Classical Music Discoveries

Die Frau ohne Schatten (The Woman without a Shadow), Op. 65, is an opera in three acts by Richard Strauss with a libretto by his long-time collaborator, the poet Hugo von Hofmannsthal. It was written between 1911 and either 1915 or 1917. When it premiered in Vienna on 10 October 1919, critics and audiences were unenthusiastic. Many cited problems with Hofmannsthal's complicated and heavily symbolic libretto. However, it is now a standard part of the operatic repertoire. Joana Filipe Martinez - Conductor/Producer CMD Grand Opera Company of Barcelona Spain Purchase now at: http://www.classicalsavings.com/store/p584/R_Strauss%3A_The_Woman_without_a_Shadow.html

Navona Records and the acclaimed ensemble Trio Casals proudly present MOTO BELLO, the next chapter in the moving series that brought 2015’s MOTO CONTINUO and MOTO PERPETUO in 2013. Living up to its name, MOTO BELLO, or “beautiful motion,” is a collection celebrating the synergy of Trio Casals and the vibrant works of ten contemporary composers including Diane Jones, Beth Mehocic, David N. Stewart, Sidney Bailin, L Peter Deutsch, Giovanni Piacentini, Adrienne Albert, Clive Muncaster, Joanne D. Carey, and Bruce Babcock. MOTO BELLO is a journey through individual experience, international scenes, and philosophical pondering. Each piece is an exploration of movement and of the beauty in all forms of motion—dissonant and jagged, soft and freely flowing, or standing tentatively between the two. In some instances, the pieces are romantic and sweeping, as in Ondine, Nightfall, Palette No. 1, the beginning moments of Solo la Sombra. In others, the energetic experience is driven and leaping, as in Woman A/Part, Somewhere Between D and C#, Habanera, Lines, Hockets, and Riffs, and Imagined/Remembered. MOTO BELLO is a diverse tapestry of emotional, energetic, and imaginative listening experiences. Trio Casals demonstrates not only the imaginativeness of the composers, but also the group’s technical prowess as they communicate the unique meaning and motion behind each composition. On MOTO BELLO, the ensemble exists as the dynamic storyteller of each composer’s artistic statement, weaving each tale of beauty in motion with their own inspired story.

Navona Records and the acclaimed ensemble Trio Casals proudly present MOTO BELLO, the next chapter in the moving series that brought 2015’s MOTO CONTINUO and MOTO PERPETUO in 2013. Living up to its name, MOTO BELLO, or “beautiful motion,” is a collection celebrating the synergy of Trio Casals and the vibrant works of ten contemporary composers including Diane Jones, Beth Mehocic, David N. Stewart, Sidney Bailin, L Peter Deutsch, Giovanni Piacentini, Adrienne Albert, Clive Muncaster, Joanne D. Carey, and Bruce Babcock. MOTO BELLO is a journey through individual experience, international scenes, and philosophical pondering. Each piece is an exploration of movement and of the beauty in all forms of motion—dissonant and jagged, soft and freely flowing, or standing tentatively between the two. In some instances, the pieces are romantic and sweeping, as in Ondine, Nightfall, Palette No. 1, the beginning moments of Solo la Sombra. In others, the energetic experience is driven and leaping, as in Woman A/Part, Somewhere Between D and C#, Habanera, Lines, Hockets, and Riffs, and Imagined/Remembered. MOTO BELLO is a diverse tapestry of emotional, energetic, and imaginative listening experiences. Trio Casals demonstrates not only the imaginativeness of the composers, but also the group’s technical prowess as they communicate the unique meaning and motion behind each composition. On MOTO BELLO, the ensemble exists as the dynamic storyteller of each composer’s artistic statement, weaving each tale of beauty in motion with their own inspired story.

