Classical Music Discoveries

Lohengrin, WWV 75, is a Romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. The opera has inspired other works of art. King Ludwig II of Bavaria named his fairy-tale castle "New Swan Castle", or "Neuschwanstein", after the Swan Knight. It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle The Ring of the Nibelung. The most popular and recognizable part of the opera is the Bridal Chorus, better known as "Here Comes the Bride", often played as a processional at weddings in the West. This broadcast is made possible by Flowers.FM. Please utilize Flowers.FM for all of your floral needs. CMD German Opera Company of Berlin Conducted by Kenneth Hedgecock Advertisers: Flowers.FM www.Flowers.FM Classical Recordings www.ClassicalRecordings.co

Mozart’s Symphony Number 26 was written and completed in a single day, March 30, 1773. This was done exactly one month after completing his third Italian tour. This 3-movement symphony is scored for 2 flutes, 2 oboes, 2 horns, 2 trumpets and strings. Since the entire symphony is just over 8 minutes in length, it is sometimes referred to as an overture. This symphony is often used as an overture, so to speak, at many all Mozart concerts to warm the audience up for the rest of the evening. Symphony number 27 was composed the following month, in April 1773. This 3-movement symphony is scored for 2 flutes, 2 horns and strings. Purchase this on Itunes at: https://itunes.apple.com/us/album/complete-mozart-edition-symphonies/id118401915?app=music&ign-mpt=uo%3D4

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Mozart’s 3 movement Symphony number 24 in B flat Major was composed on October 3, 1773. This symphony is scored for the regular compliment of strings, 2 oboes and 2 horns. The 2 oboes are placed by 2 flutes in the slow movement. Symphony number 25 in G minor was composed, also in October 1773. Mozart was 17 years old at this time and enjoying the success of his opera Lucio Silla. This symphony was completed in Salzburg on October 5th, only 2 days after completing his 24th Symphony. The first movement is widely known as the opening music in the film “Amadeus.” This is one of the two symphonies Mozart composer in G minor, sometimes known as the “little G minor.” The other G minor symphony is Symphony number 40. This symphony is in the traditional 4 movements. To purchase this album on Itunes, please visit: https://geo.itunes.apple.com/us/album/complete-mozart-edition-symphonies/id118401915?mt=1&app=music&at=1l3vtgU

Pianist Gayle Martin achieved international prominence as the sole American laureate of the sixth International Tchaikovsky Piano Competition in Moscow. The Washington Post called her performance “a tour de force” and praised her artistry for its “intense passion and deep-seated emotional response to the music.” The Woodstock Times cited her recital as one “which, if recorded on 78’s, could have fooled the average pianophile into thinking he or she was listening to one of the greats of the past.” Pianist Gayle Martin’s vivid response to literature, sacred writings, ballet and opera inspired this Ravello release TO KEEP THE DARK AWAY, which pairs the emotional fervor, lyrical eloquence and narrative power of contemporary composer Judith Shatin with those same qualities in composers of the Romantic and early modern eras. Transcriptions, both by composers themselves, in the case of Prokofiev and Shatin, and by Liszt, in music of Schumann and Wagner, embody timeless tales, while musical accounts of St. Cecilia, of Shakespeare’s Romeo and Juliet, and poetry of Emily Dickinson are here transformed into music. To order this CD, please visit https://geo.itunes.apple.com/us/album/to-keep-the-dark-away/id1124228274?mt=1&app=music&at=1l3vtgU TRACK LISTING 1 WIDMUNG - Robert Schumann/Franz Liszt TO KEEP THE DARK AWAY Judith Shatin 2 To Keep the Dark Away 3 A Glee Possesseth Me 4 An Actual Suffering Strengthens 5 The Auroral Light 6 Whose Spokes a Dizzy Music Makes ROMEO AND JULIET, FROM TEN PIECES FOR PIANO, OP. 75 Sergei Prokofiev 7 The Street Awakens 8 Arrival of the Guests 9 The Young Juliet 10 The Montagues and The Capulets 11 Mercutio FANTASY ON ST. CECILIA Judith Shatin 12 Her Struggle 13 Her Passion 14 Her Martyrdom 15 BALLADE OF THE FLYING DUTCHMAN Richard Wagner / Franz Liszt 16 ISOLDES LIEBESTOD Richard Wagner / Franz Liszt ADVERTISERS Southwest Symphony Orchestra www.southwestsymphony.co La Musica International Chamber Music Festival www.lamusicafestival.org Flowers.FM www.flowers.fm CMD Recordings www.ClassicalRecordings.co

