Classical Music News of the Week, April 21, 2018

Academy Orchestra Welcomes Violinist Ilana Setapen May 26

Concluding the Music Institute of Chicago's Faculty and Guest Artist Series' 2017–18 season, the Academy Orchestra performs with noted violinist Ilana Setapen Saturday, May 26 at 7:30 p.m. at Nichols Concert Hall, 1490 Chicago Ave., Evanston, Illinois.

The program includes the Overture to Mozart's opera The Impresario; Copland's "Down a Country Lane"; and Mendelssohn's Symphony No. 3 "Scottish." Setapen joins the Orchestra for the program's second half, Tchaikovsky's Violin Concerto in D Major, Op. 35. Conducting the program is Academy Director James Setapen, Ilana's father.

The Academy of the Music Institute of Chicago, led by Director James Setapen, is a nationally recognized training center for highly gifted pre-college pianists and string players that provides a comprehensive music education for students who aspire to be professional musicians. Faculty, staff, and students come together for an intensive 30-week program that includes private lessons with Academy artist faculty, a rigorous chamber music component, a stimulating chamber orchestra experience, and accelerated music theory classes. Pianists additionally study keyboard history and literature, improvisation, and keyboard skills in an intimate group setting. A hallmark of the Academy is the weekly master class series when students perform for and observe acclaimed musicians and educators who share their knowledge. The Academy faculty, who teach at some of the country's most prestigious conservatories and music schools, have a passion for developing young talent and an established track record of student achievement.

The Music Institute of Chicago's Academy Orchestra concert featuring violinist Ilana Setapen takes place Saturday, May 26 at 7:30 p.m. at Nichols Concert Hall, 1490 Chicago Avenue in Evanston. Tickets are $30 for adults, $20 for seniors and $10 for students, available at 847.905.1500 ext. 108 or All programming is subject to change. For more information, visit

--Jill Chukerman, Music Institute of Chicago

University Musical Society Announces 2018-19 Season - 140th Anniversary
The University Musical Society (UMS), under the leadership of President Matthew VanBesien, announced its 140th season in 2018-19 with an initial slate of 40 performances and events. One of the country's most acclaimed performing arts presenters, UMS honors its past by showcasing respected ensembles and performers with whom it has enjoyed rich relationships, and fully embraces the future as initiator, incubator, and accelerator for innovative new works and projects. This potent combination infuses the anniversary season with dynamic and diverse voices and perspectives featuring artists at the top of their game — celebrating the canon, taking risks, moving genres in new directions, disrupting stereotypes, and surprising audiences.

"At UMS, we always commit to bringing a dazzling array of artists whose work amazes, entertains, comforts, and even provokes. We believe strongly in the importance of nurturing young talent and fostering experimentation, while also collaborating with those cherished artists and ensembles who have been a hallmark of our series.

"We open our 140th season in September with three events that truly embody our strong sense of tradition, innovation, and collaboration: teaming up with the University of Michigan's College of Engineering to present a 50th anniversary live presentation of Stanley Kubrick's audacious 2001: A Space Odyssey to Michigan's campus, with the Detroit Symphony Orchestra and Musica Sacra chorus providing the live musical soundtrack; the legendary Philadelphia Orchestra, which served as the resident orchestra for Ann Arbor's May Festival for 49 years, returning to Hill Auditorium with new music director Yannick Nézet-Séguin; and actor Alec Baldwin, who comes to Ann Arbor to work with students and faculty in the U-M Department of Theatre & Drama on dramatic readings of Arthur Miller's great work, Death of a Salesman. That's just the first few weeks of our 140th season!" said UMS President Matthew VanBesien. "Our 2018-19 offerings also include an extraordinary world première project and many other moments during which UMS invites artists to use our spaces to freely experiment, develop, and refine new works, and to provide audiences with insights to the creative process and the first look at exciting performances."

Subscription packages go on sale to renewing subscribers on Monday, April 23 and to the general public on Monday, May 1. Current subscribers will receive renewal packets in April. Subscribers may add on additional performances at any point during the subscription period.

Tickets to individual events will go on sale to the general public online, in person, and by phone on Monday, August 13; UMS donors of $250+ may purchase beginning Monday, August 6. Groups of 10 or more may reserve tickets beginning Monday, July 9. To be added to the mailing list, please contact the UMS Ticket Office at 734.764.2538 or visit UMS also has an e-mail list that provides up-to-date information about all UMS events; sign-up information is available on the website.

For complete information, visit

--Mike Fila, Bucklesweet Media

Max Richter's Live SLEEP Concert in New York City May 4 & 5
After a successful North American debut of the live performance of his 8-hour masterpiece SLEEP, Max Richter brings the "intoxicating" (NPR) performance to New York City for the first time, for two nights of performances on May 4 & 5 at Spring Studios (50 Varick Street, New York, NY 10013). Doors will open at 9:00pm, the concert will begin at 10:30pm. Tickets are being announced on the artist's socials.

Watch NPR Music's video from SLEEP at SXSW:

--Julia Casey, Universal Music

Fifth Graders to Perform Songs They Wrote About Heroes, April 25 & 26
At a recent Los Angles Master Chorale event, a technician asked the group's Director of the Marketing if the Master Chorale was the same organization that went into schools and taught kids how to write and sing songs. When it was affirmed that it was, he exclaimed: "I was one of those kids!" His fond memory of the "Voices Within" program 12 years after he participated illustrates the lasting impact the program has had on thousands of students since it was launched in 2001. This year's spring series of "Voices Within" concerts will take place at Hooper Avenue Elementary in South Los Angeles on Wednesday, April 25 and at Sheridan Street Elementary in Boyle Heights on Thursday, April 26, creating new memories for this season's 110 participants.

The concerts are the culmination of the 12-week "Voices Within" program that brings three teaching artists—a composer, a lyricist, and a performer—into the schools to introduce the students to music ideas such as pitch, rhythm, and melody, and teaches them how to apply these concepts to songwriting. The students perform their songs for fellow students, teachers, and friends and family. Each school will give two performances. It is the first time that Hooper Avenue Elementary has taken part in the "Voices Within" program.