First released in 2010, JUPITER DUO showcases music for cello/piano duo, solo piano, and for solo cello by Alla Elana Cohen. She and cellist Sebastian Baverstam make up Jupiter Duo, and have performed together for many years since Baverstam was 12 years old. They perform Cohen’s highly expressive music with an unbridled intensity, and have a reputation for having a close musical connection. 24Apr18 - fixed overdubbing error Purchase CD at: http://www.classicalsavings.com/store/p582/Jupiter_Duo_-_The_Music_of_Alla_Elana_Cohen_%28CD%29.html Purchase Digital Download at: http://www.classicalsavings.com/store/p583/Jupiter_Duo_-_The_Music_of_Alla_Elana_Cohen_%28Digital_Download%29.html

First released in 2010, JUPITER DUO showcases music for cello/piano duo, solo piano, and for solo cello by Alla Elana Cohen. She and cellist Sebastian Baverstam make up Jupiter Duo, and have performed together for many years since Baverstam was 12 years old. They perform Cohen’s highly expressive music with an unbridled intensity, and have a reputation for having a close musical connection. 24Apr18 - fixed overdubbing error Purchase CD at: http://www.classicalsavings.com/store/p582/Jupiter_Duo_-_The_Music_of_Alla_Elana_Cohen_%28CD%29.html Purchase Digital Download at: http://www.classicalsavings.com/store/p583/Jupiter_Duo_-_The_Music_of_Alla_Elana_Cohen_%28Digital_Download%29.html

Composer/arranger/lyricist Joanna Estelle presents EMERGENCE: a compilation of works produced under her personal philosophy that “quality music uplifts humankind.” The album includes a generous list of collaborators: John Gordon Armstrong (arranger), Laurence Ewashko (baritone), Morgan Strickland, Susan Elizabeth Brown and Laura Dziubaniuk (soprano), Brandon Wilkie and Roland Gjernes (cello), Frédéric Lacroix (piano), and two choral ensembles, Ewashko Singers and Capital Chamber Choir. CD Purchase: http://www.classicalsavings.com/store/p580/Emergence_-_Joanna_Estelle_%28CD%29.html Digital Download: http://www.classicalsavings.com/store/p581/Emergence_-_Joanna_Estelle_%28Digital_Download%29.html

Composer/arranger/lyricist Joanna Estelle presents EMERGENCE: a compilation of works produced under her personal philosophy that “quality music uplifts humankind.” The album includes a generous list of collaborators: John Gordon Armstrong (arranger), Laurence Ewashko (baritone), Morgan Strickland, Susan Elizabeth Brown and Laura Dziubaniuk (soprano), Brandon Wilkie and Roland Gjernes (cello), Frédéric Lacroix (piano), and two choral ensembles, Ewashko Singers and Capital Chamber Choir. CD Purchase: http://www.classicalsavings.com/store/p580/Emergence_-_Joanna_Estelle_%28CD%29.html Digital Download: http://www.classicalsavings.com/store/p581/Emergence_-_Joanna_Estelle_%28Digital_Download%29.html