Symphony No. 22 in C, K. 162 1. Allegro Assai 2. Andantino Grazioso 3. Presto Assai Symphony #23 In D, K.181 1. Allegro Spiritoso - Andantino Grazioso - Presto Assai Order online here: https://geo.itunes.apple.com/us/album/complete-mozart-edition-symphonies/id118401915?at=1l3vtgU&mt=1&app=music

Host: Dimitri Ashkenazy Presenter and Jury Member Kim Seulgi (South Korea) 1st Prize - Oboe Mozart: Concerto for Oboe in C Major Andrea Cellacchi (Italy) 1st Prize - Bassoon Mozart: Concerto for Bassoon Bianca Maria Fiorito (Italy) 1st Prize - Flute Mozart: Concerto for Flute in D Major, K. 314 Matteo Tartaglia (Italy) 1st Prize - Clarinet Mozart: Concerto for Clarinet For more information, please visit: http://audimozart.instantencore.com/web/home.aspx

Symphonie Fantastique: An Episode in the Life of an Artist, Opus 14, is one of the landmark programmed works of the early Romantic era. Leonard Bernstein described the symphony as the first musical expedition into psychedelic drugs because of its hallucinatory and dream-like nature. Also the symphony suggests that Hector Berlioz composed at least a portion of it under the influence of opium. According to Bernstein, “Berlioz tells it like it is. You take a trip and you wind up screaming at your own funeral.” This work first interested Ken when he was 15 years old. Ken liked the erratic nature of the rhythms and the offbeat syncopated passages. He also loved Berlioz’s description of what music should be like when he appeared in court to defend his compositions. Berlioz testified that music was meant to be felt and not just heard. Ken is sure many of today’s rock and roll musicians can also agree with Berlioz. Ken states: “Many years ago, I vowed that I would never conduct a work using period instruments, because I just couldn’t see the need other than a curiosity factor to the concert listener. However, once I was able to get hold of the original 1830 score to this work and after many of the orchestra musicians related to me that they had period instruments, well, I thought this might be a noble experiment in sound and not just a curiosity piece for the listener. I wanted to make this piece exciting and it took all of the virtuosity of the orchestra musicians to pull this off as I was quite demanding of the sound I wanted to produce. After listening, I hope you will agree with me.” So here is Symphonie Fantastique, Opus 14 by Hector Berlioz as performed by the CMD German Opera Orchestra of Berlin and conducted by Kenneth Hedgecock. Purchase this CD at: http://www.classicalsavings.com/store/p75/Berlioz%3A_Symphonie_Fantastique.html

The Requiem Mass in D minor by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14th anniversary of his wife's death. The autograph manuscript shows the finished and orchestrated Introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first eight bars of the "Lacrymosa" movement, and the Offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. Constanze was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the requiem for his own funeral.

The Southwest Symphony Orchestra has been popular with our listeners for many years. The 2016/2017 Season of the Southwest Symphony Orchestra starts on October 27th. Their annual Halloween Spooktacular Concert, titled Opus Pocus is a musical treasure for all ages. This completely delightful concert offers popular sounds of the season, including modern classics. You are welcome to come in costume and children are admitted free when in costume. Again, the date for this concert is October 27th and is held at the Cox Performing Arts Center at Dixie State University in St. George, Utah. Concert time is 7:30 PM. We hope to see you there. Their 2nd concert of the season is on November 18th and is called Distant Replay: Pages of the Ages. This evening’s concert is filled with a variety of truly fabulous favorites of yesterday and today. December 4th and 5th is the annual Messiah concert with the Messiah Chorale. This long standing Southern Utah tradition is a great way to start off the Christmas season. This concert is FREE for the public. March 3, 2017 is the annual Youth Concerto Classic. This has always been a season favorite as it features young prodigies from all over southern Utah. April 14th the Southwest Symphony will host a stirring composition by Rob Gardner called “Lamb of God: An Easter Oratorio.” This oratorio tells of the events surrounding the death and resurrection of Jesus Christ. In their final concert of the season on May 19th, the Southwest Symphony performs in the “Resplendent Sound of Captivating Pops with Kurt Bestor.” This evening’s concert promises to offer vibrant and mesmerizing sounds of classical and modern favorites. To learn more and to purchase tickets, please visit their website at: www.SouthwestSymphony.co