"Voices Within" concerts performed by fifth grade students featuring members of the Los Angeles Master Chorale. Open to the public & free to attend. (Street parking only.)

Wednesday, April 25, 9:30 AM & 10:45 AM
Hooper Avenue Elementary School, 1225 E 52nd St, Los Angeles

Thursday, April 26, 9:00 AM & 10:15 AM
Sheridan Street Elementary School, 1833, 416 Cornwell St, Los Angeles

For more information, visit

--Jennifer Scott, Los Angeles Master Chorale

New Century Presents Philip Glass Premiere
New Century Chamber Orchestra concludes its 2017-2018 season, May 16 through 20, with the West Coast Premiere of Philip Glass's Piano Concerto No. 3, featuring Simone Dinnerstein. Appearing as piano soloist, Dinnerstein will perform this work alongside Bach's Keyboard Concerto No. 7 in G minor. Indianapolis Symphony concertmaster Zachary DePue serves as Guest Concertmaster in a program that also features Henry Purcell's Chacony in G minor (arr. Britten), Bryce Dessner's Aheym and Francesco Geminiani's Concerto Grosso No. 12  in D minor.

This program will be presented as part of New Century's subscription series on four evenings in different locations around the the San Francisco Bay Area: Thursday, May 17 at 8 p.m., First Congregational Church, Berkeley, CA; Friday, May 18 at 8 p.m., Oshman Family JCC, Palo Alto, CA; Saturday, May 19 at 8 p.m., Herbst Theatre, San Francisco, and Sunday, May 20 at 3 p.m., Osher Marin JCC, San Rafael, CA. New Century will also feature in a special performance of this program on Wednesday, May 16 at 8 p.m. at UC Davis, CA, presented by the Mondavi Center of the Arts.

For more information on New Century, please visit

--Brenden Guy, Marketing and Public Relations

New Video April 29 PBS: Donizetti's L'Elisir d'Amore with Pretty Yende & Matthew Polenzani
There is a new video available for "Great Performances at the Met": L'Elisir d'Amore, which premieres Sunday, April 29 at 12:00 p.m. on PBS (check local listings).

Watch the video trailer here:
Or the YouTube link here:

This series brings the best of the Metropolitan Opera into the homes of classical music fans across the United States. Donizetti's classic comic opera L'Elisir d'Amore features Pretty Yende as the feisty Adina, opposite Matthew Polenzani as Nemorino, with Davide Luciano as Belcore and Ildebrando D'Arcangelo as Dulcamara.

--Emma Dayton, WNET

Warner Classics and IDAGIO Embark on Streaming Partnership
Warner Classics has launched a new collaboration with IDAGIO, in a partnership that will see the specialist classical music streaming service make the entire Warner Classics and Erato catalogue available to its users.

The IDAGIO catalogue, which already comprises over 650,000 tracks, will encompass all new and recent releases from the Warner Classics and Erato labels, as well as the complete catalogue, including recordings originally issued on such iconic labels as EMI Classics, Teldec (now Warner Classics), and Virgin Classics (now Erato).

As an additional aspect of the partnership, IDAGIO will feature exclusive playlists curated by Warner Classics and its artists, and will work closely with the label on additional initiatives to provide an engaging classical listening experience for IDAGIO users.

--Elias Wuermeling, IDAGIO PR

Pavel Sporcl Leads 60th Anniversary Gala Concert of Kocian Violin Competition
The leading Czech violinist and patron of the world's oldest violin competition for under-sixteens will lead a gala concert in Prague on April 25th, featuring a gathering of competition laureates

The name Jaroslav Kocian holds a special place in the hearts of Czech music-lovers, so much so that after that iconic violinist died a violin competition was established in his name, and in his beloved home town of Usti nad Orlici. It remains the oldest major violin competition in the world for under-sixteen-year-olds. Its patron is a successor of Kocian as the leading Czech violinist, Pavel Sporcl. This year, to mark the competition's 60th anniversary, Sporcl has curated a gala concert at Prague's Smetana Concert Hall.

He has invited for the occasion, the Prague Symphony Orchestra conducted by Jessica Cottis, and a line-up of laureates of the Kocian Violin Competition. Among them, Stefan Milenkovich, Josef Spacek, Bohuslav Matousek and others. Sporcl will play works by Kocian himself, Vivaldi, Saint-Saëns and will take part in the finale, a world premiere by Lukás Sommer for eight violinists called "Gala Violin - Concert Phantasy on Jaroslav Kocian Themes for Eight Soloists And Orchestra." The event will be recorded for broadcast by Czech Television.

Watch Pavel Sporcl with the Prague Symphony Orchestra here:

--James Inverne Music Consultancy

Bruckner: Mass in F minor (CD review)

Margaret Price, soprano; Doris Soffel, alto; Peter Straka, tenor; Matthias Holle, bass; Sergiu Celibidache, Munich Philharmonic Orchestra and Chorus. EMI Classics CDC 7243-5-56702-2.

The late Romanian conductor and composer Sergiu Celibidache (1912-1996) must be the least-known famous conductor of the twentieth century. He brought it upon himself: He refused absolutely to record any of his music, believing that sound could only be "lived and experienced in real space." I respect his principles, but as a result he deprived about ninety-nine per cent of the classical music loving world of potentially great performances. So be it. After he passed on, however, his son helped to select a handful of his father's live taped sessions for release. Among the first issues were Celibidache's Bruckner interpretations, for which he was well known. 

Any Bruckner work is characterized by its nobility, its grandeur, and its intense spirituality. No Bruckner offering could be more endowed with these qualities than his Mass in F minor. And these attributes are exactly what Celibidache delivers, using the 1881 Robert Haas edition. In some ways the conductor's approach is similar to his contemporary, Herbert von Karajan. There is always the grand gesture.

