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Carl's Morning Quiz
Carl's Morning Quiz: Who am I? I am 40 years old today. I began studying violin at the age of 5 and practiced 7 hours a day. At the age of 16 I began winning major international competitions and recording prizes. Since 2005, I have been a Professor at the Royal Academy of Music in London. Due to an injury I didn't play much for 4 years until returning to the concert stage in 2012. Last year I gave a recital at Ravinia which was re-broadcast last week on WFMT. Who am I? Answer >>
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Chicago Classical Calendar
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From Charlie Parker to Kenny G, John Coltrane to Clarence Clemons, the sultry sounds of the saxophone have been a mainstay for American music. Many have praised the saxophone's vocalism, range of color, and expressivity. Nevertheless, it's been a tough road for classical soloists. more...
It's hard to describe Chicago composer/guitarist Jason Seed, other than as a well-rounded musician. As such, he delights in music and doesn't worry so much about iTunes categories. Jason Seed's credits include jazz bands, rock bands, collaborations with Baroque Band and Bill Frisell. He's also been around the "new music" scene more...
He gave more than 300 performances at the Metropolitan Opera. She exceeded 400. Two Italian-born, 20th century opera stars passed away in recent weeks: tenor Carlo Bergonzi and soprano Licia Albanese. Bergonzi in particular had a long performance history in Chicago, making his American debut at Lyric Opera in 1955; while Albanese worked primarily in New York more...
It's fitting that the Grant Park Music Festival should commission a piece by William Bolcom to celebrate its 80th anniversary. The two have had a long relationship. In fact, it was at a 1986 Grant Park Orchestra performance of Bolcom's "Songs of Innocence and of Experience" that then Lyric Opera General Director Ardis Krainik more...
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In this exclusive video for the Guardian, New Zealand pianist Michael Houstoun introduces Ravel's Le tombeau de Couperin his piano suite dedicated to friends who were killed in the first world war. Houstoun performs the 5th movement from the suite, a menuet, dedicated to Jean Dreyfus.
Produced in association with the Edinburgh Film Company and the Edinburgh international festival.
More videos in this series:
Collegium Vocale Gent perform Bach
The Hebrides Ensemble perform Stravinsky Continue reading...
As Llr Williams points out in his introduction to this collection, Wagner wrote more original piano music than is realised almost two hours of it in all. He includes six pieces here, only two of which are really substantial a rather long-winded Fantasy from 1831, when Wagner was 18 and clearly in thrall to Beethoven, and the much more cogent and interesting Sonata for the Book of Mrs MW of 1853. MW was Mathilde Wesendonck, whom Wagner had met the previous year; the single-movement sonata that he dedicated to her was composed just before he started work on Das Rheingold, yet some of its chromaticisms look even farther forward, to the world of the most significant work that Mathilde would inspire, Tristan und Isolde.
Williams interleaves these and the other, slighter original pieces a Song without Words, the little set of Zurich Waltzes, a couple of Albumblätter between the operatic transcriptions that are the main business of his discs. All Wagner's major stage works are represented, from Rienzi to Parsifal, though only two pieces are based on parts of the Ring. Most of the transcriptions are by Liszt, but two of Siegfried's Rhine Journey from Götterdämmerung, and the Prelude to Die Meistersinger originated with Glenn Gould, who arranged the music for two pianos, the second of which he overdubbed in the studio; Williams does the same, but refines them even more, adding an extra episode to the Götterdämmerung extract. He is also responsible for the sequence from Parsifal a 20-minute, three-movement suite that consists of the Transformation Music from the first act, part of Parsifal's encounter with the Flower Maidens from the second, and the Good Friday Music that ends the third.Continue reading...
Royal Albert Hall, London
Andrew Davis brought his trademark silkiness to Strauss's Don Juan, while Truls Mørk urged the orchestra to keep up during a muscular performance of Elgar's Cello Concerto
In a Proms lineup stuffed with far-flung orchestras, the Melbourne Symphony Orchestra gets the prize for the furthest. But, though Australia's oldest orchestra was making its festival debut, its recently appointed chief conductor, Sir Andrew Davis, is one of the Proms' most familiar faces. The programme played to both his strengths and the orchestra's.
Strauss's Don Juan brought some springy playing as the introduction and main theme scampered by, but the violin tone broadened to a trademark Davis silkiness whenever there was a chance, linking the swashbuckling to the slower seduction music. The brass could be over-enthusiastic early on, but the horns' ringing entry before the conclusion was spot on.Continue reading...
The Pentagon says a US secret mission tried but failed to free US hostages in Syria, reportedly including murdered reporter James Foley.
Hundreds of thousands of pupils are receiving their GCSE grades, with warnings of "shocks in store" for some schools.
Labour pledges to give the regulator Ofgem the power to remove energy firms' licences, if it wins the next election.
We talk with former Chicago Tonight correspondent and Al Jazeera reporter Ash-har...
Forty years ago, President Richard Nixon resigned his presidency following the...
The Streets and San tree trimmer's saw bites into the upper limbs of the large dead ash...
Latvian Radio Choir: Sacred Love
Ondine ODE 1226-2
Stanislav Khristenko: Fantasies
Steinway & Sons 30032
Fifth House Ensemble: Excelsior
Cedille CDR 90000 148
Jazz Meets Classical Song
Cedille CDR 90000 149