Symphony No. 21 in A major, K. 134, is a symphony that was composed by Wolfgang Amadeus Mozart in August 1772. Performed by the Academy of St. Martin-in-the-Fields Conducted by Sir Neville Marriner (15 April 1924 – 2 October 2016)

Tannhäuser and the Minstrel's Contest at the Wartburg is an 1845 opera in three acts, music and text by Richard Wagner, based on two German legends; Tannhäuser, the legendary medieval German Minnesänger and poet, and the tale of the Wartburg Song Contest. The story centers on the struggle between sacred and profane love, and redemption through love, a theme running through much of Wagner's mature work. This performance, by the CMD German Opera Company of Berlin, is available for purchase at our online CD store - www.ClassicalRecordings.co We would like to thank Flowers.FM for sponsoring the Wagner Opera Series and for making this broadcast possible.  Please utilize Flowers.FM for all of your floral needs.   Sponsors of this show are: Flowers.FM - Sponsor of the Wagner Opera Series Other Links: Advertise on Classical Music Discoveries Become a Friend of Classical Music Discoveries About our Recording Equipment Websites for Musicians Created by Musicians Grocery and Travel Coupons (save thousands of dollars) Have Your Music Played on Classical Music Discoveries Join us on Facebook

The lineage of Western concert music is one which brims with tradition and history, through teachers and pupils, listeners and performers, spanning centuries and continents alike. But one of the common threads which runs through this lineage is the urge by composers, performers, and audiences to all be part of a transcendent emotional experience through music itself. “Music saves one note at a time,” says Kaviani. “Not by ending wars but by waging them in the name of beauty, nobility, and humanity against all that lies to, numbs, or crushes the human spirit. It saves not by eliminating hunger but by creating more appetite for enlightenment, transcendence and human civilization.” Kaviani’s Te Deum, performed by the Moravian Philharmonic Orchestra and the Janáček Opera Choir, conducted by Petr Vronský, is a secular work which uses the original Latin text of the Christian hymn of praise and presents it through the lens of modernity. The piece in many ways exemplifies the composer’s humanistic, emotionally-driven approach in an invigorating celebration of art, life, and the forces beyond our own selves. A more recent work, Tous les matins du monde, written almost 10 years after the Te Deum, shows Kaviani as he is now, more mature, austere and more sensitive. Kaviani’s a cappella work, performed by the Prague Mixed Chamber Choir, conducted by Jirí Petrdlík, is conceived and executed in a clearly contemporary style, with shifting moments of lamentation and contemplation juxtaposed with a profound sense of transcendence. Concerning this piece Kaviani states, “Above all, this piece is about loss.” The composer’s facility at vocal writing is on full display, deploying techniques spanning Gregorian chant to 20th-century atonal music, and presenting sections of monophony, homophony, and polyphony – and in the process delivering an experience which invites all listeners to reflect on humanity’s capabilities and aspirations, and on our presence within an indefinable and unfathomable universe. TRACK TITLES Te Deum (2005) for orchestra, choir and soloists Moravian Philharmonic Orchestra | Petr Vronský, conductor Janáček Opera Choir | Pavel Koranek, director Martina Králíková, Soprano; Barbora Polášková, alto Juraj Nociar, tenor; Jiří Pribyl, baritone Karel Martínek, organ Tous les matins du monde (2014) for 16 unaccompanied voices Prague Mixed Chamber Choir | Jiří Petrdlík, director For more information, please visit: http://www.navonarecords.com/catalog/nv6021/