Sergiu Celibidache
But I felt a more profound sense of the sublime with this Celibidache recording than I usually get from the more bravura performances of Karajan. Celibidache's timing is that much more sweeping, the hushes more extended, the tempos more expansive. His broad view of things can nowhere be better found than in the big, central "Credo," where we find everything from the quietest whisper of a note to a full, fortissimo chorus, each punctuated with the greatest warmth of expression. 

By the time it's over, one must be in awe of both composer and conductor. But one thing that didn't impress me overmuch was the sound. It is rather antiseptic. There is clarity, to be sure, in this 1990 recording but at the expense of richness and sonority. The upper midrange is bright and often brittle, especially in massed vocal passages. I wouldn't let this deter one from buying the disc, though, if only for the experience of discovering a man so well known and so little heard.


To listen to a brief excerpt from this album, click below:

Mendelssohn: Symphonies Nos. 4 & 5 (SACD review)

Andrew Manze, NDR Radiophilharmonie. Pentatone PTC 5186 611.

The last time I heard English conductor and violinist Andrew Manze doing Mendelssohn, it was in the First and Third Symphonies, where his propensity for zippy, early music practice produced a pair of exciting but, for me, not entirely persuasive performances. Continuing his Mendelssohn series, here he and the German radio orchestra NDR Radiophilharmonie tackle the popular Fourth Symphony and the more solemn Fifth. Although the disc would not displace my own old favorites, for Mendelssohn fans it might still provide a worthwhile listen.

First up on the program is the Symphony No. 4 in A, Op. 90 "Italian," which Mendelssohn wrote after a trip to Italy and premiered 1833. The first movement Allegro is among the most recognizable of all the music Mendelssohn wrote for his symphonies. Then, music scholars think that the many religious processions Mendelssohn saw in Rome may have inspired the second-movement Andante. There follows a delicate minuet, and the work concludes with a whirlwind of music reminiscent of the composer's Midsummer Night's Dream.

Despite my initial reservations that Manze's historical-performance inclinations might lead him to tempos at a more robust gait than I like, he actually takes things at a reasonably pleasant, if sometimes exhilarating pace. With well-judged dynamic inflections and an orchestra that seems to follow his every direction, the result in the first movement is as sunny as any, if a tad dark and billowy due to the recording's pronounced ambient bloom.

Manze emphasizes the staccato motif of the second movement at perhaps a headier stride than other conductors often take, yet it seems to fit the strapping dimensions for the piece the conductor envisions. The rhapsodic elements of the third movement come to the fore under Manze, too, and he makes it a welcome contrast to the preceding parade-like passages. Then, the conductor provides a fittingly high-spirited finale that seems only mildly rushed.

Andrew Manze
Compared to the ebullient "Italian" symphony, the Fifth can appear positively grave. Interestingly, the Fifth, finished in 1830, was actually only the second symphony Mendelssohn wrote. However, the composer couldn't complete it in time for a commission and never liked it much, anyway, refusing in his lifetime to allow its publication, which didn't occur until some twenty-nine years after his death. (For those interested, the order of composition for Mendelssohn's symphonies is 1, 5, 4, 2, and 3.)

Mendelssohn's sister Fanny dubbed No. 5 in D Minor, Op. 107 the "Reformation Symphony" because its subject matter celebrated the Protestant Reformation. The composer wrote it, as I said, on commission--for some festivities in Berlin, but ill health prevented him from completing it and he finally premiered it in 1832. After a somber opening movement, the symphony moves to a much-lighter Allegro vivace and a lyrical Andante, all culminating in a finale based on Martin Luther's chorale "Ein feste Burg ist unser Gott" ("A mighty fortress is our God").

Here, Manze's big-scale yet intimate-feeling approach works quite well. His "Reformation" doesn't have the ponderous dimensions that some conductors seem to impose on it. Instead, it comes out more cohesive, more of a whole, tying the opening movements more closely to the last, giving the little Allegro its sprightly due and the Andante a gentle lilt. It all builds, of course, to that final chorale, which Manze handles splendidly, building and magnifying with a dignified grandeur.

So, could I say that Manze's performance of the "Italian" symphony strikes my fancy more than several of my old favorites? Not exactly. My two favorites (among others) in the "Italian" could not be more different from one another nor more different from Manze's interpretation. They are the recordings by Claudio Abbado in his earlier Decca rendering and Otto Klemperer in his EMI reading. Both continue to strike me as having more sheer joy, zest, and charm than anybody else's. In the "Reformation," though, Manze is no doubt as good as anybody, and his realization should greatly please fans of the work.

Producers Renaud Loranger and Matthias Llkenhans and engineer Martin Lohmann recorded the symphonies in the Grober Sendesaal desNDR Landesfunkhaus in January 2016 and February 2017. They made the hybrid recording for SACD multichannel and two-channel stereo playback via an SACD player as well as two-channel stereo via a regular CD player. I listened in two-channel SACD.

The sound is much the same as Pentatone delivered for Manze's previous Mendelssohn disc, so I'll repeat what I said of it: There is a good deal of ambient reflection around the orchestra, almost too much. The reflections may sound realistic in multichannel, but in two-channel stereo they can be overmuch and somewhat obscure inner detailing. Still, it's not too distracting, and the overall sonic image is impressively dynamic. To be fair, there's enough of a lifelike quality about the sound to satisfy most listeners.

As always with these things, the Pentatone folks do up the disc with a standard SACD case, further enclosed in a light-cardboard slipcover. My bewilderment continues, though, over what purpose a slipcover actually serves, but it is a handsome packaging feature, redundant or not. I wish I could say the same for the minimalist design of the album/booklet cover.


To listen to a brief excerpt from this album, click below:

Classical Music News of the Week, April 14, 2018

Berkeley Festival & Exhibition Announces 2018 Lineup

Berkeley Festival and Exhibition announced its 2018 biennial festival, June 3 through 10, presented by the San Francisco Early Music Society.

