Classical Music Discoveries

Das Liebesverbot (The Ban on Love, WWV 38), is an early opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeare's Measure for Measure. Described as a Große komische Oper, it was composed in 1834, and Wagner conducted the premiere in 1836 at Magdeburg. Poorly attended and with a lead singer who forgot the words and had to improvise, it was a resounding flop and its second performance had to be cancelled after a fist-fight between the prima donna's husband and the lead tenor broke out backstage before the curtain had even risen; only three people were in the audience. It was never performed again in Wagner's lifetime. Wagner's second opera, and his first to be performed, has many signs of an early work: the style is modelled closely on contemporary French and Italian comic opera. It is also referred to as the forgotten comedy, in that only two of Wagner's works are comedies, the other being Die Meistersinger von Nürnberg.

Das Liebesverbot (The Ban on Love, WWV 38), is an early opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeare's Measure for Measure. Described as a Große komische Oper, it was composed in 1834, and Wagner conducted the premiere in 1836 at Magdeburg. Poorly attended and with a lead singer who forgot the words and had to improvise, it was a resounding flop and its second performance had to be cancelled after a fist-fight between the prima donna's husband and the lead tenor broke out backstage before the curtain had even risen; only three people were in the audience. It was never performed again in Wagner's lifetime. Wagner's second opera, and his first to be performed, has many signs of an early work: the style is modelled closely on contemporary French and Italian comic opera. It is also referred to as the forgotten comedy, in that only two of Wagner's works are comedies, the other being Die Meistersinger von Nürnberg.

Il Trittico, or The Triptych, is the title of a collection of three one-act operas consisting of Il tabarro, Suor Angelica and Gianni Schicchi by Giacomo Puccini. The operas were composed around 1904 and each opera was originally planned to reflect one part of Dante’s Divine Comedy. However, only Gianni Schicchi is based on Dante’s epic poem. Puccini intended for all 3 operas should be performed as a set, however, it is very common today for only one or two operas to be performed together and sometimes only one opera will be performed with another one-act opera by another composer. This recording, by the CMD Grand Opera Company of Venice is now available at our online store at www.ClassicalRecordings.co.

Il Trittico, or The Triptych, is the title of a collection of three one-act operas consisting of Il tabarro, Suor Angelica and Gianni Schicchi by Giacomo Puccini. The operas were composed around 1904 and each opera was originally planned to reflect one part of Dante’s Divine Comedy. However, only Gianni Schicchi is based on Dante’s epic poem. Puccini intended for all 3 operas should be performed as a set, however, it is very common today for only one or two operas to be performed together and sometimes only one opera will be performed with another one-act opera by another composer. This recording, by the CMD Grand Opera Company of Venice is now available at our online store at www.ClassicalRecordings.co.

We wanted to rebroadcast this show since it was mentioned in "13143 Basking in the Light." We thought many of you would want to revisit this. 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.

We wanted to rebroadcast this show since it was mentioned in "13143 Basking in the Light." We thought many of you would want to revisit this. 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.

With SUFFICIENT TROUBLE, his debut release on Ravello Records, composer and performer Brian Belet offers a selection of computer music composed over the last twenty years. Featuring acoustic instruments and responsive electronic materials the disc offers a degree of variety in timbre and musical content that is sometimes lacking in electronic music. In Lyra, the album’s opening track, Belet establishes an aural world in which the organic material and electronic content merge seamlessly, clearly defining the musical language to come as the album progresses. Purchase now at: http://www.classicalsavings.com/store/p426/Brian_Belet_-_Sufficient_Trouble.html

With SUFFICIENT TROUBLE, his debut release on Ravello Records, composer and performer Brian Belet offers a selection of computer music composed over the last twenty years. Featuring acoustic instruments and responsive electronic materials the disc offers a degree of variety in timbre and musical content that is sometimes lacking in electronic music. In Lyra, the album’s opening track, Belet establishes an aural world in which the organic material and electronic content merge seamlessly, clearly defining the musical language to come as the album progresses. Purchase now at: http://www.classicalsavings.com/store/p426/Brian_Belet_-_Sufficient_Trouble.html

