who is very pleased. In the music, the song is chromatic and swooping, it sounds free and natural, like the song of a bird. In the second scene, the Emperor of Japan arrives and gives the Chinese Emperor a mechanical nightingale. Everyone in the court is mesmerized by its song and ignores the real nightingale, who flies away. Here the music is short and clear, without the smooth musical runs of the real nightingale. In time, the mechanical bird breaks and the Chinese Emperor mourns the loss of the real nightingale. Like the saying goes, you never know what you have, until you lose it. In the final scene, the Emperor, longing for the real nightingale, succumbs to illness and upon facing death, meets the literal figure of Death itself. The Nightingale appears outside the Emperor’s window and convinces Death to let he Emperor go. The Emperor recovers from his illness as Death flees the palace. However, the Nightingale, still unforgiving of the mechanical bird, leaves once again, never to return. The music ends quietly as the Emperor, again, mourns the loss of his beloved Nightingale, knowing that he will never see the bird again. Let us hope that the Emperor has learned his life lesson, never to take anything for granted again. This, now out of print recording, has been restored by Classical Music Discoveries and is now available at a digital download at ClassicalRecordings.co

Mozart’s Symphony No. 6 in F Major was composed when Wolfgang was 11 years old in 1767. According to Alfred Einstein, the symphony was probably begun in Vienna and completed in Moravia when the Mozart family fled Vienna to escape the smallpox epidemic. This 4-movement symphony is scored for 2 flutes, 2 oboes, 2 horns, bassoon, strings and harpsichord. The flutes are used in the 2nd movement in place of the oboes. The 2nd movement was also quite revolutionary in 1767, especially when it was composed by a small 11-year old boy. For the first time in any of Mozart’s symphonies, the violas are divided into two parts. The 2nd movement’s theme is from a previous Mozart opera, Apollo, and the violins are muted over pizzicato seconds and the addition of the divided violas, created quite the “ravishing effect” as per a clergyman who attended the concert with the brother of the Archbishop of Salzburg. This symphony also marks the first time that Mozart uses a minuet and trio in his symphony. This would be a very common feature of future Mozart symphonies. The 4-movement Symphony Number 7 in D Major was completed when the Mozart family returned to Vienna in January of 1768. The first performance of this symphony was a private concert for the Ambassador from Russia at his residence in March of 1768. This symphony is scored for strings, 2 oboes, 2 horns, 2 trumpets, timpani, bassoon and harpsichord. It is also noteworthy that Wolfgang’s sister, Maria, who was 15 years old at the time, performed the harpsichord part for both symphony number 6 and 7 at their premieres, further impressing audiences to see that a young 11-year-old boy was conducting the orchestra and his 15-year-old sister was performing, brilliantly, as a musician in the all adult orchestra. Bear in mind that at this time, women (let alone young girls) were not allowed to perform in professional orchestras. Thus, allowing Maria to perform in the orchestra must have been quite the talk of all Austria in 1767 and 1768.  

Jason Achilles Mezilis The past few months have been huge for Jason Achilles Mezilis. Following the release of his debut solo rock-instrumental record entitled “COMEDOWN” in late June, Jason traveled to Budapest, Hungary alongside film composer Andy Brick to record his premier foray into the world of original orchestral composition works, with “Schizmatique No. 2” – set for release on Tuesday, Dec 13th 2016. Immediately following, Jason returned to the States where he promptly embarked on an east & west coast US tour in support of the “COMEDOWN” release. Following the month-long tour he returned to Los Angeles to mix and oversee mastering of the orchestral composition, in anticipation of pending release, as well as procurement of original artwork by LA-based graphic artist Erin Garey. Most recently, Jason has been engaged in compositional and musical partnership with award-winning film director Robert Saitzyk (GODSPEED, AFTER THE FLOOD), alongside his other numerous ongoing musical pursuits including initial tracking for a 2017 solo album release. The “COMEDOWN” instrumental LP (yes, actual vinyl) was recorded and mixed entirely analog and produced by Mezilis in his own boutique recording studio Organic Audio Records in downtown Los Angeles. The album features touring wunderkind percussionist Brett Rocha on drums, with album photography by Yoko Morimoto and an original interior art piece commissioned by renowned Greek digital photographic artist Panos Tsagaris. Garnering rave reviews from the likes of Paste Magazine, Buzzfeed, Huffington Post, No Depression, and countless other high-profile outlets, Mezilis has steadily been making an impression on the ears of music listeners in 2016 with his prolific yet consistently high-quality output. Mezilis was classically trained in piano from about the age of 8, and following 16 years of age his parents bought him an electric guitar a week after his first Van Halen concert in high school…where his grades promptly experienced a drastic pitch in the southern-bound direction. Ultimately he attended and graduated from UC Berkeley with a Bachelor’s in Music. When not engaged in his personal musical endeavors, his client list is rather long and happily varied. Standouts include local-LA indie artists KAMIKAZE, NICO VEGA, ARRICA ROSE and MOVING PICTURE SHOW to name a few. Most recently he's been wrapping up an album with CAMPFIRE CASSETTES and Australian blues-smith GAVIN DONNIGER, and a few other notable clients including DIZZY REED of GUNS N’ ROSES. Also included on the studio roster is an impressive collection of hundreds of compositional works for film, television, and video games, many alongside his long standing (and award-winning) compositional partner Jennifer Kes Remington. To add to his impressive resume, last summer Mezilis had teamed up to play on the third album from the band OWL, for whom he plays guitar (and a bit of keys), and also shares backup vocal duties alongside bassist / vocalist Chris Wyse (of Ace Frehley's band) and drummer Dan Dinsmore. OWL toured in late 2015 in support of our new release “Things You Can’t See”, which included an appearance at “A Taste of Minnesota” music festival (in support of FUEL and P.O.D.) and east/west coast dates with PHILM (feat. Dave Lombardo of Slayer)...they had a good time, and the record is now available on iTunes etc. http://www.OwlTheBand.net Jason also performed early in his LA-based career with the band CLOCK, a brief stint featuring a number of other notable players including Vivian Campbell, Mark Schulman, PJ Smith, and Sasha Krivstov. Additionally, he has had the distinct honor of performing bass guitar live on tour with the Ragin' Cajun himself, Mr. Doug Kershaw. Website: http://www.jamezilis.com/ Facebook: https://www.facebook.com/Jason-Achilles-Mezilis-181638213788/ Twitter: https://twitter.com/jasonamezilis Instagram: https://www.instagram.com/jasonachillesmezilis/ Organic Audi(continued)