This year's Festival reimagines the concept of traditional Early Music by broadening the boundaries to include historically informed masterworks from as far back as the early Middle Ages through the Romantic era. Highlights include a Festival debut by legendary Early Music ensemble Sequentia in two performances that focus on important Latin texts from the Middle Ages; two programs dedicated to J.S. Bach's cantatas and motets featuring Belgian ensemble Vox Luminis in their third Festival appearance; a concert version recreation of Purcell's Dido and Aeneas co-presented by Voices of Music and the San Francisco Girls Chorus; a 19th-century salon-style presentation of solo and chamber works by Schumann and Schubert by musicians of the Valley of the Moon Festival and tenor Nick Phan; and the Festival's inaugural International Early Piano Competition devoted to Classical and Romantic music on historically appropriate instruments.

The eight-day festival also includes over 50 self-produced concerts by participants from around the world as part of its Fringe Festival; a three-day exhibition, June 7 through 9, that brings together instrument makers, publishers, retailers and organizations; Young Artist Series featuring Seattle Historical Arts for Kids presentation of Handel's Serse, Davis Senior High School Baroque Ensemble, Juilliard415 and San Francisco Conservatory of Music students, faculty and alumni; concurrent special events from the Westfield Historical Keyboard Center and the second International Early Music Film Festival; and special lectures, masterclasses and colloquia.

San Francisco Early Music Society Presents
Berkeley Festival & Exhibition
June 3-10, 2018

Main stage events take place at St. Mark's Episcopal Church, 2300 Bancroft Way, Berkeley, CA, with additional events at First Congregational Church, 2345 Channing Way, Berkeley.

For complete event and venue information,  call 510-528-1725 or visit

--Brenden Guy PR

Spotlight on "Beethoven Unleashed" Star Avery Amereau
There is a clear reason The New York Times calls Avery Amereau "A Rarity in Music." It's her voice. She is a rare contralto and not many of them exist. Joyce DiDonato says Avery's voice is "like velvet, caramel chocolate." And now, San Francisco Bay Area audiences will get a chance to hear her unique timbre when Avery Amereau makes her PBO mainstage debut in April's season finale, "Beethoven Unleashed."

Philharmonia Baroque Orchestra is excited to welcome Avery Amereau to our cast of esteemed guest singers in our season finale April 25-29. We hope you'll join us.

Beethoven: Mass in C major, Op. 86
Cherubini: Chant sur la mort de Joseph Haydn
Beethoven: Fantasia in C minor, Op. 80 "Choral Fantasy"

Wednesday, April 25, 7:30 pm
Bing Concert Hall, Stanford, CA

Friday, April 27, 8 pm
Herbst Theatre, San Francisco, CA

Saturday, April 28, 8 pm
First Congregational Church, Berkeley, CA

Sunday, April 29, 4 pm
First Congregational Church, Berkeley, CA

Tickets and information:

--Marketing, Philharmonia Baroque

At the Pleasure of Mazzarin
Salon/Sanctuary presents At the Pleasure of Mazarin: Roman Treasures from the Bibiothèque Nationale de Paris, the season finale concert and the final concert in a mini-series of early music concerts that explores the echoes of politics in over half a millennium of French music.

April 28
The Church of Saint Jean Baptiste
184 East 76th Street
New York, NY 10021

For tickets, call 1 888 718 4253 or visit

For sound clips, program notes, texts and translations, and more information, visit

--Salon/Sanctuary Concerts

Corinne Morris and BBC Philharmonic to Debut Nimrod Borenstein's New Cello Concerto
Cellist Corinne Morris will give the world premiere of Nimrod Borenstein's Cello Concerto No. 2, alongside the BBC Philharmonic Orchestra on 5th June, 2018. Frederic Chaslin will conduct, at BBC Philharmonic Studio, Salford.

The concerto, written for Morris, is intended to be "a large-scale, muscular concerto in the grand tradition of Dvorak, Shostokovich and Elgar", according to its composer. This followed an idea by the cellist, who felt that these kinds of 'big' concertos for cello were increasingly rare. Borenstein, who has a long-standing artistic relationship with Morris, was happy to oblige. "Corinne has a certain scale and richness to her playing, which gives the composer that facility, and it's a joy to have that kind of canvass." he says.

--James Inverne Music Consultancy

92Y May/June 2018 Concerts
Friday, May 4, 2018 at 9:00 PM
92Y – Buttenwieser Hall, NYC
Schubert's Final Sonatas: Part 2
Shai Wosner, piano

Thursday, May 10, 2018 at 7:30 PM
92Y – Kaufmann Concert Hall, NYC
Benjamin Verdery, guitar
St. Lawrence String Quartet

Friday, May 11, 2018 at 9:00 PM
92Y – Buttenwieser Hall, NYC
Schubert's Final Sonatas: Part 3
Shai Wosner, piano

Friday, June 8, 2018 at 9:00 PM
92Y – Buttenwieser Hall, NYC
New York Polyphony, vocal quartet

Tickets are available at or 212-415-5500.
For more information, visit

--Hannah Goldshlack-Wolf, Kirshbaum Associates

World Premiere of Ellen Reid's "dreams of the new world"
An expansive new choral work exploring lesser-known stories about the pursuit of the American Dream in Memphis, Houston, and Los Angeles, told through an interview-based libretto, will be premiered by the Los Angeles Master Chorale on Sunday, May 13 at 7 PM in Walt Disney Concert Hall. dreams of the new world is composed by Ellen Reid with a libretto by Sarah LaBrie.

Tickets are available now, starting from $29:
Phone: 213-972-7282

Tickets can also be purchased in-person at the Dorothy Chandler Pavilion Box Office Monday – Saturday, 10 AM–6 PM.