Flutist Lindsey Goodman presents her second album, RETURNING TO HEIGHTS UNSEEN, the follow up studio recording to 2016’s FOLLOWING HER REACH THROUGH THE SKY. Goodman is a budding composer’s dream -- interpreting new music with impeccable style and tenacity. Goodman grasps the listeners attention right away with Roger Dannenberg’s “Separation Logic” for flute and live computer processing (2013). In this futuristic work it is the listener’s responsibility to determine what is real and what is imagined as his ears are fed short melodic phrases that have been electronically manipulated. Every sound is crucial--even the echoes of the instrument’s keys clasping against their pads. It’s this sort of electronic genius that allows Goodman to play a duet with herself in the second track, David Stock’s “A Wedding Prayer” for 2 flutes (2004), stark and striking. In Tony Zilincik’s “I Asked You” for solo flute and mixed media, Goodman competes with samples of spoken text and percussion riffs in “Everything I Love.” “I Play Music” boasts a similar challenge, but without percussion and with the addition of the atmospheric pads of a modern synthesizer and the sound of ocean waves. The flute melody is a native chant of sorts and its meditative nature immediately sends all other sounds to the background. Goodman demonstrates dexterous lip-trills that rival the wing speed of a hummingbird. Elainie Lillios’s “Sleep’s Undulating Tide” for flute in C and live, interactive electroacoustics (2016) seems to be a continuation of the previous Zilincik track, until the entrance of a ghostly mezzo-soprano voice--the flutist’s herself. The listener is immediately transported into a dark tunnel or cave, and can hear, but not see, many unidentifiable creatures of the night. Next is Linda Kernohan’s “Demon:Daemon,” a performance art piece in which the flutist is both musician and actor as she is seemingly possessed by an evil spirit. Randall Woolf’s The Line of Purples for flute and pre-recorded electronics (2015) is the least harmonically experimental of the works so far, but perhaps the most complex to categorize. It begins as a popular rock anthem but journeys into a classical chamber work and then back again. Roger Zahab’s “Suspicion of Nakedness,” is perhaps a reference to the shameful moment after the Fall in the Garden of Eden when God asks Adam and Eve “who told you you were naked”? The awkwardness is felt through the tentative phrases of the flute melody interspersed with unsure pauses and rhythmic anxiety and hurriedness. This work ends abruptly to give way for Judith Shatin’s “For the Fallen” for amplified flute and electronics (2017). Here the listener must decide who is fallen--Adam and Eve? A young soldier? Or the listener herself? Here Goodman offers the entire spectrum of possible flute sounds and colors though an electronic backdrop of dark chimes, pipes, gongs, and cymbals. ​ This masterfully mixed album is a must-have for any new music or electronic music savant. Purchase now at: http://www.classicalsavings.com/store/p578/Lindsey_Goodman_-_Returning_to_Heights_Unseen_-_New_Music_for_Flute_%28CD%29.html

Flutist Lindsey Goodman presents her second album, RETURNING TO HEIGHTS UNSEEN, the follow up studio recording to 2016’s FOLLOWING HER REACH THROUGH THE SKY. Goodman is a budding composer’s dream -- interpreting new music with impeccable style and tenacity. Goodman grasps the listeners attention right away with Roger Dannenberg’s “Separation Logic” for flute and live computer processing (2013). In this futuristic work it is the listener’s responsibility to determine what is real and what is imagined as his ears are fed short melodic phrases that have been electronically manipulated. Every sound is crucial--even the echoes of the instrument’s keys clasping against their pads. It’s this sort of electronic genius that allows Goodman to play a duet with herself in the second track, David Stock’s “A Wedding Prayer” for 2 flutes (2004), stark and striking. In Tony Zilincik’s “I Asked You” for solo flute and mixed media, Goodman competes with samples of spoken text and percussion riffs in “Everything I Love.” “I Play Music” boasts a similar challenge, but without percussion and with the addition of the atmospheric pads of a modern synthesizer and the sound of ocean waves. The flute melody is a native chant of sorts and its meditative nature immediately sends all other sounds to the background. Goodman demonstrates dexterous lip-trills that rival the wing speed of a hummingbird. Elainie Lillios’s “Sleep’s Undulating Tide” for flute in C and live, interactive electroacoustics (2016) seems to be a continuation of the previous Zilincik track, until the entrance of a ghostly mezzo-soprano voice--the flutist’s herself. The listener is immediately transported into a dark tunnel or cave, and can hear, but not see, many unidentifiable creatures of the night. Next is Linda Kernohan’s “Demon:Daemon,” a performance art piece in which the flutist is both musician and actor as she is seemingly possessed by an evil spirit. Randall Woolf’s The Line of Purples for flute and pre-recorded electronics (2015) is the least harmonically experimental of the works so far, but perhaps the most complex to categorize. It begins as a popular rock anthem but journeys into a classical chamber work and then back again. Roger Zahab’s “Suspicion of Nakedness,” is perhaps a reference to the shameful moment after the Fall in the Garden of Eden when God asks Adam and Eve “who told you you were naked”? The awkwardness is felt through the tentative phrases of the flute melody interspersed with unsure pauses and rhythmic anxiety and hurriedness. This work ends abruptly to give way for Judith Shatin’s “For the Fallen” for amplified flute and electronics (2017). Here the listener must decide who is fallen--Adam and Eve? A young soldier? Or the listener herself? Here Goodman offers the entire spectrum of possible flute sounds and colors though an electronic backdrop of dark chimes, pipes, gongs, and cymbals. ​ This masterfully mixed album is a must-have for any new music or electronic music savant. Purchase now at: http://www.classicalsavings.com/store/p578/Lindsey_Goodman_-_Returning_to_Heights_Unseen_-_New_Music_for_Flute_%28CD%29.html