While Mozart was basking in the light of his first successful opera, Lucio Silla, he composed 4 of his finest works as a 17-year-old in rapid succession. Piano Concerto No 5 in D, K. 175 String Quintet No. 1 in B-flat, K. 174 Symphony No. 24 in B-flat, K. 182 Symphony No. 25 in G minor, K. 183 Featuring: Joana Filipe Martinez, piano Dominique Beaulieu, conductor CMD Philharmonic of Paris Purchase now at: http://www.classicalsavings.com/store/p424/Mozart_Basking_in_the_Light.html

While Mozart was basking in the light of his first successful opera, Lucio Silla, he composed 4 of his finest works as a 17-year-old in rapid succession. Piano Concerto No 5 in D, K. 175 String Quintet No. 1 in B-flat, K. 174 Symphony No. 24 in B-flat, K. 182 Symphony No. 25 in G minor, K. 183 Featuring: Joana Filipe Martinez, piano Dominique Beaulieu, conductor CMD Philharmonic of Paris Purchase now at: http://www.classicalsavings.com/store/p424/Mozart_Basking_in_the_Light.html

Navona Records showcases sacred and secular choral works by composer Jonathan Little on its latest release, WOEFULLY ARRAYED. Jonathan Little’s work has been described as “a music redolent of the past and the future.” His modern interpretations of Renaissance and Baroque techniques of composition—such as modal harmonies and isorhythm—form the basis of his musical voice. The sound is strikingly contemporary, yet also intertwined with choral traditions of the past. Several of these beautiful and moving settings of profound and poignant texts feature intricate “polychoral” techniques: multi-part, multi-divisi, solo, echo and spatial effects. Purchase now at: http://www.classicalsavings.com/store/p423/WOEFULLY_ARRAYED_Sacred_%26_Secular_Choral_%26_Polychoral_Works_of_Jonathan_David_Little.html

Navona Records showcases sacred and secular choral works by composer Jonathan Little on its latest release, WOEFULLY ARRAYED. Jonathan Little’s work has been described as “a music redolent of the past and the future.” His modern interpretations of Renaissance and Baroque techniques of composition—such as modal harmonies and isorhythm—form the basis of his musical voice. The sound is strikingly contemporary, yet also intertwined with choral traditions of the past. Several of these beautiful and moving settings of profound and poignant texts feature intricate “polychoral” techniques: multi-part, multi-divisi, solo, echo and spatial effects. Purchase now at: http://www.classicalsavings.com/store/p423/WOEFULLY_ARRAYED_Sacred_%26_Secular_Choral_%26_Polychoral_Works_of_Jonathan_David_Little.html

Joana Filipe Martinez performs the world's most difficult piano sonatas. 1. Prokofiev: Sonata No. 8 2. Beethoven: Hammerklavier 3. Rachmaninoff: Sonata No. 2 in B-flat minor 4. Scriabin: Sonata No. 5, Op. 53 Purchase now at: http://www.classicalsavings.com/store/p422/The_World%27s_Most_Difficult_Piano_Sonatas.html

Joana Filipe Martinez performs the world's most difficult piano sonatas. 1. Prokofiev: Sonata No. 8 2. Beethoven: Hammerklavier 3. Rachmaninoff: Sonata No. 2 in B-flat minor 4. Scriabin: Sonata No. 5, Op. 53 Purchase now at: http://www.classicalsavings.com/store/p422/The_World%27s_Most_Difficult_Piano_Sonatas.html

Mozart loved to create variations on other composer's themes, mainly for his own satisfaction. In this broadcast we will hear: 8 Variations in F Major on "Dieu d'amour" by AE Gretry, K. 352 12 Variations in E-flat Major on "Je suis Lindor" by AL Baudron, K. 354 6 Variations in F Major on "Salve tu, Domine" by D Paisiello, K. 398 10 Variations in G on "Unser dummer Pobel meint" by CW Gluck, K. 455 9 Variations in D on a Minuet by JP Duport, K. 573 8 Variations in F on "Ein Weib ist das herrlichste Ding" by B Schack, K. 613 12 Variations in C Major on "Ah, vous dirai-je Maman", K. 265 Performed by Joana Filipe Martinez This broadcast is available for purchase at: http://www.classicalsavings.com/store/p421/Mozart_-_Variations_on_Themes_by_Other_Composers.html