For further information, visit

--Jennifer Scott, Los Angeles Master Chorale

Schimmel Center and Knickerbocker Chamber Orchestra Present "The Struggle to Forgive"
Schimmel Center, NYC, with the Knickerbocker Chamber Orchestra presents the world premiere of The Struggle to Forgive: Confronting Gun Violence in America on Friday, May 4, 2018 at 7:30 p.m. Led by Music Director and Conductor Gary S. Fagin, the new cantata—which has a libretto by Fagin and features soprano Mikaela Bennett, mezzo-soprano Sarah Heltzel, and baritone Jorell Williams—gives voice to those whose lives have been impacted by gun violence in the United States, including victims and their families.

The program also includes Charles Ives's The Unanswered Question; and a new orchestral version of Prayer for Mary, written by Fagin in remembrance of the life of a KCO member whose life was lost due to gun violence in 2014.

For complete information, visit

--Katlyn Morahan, Morahan Arts and Media

Concerts at Saint Thomas Presents Music for the Feast of the Ascension
Concerts at Saint Thomas will give the season's final performance with the Saint Thomas Choir of Men and Boys on May 9, singing music written for the Feast of the Ascension. The program features Bach's Cantata 37, his first written for the Ascension, and his 'Lutheran' Mass in G minor, as well as Vivaldi's lesser-known setting of the Introduzione e Gloria, RV 588.

The choir will be joined by soloists Eric S. Brenner, Lawrence Jones, Mark Bleeke, and Daniel Moore, and accompanied by period instrumentalists from the Orchestra of St. Luke's.

May 9, 2018 | Wednesday at 7:30 pm

Music for the Eve of the Ascension
Saint Thomas Church, Fifth Avenue at West 53rd Street, NYC

For more information, visit

--Andrew Ousley, Unison Media

Five Boroughs Music Festival Presents TENET in "The Sounds of Time"
The early music virtuosi of TENET return to Five Boroughs Music Festival (5BMF) this season with "The Sounds of Time," an exploration of 12th and 13th century songs by the French trouvères. The program is presented in Queens, NY on Friday, May 11, 2018 at 7:00 p.m. at King Manor Museum, NY, and on Saturday, May 12, 2018 at 7:30 p.m. at Christ Church Riverdale in the Bronx. Led by guest music director and baroque violin virtuoso Robert Mealy, the program showcases the great lyric tradition of the troubadours, who adapted the musical forms invented by their Provençal counterparts and infused them with a lighter vein that produced a memorably tuneful body of music.

"The Sounds of Time" features soprano Jolle Greenleaf, mezzo-soprano Luthien Brackett, tenor Jason McStoots, Shira Kammen and Robert Mealy on vielle and harp, and Charles Weaver on plucked instruments.

Friday, May 11, 2018 at 7:00 p.m.
King Manor Museum | 150-03 Jamaica Avenue | Queens, NY
Tickets: Tickets, priced at $15 for general admission and $10 for students, seniors, and museum members, can be purchased by visiting

Saturday, May 12, 2018 at 7:30 p.m.
Christ Church Riverdale | 5030 Henry Hudson Parkway | Bronx, NY
Tickets: Tickets, priced at $25 for general admission and $15 for students, seniors, and Christ Church Riverdale members, can be purchased by visiting

--Katy Salomon, Morahan Arts and Media

Share the Joy with the Mahler Chamber Orchestra
We are very proud to present our latest image video to you today!

Filmed in January 2018 during a tour with our Artistic Advisor Daniele Gatti, this video illustrates the many facets of our special partnership:

Share the joy live with us on our upcoming tour with Daniele Gatti in Italy, Germany, and Spain:

You can hear us in Bari (19 April), Heidelberg (21 April), Bilbao (23 April), Zaragoza (24 April) and Barcelona (26 April) with a programme featuring works by Schumann and Beethoven.

For more information, visit

--Mahler Chamber Orchestra

ASPECT Presents Sherezade Panthaki and the Four Nations Ensemble
The ASPECT Foundation for Music & Arts presents its final concert of the season, "Fête Galante: The Anatomy of Melancholy" on Thursday, May 17, 2018 at 7:30pm at the Italian Academy at Columbia University, part of the foundation's second New York City season of illuminating performances featuring many of the most prominent performers and musical scholars of today. Féte Galante features the acclaimed New York-based Four Nations Ensemble and soprano Sherezade Panthaki, with an illustrated talk by art historian Tav Holmes.

The concert provides insight into the elegant new style of art following the final years of the reign of Louis XIV. While Versailles was draped in the heavy mood of recent years, Antoine Watteau was breaking with tradition, creating the new fresh, elegant, and sensual genre of the fête galante. The evening features Four Nations Ensemble and Panthaki in works by Leclair, Clérambault, Devienne, and Telemann to emphasize Holmes' glimpse into the unique, idealized world of artists Watteau, Boucher, and Fragonard.

"Fête Galante: The Anatomy of Melancholy"
Thursday, May 17, 2018 at 7:30pm
The Italian Academy | 1161 Amsterdam Avenue | NYC
Tickets: $45 includes wine and refreshments

--Katy Salomon, Morahan Arts and Media

ABS Performs All Four Bach Orchestral Suites
Music Director Jeffrey Thomas will lead the American Bach Soloists in performances of all four of Johann Sebastian Bach's Orchestral Suites (BWV 1066-1069) May 11-14 in Belvedere, Berkeley, San Francisco, and Davis, CA. The works presented in these concerts are full of exuberant sonority and captivating melody and display the virtuosity of ABS's famous roster of "the best American specialists in early Music" (The Washington Post). These extremely popular pieces are intensely infused with the spirit of dance, expressing joy and felicity.

Tickets: $25–$89; $10 student tickets for ages 25 and under with valid student ID, at the door or reserve at 415-621-7900.