14135 The First Symphonies 12 Grechaninov: Symphony No. 1 in B minor, Op. 6 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Mahler: Symphony No. 1 in D Major CMD German Opera Company of Berlin Orchestra Conducted by Kenneth Hedgecock Purchase now at: http://www.classicalsavings.com/store/p577/The_First_Symphonies_12.html

14135 The First Symphonies 12 Grechaninov: Symphony No. 1 in B minor, Op. 6 Dominique Beaulieu, conductor CMD Philharmonic of Paris in Orleans Mahler: Symphony No. 1 in D Major CMD German Opera Company of Berlin Orchestra Conducted by Kenneth Hedgecock Purchase now at: http://www.classicalsavings.com/store/p577/The_First_Symphonies_12.html

APRIL 9, 2018 OPERA HOUSE CONCERT Program I Monday, April 9, 2018 8:00 p.m. Sarasota Opera House Mozart, String Quintet in G minor, K.516 Federico Agostini, Ruth Lenz, Bruno Giuranna, Daniel Palmizio, Erica Piccotti Glazunov, String Quintet in A major, Op. 39 Ruth Lenz, Federico Agostini, Daniel Palmizio, Erica Piccotti, Christine Lee Schubert, Piano Trio No. 2 in Eb major, Op. 100, D.929 Claudio Cruz, Antonio Meneses, Derek Han

APRIL 9, 2018 OPERA HOUSE CONCERT Program I Monday, April 9, 2018 8:00 p.m. Sarasota Opera House Mozart, String Quintet in G minor, K.516 Federico Agostini, Ruth Lenz, Bruno Giuranna, Daniel Palmizio, Erica Piccotti Glazunov, String Quintet in A major, Op. 39 Ruth Lenz, Federico Agostini, Daniel Palmizio, Erica Piccotti, Christine Lee Schubert, Piano Trio No. 2 in Eb major, Op. 100, D.929 Claudio Cruz, Antonio Meneses, Derek Han

In this broadcast we preview the April 18, 2018 concert of La Musica International Chamber Music Festival. Bernstein, Piano Trio Federico Agostini, Christine Lee, Derek Han Brahms, Trio for Horn, Violin, and Piano in Eb major, Op. 40 (viola version) Ruth Lenz, Daniel Palmizio, Derek Han Schubert, String Quintet in C major, Op. 163, D.956 Federico Agostini, Ruth Lenz, Bruno Giuranna, Erica Piccotti, Antonio Meneses ~ James P. Roque, SunTrust Private Wealth Management, Corporate Season Sponsor ~ Herald-Tribune Media Group, Media Season Sponsor Order tickets now at: https://www.lamusicafestival.org/index.php/festival/concerts

In this broadcast we preview the April 18, 2018 concert of La Musica International Chamber Music Festival. Bernstein, Piano Trio Federico Agostini, Christine Lee, Derek Han Brahms, Trio for Horn, Violin, and Piano in Eb major, Op. 40 (viola version) Ruth Lenz, Daniel Palmizio, Derek Han Schubert, String Quintet in C major, Op. 163, D.956 Federico Agostini, Ruth Lenz, Bruno Giuranna, Erica Piccotti, Antonio Meneses ~ James P. Roque, SunTrust Private Wealth Management, Corporate Season Sponsor ~ Herald-Tribune Media Group, Media Season Sponsor Order tickets now at: https://www.lamusicafestival.org/index.php/festival/concerts