Composer Ace Patterson has been composing since the age of 13 when his mom purchased him a guitar. Ace is a self-taught composer, using compositional references through books and Youtube. Ace's favorite composers are Mozart and Beethoven. His favorite classical piece is "The Marriage of Figaro" by Mozart. He also likes reading novels. You can learn more about Ace Patterson and listen to additional compositions at: https://www.reverbnation.com/acepatterson You can have your music played on Classical Music Discoveries for only $10 USD. Just use this link to submit your music: https://www.fiverr.com/khedgecock/play-your-track-on-classical-music-discoveries

For nearly 60 years, cultural and economic exchange between the United States and Cuba has been hindered and hobbled as a result of the U.S. embargo on trade and travel. Influence from each has seeped through to both sides, but only with the restoration of diplomatic connections between the two countries in December 2014 did it become possible for real cooperation to occur. In November 2015, less than one year after these initial steps toward fully opening relations, PARMA Recordings produced the first of its recording projects in Havana. The resulting album, ABRAZO: THE HAVANA SESSIONS on the newly-minted Ansonica Records label, presents works for big band, small jazz combo, choir, and chamber ensembles by composers Bunny Beck, Roger Bourland, Don Bowyer, Margaret Brandman, John Carollo, Timothy Miller, Mel Mobley, and Michael Murray performed by current or former members of the National Symphony Orchestra of Cuba, the Buena Vista Social Club, Irakere, and many more. “Producing new music by living composers is my passion, and hearing musicians play with this level of preparation, dedication, and ingenuity was invigorating,” says PARMA CEO Bob Lord. “We went right to the source, and sure enough they brought a totally new dimension to the music – a Cuban dimension, a feel and a sound and a perspective unlike anything else in the world.” Spine-tingling sounds abound on the album, particularly on the choral recordings. Roger Bourland’s Alarcón Madrigals, Book 3, set to the bilingual poetry of Francisco X Alarcón, and Michael Murray’s After the Fall, composed to commemorate the first anniversary of the events of September 11, 2001, both veer from hushed, intimate valleys of close harmony to ebullient, expansive peaks of counterpoint. Bunny Beck’s two Jazz Suites, arranged by Juan Manuel Ceruto, take the composer’s work on a tour through beloved Cuban styles such as son, dazon, cha-cha-cha, and more. The ensemble, featuring acclaimed pianist Rolando Luna, plays with a breathless intensity that is frequently contrasted by the delicate, lilting beauty of the compositions. It’s New York jazz by way of the Malecón. The tracks feature vocals by Will Dailey, recording artist, performer and producer, and five time winner in the Boston Music Award: Best Male Singer-Songwriter. In Mel Mobley’s lively trio Coloring with Water, brash brass punches through long melodic lines, navigating complex metric modulations and thorny harmonies. What comes through to the ear, however, is the sound of a composer who knows how to get the listener’s pulse racing. Programmatic concepts are central to John Carollo’s Burlesque and Margaret Brandman’s Warm Winds in Havana. Carollo’s trademark humor and playfulness is in full effect on this coquettish type of pas de deux for trumpet and guitar, while Brandman’s sax quartet is given an exhilarating, penetrating interpretation by Javier Zalba and his ensemble. The intricately interlocked sounds of Cuban percussion augment the latter piece with particular flair. Produced by Havana native Dayron Ortega, PARMA’s Lead Producer in Cuba, the big band recordings on ABRAZO showcase the Cuban sound at possibly its very best. Trombone features prominently in Don Bowyer’s eerily catchy Bugs and Gas, a crackerjack chart rippling with syncopations and grin-inducing counter-melodies, and Tim Miller’s Hot Miami Nights and On An Autumn Day are true show-stoppers – expert arrangements played with both feverish brilliance and true jazz cool. Cuba and America have been separated for far too long. Embrace the sounds of ABRAZO. TRACK LISTING DISC 1 Timothy Lee Miller 1 HOT MIAMI NIGHTS 2 ON AN AUTUMN DAY Don Bowyer 3 BUGS & GAS Bunny Beck JAZZ INSTRUMENTAL SUITE (arr. Juan Manuel Ceruto) 4 I. IMPRESSIONS 5 II. SMOOTH CRUISIN’ 6 III. OBLIGATIONS JAZZ VOCAL SUITE (arr. Juan Manuel Ceruto) 7 I. WHY DO I? 8 II. SO EASY TO SAY 9 III. IT’S IN THE STARS (continued)