For complete information, visit

--Jonathon Hampton, American Bach Soloists

42nd Street Moon Announces Cast and Creative Team for ME AND MY GIRL
San Francisco's 42nd Street Moon (Daren A.C. Carollo and Daniel Thomas, Co-Executive Directors), currently celebrating its 25th Anniversary in continuous operation, has announced the full cast and creative team for the final production of the 2017-2018 season: ME AND MY GIRL, a hilarious and delightful 1930s West End smash hit (winner of three Tony Awards for the critically-acclaimed 1986 Broadway revival). ME AND MY GIRL features book and lyrics by L. Arthur Rose & Douglas Furber, revised by Stephen Fry with contributions by Mike Ockrent, and music by Noel Gay. ME AND MY GIRL runs from May 2 – 20, 2018 and will perform at San Francisco's Gateway Theatre (formerly the Eureka Theatre). The press opening will take place on Saturday, May 5 at 6:00 p.m. Tickets range from $25 - $75 and can be purchased through the Box Office at (415) 255-8207 or online at

42nd Street Moon's production of ME AND MY GIRL will be directed and choreographed by Mindy Cooper, with Music Direction by Dave Dobrusky.

May 2 - 20, 2018 (press opening on Saturday, May 5 at 6:00 p.m.).
Wednesday-Thursday 7:00 p.m.; Friday 8:00 p.m.; Saturday 6:00 p.m.; Sunday 3:00 p.m.
Gateway Theatre, 215 Jackson St, San Francisco, CA 94111.
Running time: 2 hours and 15 minutes (including a 15-minute intermission).
Tickets: $25 - $75 and may be purchased online at or by calling (415) 255-8207

--Jonathan White PR

Jussi Bjorling: The Ultimate Collection (CD review)

Jussi Bjorling, tenor; with various artists. RCA 74321 43468 2 (2-disc set).

When RCA released one of their sets of Caruso recordings, they labeled it "The Greatest Tenor in the World." Certainly, the fans of Swedish tenor Jussi Bjorling (1911-1960) might have a say about that.

This two-disc set of Bjorling recordings is in RCA's "Artists of the Century" line, which also includes the aforementioned Caruso, Leontyne Price, Mario Lanza, and others. The Bjorling set contains twenty selections on the first disc and twelve more on the second for a generous total of 156 minutes, plus an informative set of booklet notes.

Bjorling was in his forties and at the height of his career when RCA made these recordings between 1950-1959, just before his untimely passing in 1960. They demonstrate a voice that is at once strong and robust yet lyrical and soaring. He was able to float a high note sweeter than most anyone on stage and to maintain an amazingly clear enunciation in the process.

Jussi Bjorling
The first disc contains short, popular pieces:  Verdi's "Celeste Aida," "La donna e mobile," Puccini's "Che gelida manina," "Nessun dorma," "E lucevan le stelle," Leoncavallo's "Vesti la giubba," Flotow's "M'appari tutt'amour," that kind of thing. The second disc contains fewer but longer pieces, Puccini's "Mario, Mario, Mario!," Verdi's "Dio, che nell'alma infondere," etc., and both discs give us a few recital pieces by Schubert and Strauss. The highlight of the set may be his live concert performance of "Nessun dorma," done with piano accompaniment and preceded by an enthusiastic request shouted out by an audience member. This live rendering nicely complements his version with full orchestra that the folks at RCA also include. 

Naturally, the digitally remastered audio quality varies from one piece to the next, some done in monaural, some in stereo; but none of it sounds overly compromised by noise reduction. A few of the songs are brighter, rougher, and edgier than others, it's true, but that we should expect. Compared to an earlier collection of Bjorling recordings from the thirties and forties on EMI, the RCA sound is cleaner, clearer, and more open. And, amazingly, the later voice had lost hardly an iota of its youthful vigor.

This must be counted among the best compilations of the great tenor's work on disc.     


To listen to a brief excerpt from this album, click below:

Beethoven: Violin Concerto (CD review)

Also, Romances; Schubert: Rondo. James Ehnes, violin; Andrew Manze, Royal Liverpool Philharmonic Orchestra. Onyx Classics 4167.

The invention of the violin predates the piano by several hundred years and violins comprise the biggest part of an orchestra; yet from the Classical Period onward, the piano has dominated the concerto field. Maybe that's as it should be, given that so many composers of classical music were also pianists. Nevertheless, the violin hung in there, with the Beethoven Violin Concerto in D major, Op. 61 being one of the most prominent. It's good to welcome any new recording of it.

Canadian violinist James Ehnes tackles the project this time out. As he is a musician who has always impressed me as levelheaded, elegant, and graceful, he seems just the right fellow for the job. Beethoven wrote his violin concerto in 1806 and premiered it to a surprisingly indifferent response. It wasn't until well after the composer's death that it finally took off and became a staple of the violin repertoire.

Beethoven structured the concerto traditionally, with an expansive opening movement, a serene slow movement, and a sprightly conclusion (with no break between the two final movements). A number of prominent violinists have written their own cadenzas for the work, and Mr. Ehnes uses the popular ones by Fritz Kreisler.

After the fairly lengthy orchestral introduction, which Maestro Andrew Manze handles with a casual command, Ehnes enters exhibiting a sweet, unforced tone that he will maintain throughout the piece. Although Ehnes hasn't quite the stylistic dominance of a Heifetz or a Perlman, he is quite good, especially in his emphasis on contrasts. They are not pronounced to any extreme, but both he and Manze place just enough stress on softer and louder notes, quieter and more tumultuous passages, and shorter and longer pauses to make this interpretation stand out. In other words, even though the tempos are just a tad on the quick side, you'll find enough variation in the performance to keep it fresh without distorting the composer's intentions.

James Ehnes
Needless to say, Ehnes's playing is exceptionally deft. His nimbleness in even the most difficult sections is a joy, clean and clear and virtuosic. This is an imaginative, highly rhythmical, yet charmingly lyrical reading that sweeps one along effortlessly. The second-movement Larghetto is sublime, and Ehnes handles it smoothly and unfussily. His playing is delicate and lilting, his phrasing light and airy; it's as lovely a rendering as any you'll find. Then Ehnes and the orchestra make the transition to the delightfully energetic finale with an easy grace and sustain the high spirits to the end.

For couplings, Ehnes provides Beethoven's Romances for Violin and Orchestra, Nos. 1 and 2 and Franz Schubert's little Rondo in A major. Interestingly, Beethoven wrote the second of the Romances (1798) a few years before he wrote the first one (1802), but because of their order of publication, the latter one gets the earlier number. And it's not even clear why Beethoven wrote them; that is, for what occasion. Whatever, they are highly popular and strongly Romantic. The Romance No. 1 is the slightly more serious of the two, which may have something to do with Beethoven's own development as a composer. In any case, all of the good traits we heard from Ehnes in the concerto we hear again: grace, elegance, refinement, and imagination.

Producer Simon Kiln and engineer Arne Akselberg recorded the music at Liverpool Philharmonic Hall in September and October 2016. The sound is very natural, the orchestral sonics wide and deep, with no undue spotlighting and a modest room resonance. The solo violin is well integrated with the orchestra, in front but not in our face. The violin, too, sounds lifelike: clear and vibrant but neither hard nor bright. Frequency response is reasonably wide as are the dynamics throughout, so it's realistic recorded sound.

Overall, taking into account performance and sound, this recording must take a place among the better choices one can make in the work. Even though Ehnes and company are in a crowded field, they have made a place for themselves.


To listen to a brief excerpt from this album, click below:

Classical Music News of the Week, April 7, 2018

NYOA Presents the Third Annual New York Opera Fest, May and June

New York Opera Alliance (NYOA), a consortium of New York opera companies and producers, presents the third annual New York Opera Fest (, a two-month celebration of opera on an unprecedented scale that takes place throughout May and June, with over 20 New York City-based companies large and small, putting on over 30 events in venues around the city, including World Premiere performances of 12 new works.

The Fest shows opera in its myriad forms, from world-class productions of traditional favorites, to the far-flung fringes of innovation and instigation that drive the art form forward. The staggering breadth of offerings on display presents a raw, un-sanitized snapshot of all that opera is, has been, and can be.

This year's Fest includes Experiments in Opera releasing a serial podcast opera, a #MeToo take on Mozart's Don Giovanni by Heartbeat Opera, the World Premiere of a jazz opera based on the life of 1920s avant-garde Parisian Kiki de Montparnasse by Cantanti Project, Hunter Opera Theatre and American Opera Projects performing three one-act Premieres, New Amsterdam Opera presenting Donizetti's rarely heard La Favorita in a performance dedicated to Dmitri Hvorostovsky, Operamission's binge-watchable behind-the-scenes look at Handel's Teseo, and many more productions in locations ranging from a pub to a public library, a playground to a playhouse.

For complete information, visit

--Andrew Ousley, Unison Media

PBO Announces 2018-19 Season
Philharmonia Baroque Orchestra & Chorale announces its 2018/19 season--"Transcendence." In its 38th year, PBO will continue to take its signature brand of historically-informed performance to the next level with its subscription season, alternative concert series PBO SESSIONS, Juilliard partnership and its national tour schedule.

Philharmonia's 2018/19 season promises an eclectic array of music and experiences, including sacred vocal works by Bach, Mozart, and Pärt, virtuosic concerti by Vivaldi and Clement, and Handel at his dramatic heights. Starting in October, Mozart's "Exsultate, jubilate" sets the tone for an exuberant season in an all-Mozart program featuring the Philharmonia Chorale and soprano Camille Ortiz who appeared in Philharmonia's operatic production of Rameau's "Le Temple de la Gloire" in 2017.

For details about the entire season, visit

--Dianne Provenzano, Philharmonia Baroque Orchestra

Robert Trevino Triumphs in Spain, Sensational Zurich jump-in, LPO Debuts
While Robert Trevino is confirming his brilliant start as the new Music Director of the Basque National Orchestra, Spain, he is also rapidly becoming the go-to maestro for A-list cancellations and (planned!) debuts with leading orchestras.

Much like his triumphant performance of Mahler's Third Symphony with the London Symphony Orchestra last season (a last-minute call after Daniel Harding's withdrawal), Trevino recently hot-footed it from concerts with the Leipzig Gewandhaus to conduct Mahler's Fifth with the Zurich Tonhalle Orchestra, standing in for an ailing Donald Runnicles at very short notice. As with the LSO, he won over audience and reviewers.

The Neue Zürcher Zeitung reported, "The first of three performances...caused a storm of enthusiasm among the audience...The Tonhalle Orchestra was spurred on by Trevino to a peak performance, proving again the enormous artistic potential it can mobilise with appropriate leadership."

More and more leading orchestras are noticing. The coming months will include returns to the London Philharmonic, Sao Paulo Symphony, Helsinki Philharmonic, Dresden Philharmonic, RTVE Madrid, NDR Hannover, Malmo Symphony, Barcelona Symphony and RTE Dublin among others, and debuts with the Bournemouth Symphony and MDR Leipzig.

For more information, visit

--James Inverne Music Consultancy

Musica Viva NY Presents "Sunrise in the City" on Sunday, May 20
Musica Viva NY celebrates its 40th anniversary with a concert entitled "Sunrise in the City" on Sunday, May 20 at 5:00 p.m. at All Souls Church, NYC. The performance, which features the Musica Viva NY Choir led by Artistic Director Alejandro Hernandez-Valdez, includes the world premiere of Ars Poetica #1002: Rally by Elena Ruehr, commissioned by Musica Viva NY in celebration of its 40th anniversary.

Also on the program is Mahler's "Ich bin der Welt abhanden gekommen" ("I am lost to the world") in a choral arrangement by Clytus Sottwald; the New York City premiere of Maarten Spruijt's Thurémin; and Ola Gjeilo's Sunrise Mass. Works are accompanied by a string orchestra which includes the Aeolus Quartet.

Tickets, priced at $40, are available by visiting or can be purchased at the door.

--Katlyn Morahan, Morahan Arts and Media

Salt Bay Chamberfest 2018; Troubadours & Tangos
Noon walks along jetties to historic lighthouses and trails overlooking blueberry bogs, afternoons wandering along the dramatic shore where tidal pools hold secret worlds, or strolling through charming downtown… all part of the local culture in Damariscotta. And for 2 weeks every summer - evenings filled with the music of the Salt Bay Chamberfest, exciting world-class chamber music performances in the intimate setting of Darrows Barn, an historic 19th-century dairy barn turned concert hall perched on the promontory of Great Salt Bay.

Salt Bay Chamberfest (SBC)'s 2018 season Troubadours & Tangos traces the intriguing origins of the guitar from its ancestry of the oud and lute, through the Renaissance to today, culminating in an SBC newly commissioned work, written by the award-winning and trailblazing composer and electric guitarist Steven Mackey, for the acclaimed Brentano String Quartet and SBC Artistic Director and cellist Wilhelmina Smith. Ancient laments and modern ballads will inspire a season where the vernacular and Western classical art music join forces to lament, sing, and dance the tango!

All Festival concerts begin at 7:30 pm at Darrows Barn (pre-concert talks with Mark Mandarano begin at 6:30), Round Top Farm, Business Route 1, Damariscotta, Maine. 

For tickets and more information, call (207) 522-3749, e-mail, or visit

--Elizabeth Dworkin, Dworkin and Company

International Music Stars Teaming Up to Support Community Music Center's Scholarship
International music stars Frederica von Stade, Joyce DiDonato, and Jake Heggie are teaming up to support the San Francisco Community Music Center's scholarship programs at a spring gala on Saturday, May 12. Joyce DiDonato will be giving her final performance in the title role of Cendrillon at the Met the night before on May 11.

How is it that Joyce DiDonato, one of the world's biggest opera stars, is flying out the night after finishing a run at the Met to sing at a gala for a community music organization? This year's Community Music Center Spring Gala is a story of enduring friendship and admiration between world-renowned artists Frederica von Stade, Joyce DiDonato, and Jake Heggie and their whole-hearted support of CMC's visionary mission of free and low-cost access to music education for all people.

Saturday, May 12, 2018
6:30 – 9:30 p.m.

Four Seasons Hotel, Veranda Ballroom
757 Market  Street
San Francisco, CA 94103


--Anne C. Mitchell, Community Music Center

Presenting "Modern Mexico," Contemporary Classical Music
Celebrate Cinco de Mayo early with "Modern Mexico" a guided Mezcal tasting led by master distiller Alejandro Aispuro, including samples from his private collection, paired with a concert of Mexican contemporary classical music, May 1 at The Bowery Electric and (Le) Poisson Rouge, NYC.

Co-produced by Unison Media, the WFMT Radio Network, and Access Contemporary Music, the event will feature mezcales that are unavailable for purchase anywhere, followed by a concert of New York City premieres of works by Gabriela Ortiz, Felipe Pérez Santiago, Ana Lara, Hilda Paredes, and Mexico's most celebrated living composer, Mario Lavista.

For tickets and information, visit

--Andrew Ousley, Unison Media

USM School of Music Premieres Original Work and Community Collaboration
The University of Southern Maine School of Music announces the premiere of an original work "Girl in Six Beats," commissioned by Opera Maine and created in collaboration with The Telling Room. USM Opera Workshop students will perform the one-act chamber opera, which features a libretto written by students of The Telling Room. The music was composed by Dan Sonenberg, composer-in-residence at USM, whose opera The Summer King had its world "fully-staged" premiere last spring with the Pittsburgh Opera.

"Girl in Six Beats" will premiere Saturday, April 21, 8:00 p.m. and Sunday, April 22, 2:00 p.m. at Corthell Concert Hall, USM Gorham Campus, and then travel to two local schools (home to some of the students who created the libretto), to be performed for their students.

Tickets: $8 adults, $5 for students, seniors, USM employees and alumni.
For more information, visit

--Maureen Puia, PR/Event Promotions

David Bernard's Music Director Contract Extended with Massapequa Philharmonic
The Massapequa Philharmonic, the principal orchestra serving Massapequa and Long Island, has extended David Bernard's contract as their Music Director. The extension secures Bernard's position with the orchestra until 2020.

Having taken up the Music Director's baton in 2016 after a number of successful years of guest conducting there, Bernard's first seasons with the MPO have been a hearty success. As well as pushing artistic standards ever-higher, Bernard has brought his popular and accessible 'InsideOut Concerts' concept to the orchestra, formed partnerships with local businesses and arts institutions. One of his most admired accomplishments has been the partnership with the Eglevsky Ballet, resulting in that company's first run of Nutcracker performances with live orchestra for years.

Bernard, who is also Music Director of the New York City-based Park Avenue Chamber Symphony, says, "I knew from the first moment on the podium with this wonderful MPO family that this would be a special relationship."

--James Inverne Music Consultancy

FAYM April Newsletter
On March 14th, Touro University invited the Foundation to Assist Young Musicians Mariachi Estrellas de FAYM to perform at their student talent show. Several individual and small groups of students performed comedy, dance, and music numbers. Some of the performances were accompanied by Touro University staff members. It was exciting to see artistic performances by students that were enrolled in a variety of academic programs with most of them working towards medical careers.

Eventually, it was time for our Mariachi Estrellas de FAYM to take the stage. While our students were much younger than the performances we had already seen, it was amazing to see them step up, position themselves, and start their songs. The room was filled with awe as they played their first song and a loud and excited applause followed. They began their second number and a little into the song, Guadalupe stepped forward with the microphone and started singing. The audience were completely amazed at the talent of the musicians and the vocalist.

Year-End Recital: Saturday, May 12th
3pm to 5:30pm
East Las Vegas Community Center

For more information, visit

--Arturo Ochoa, President, FAYM

Princeton University Concerts Announces Its 125th Season
Princeton University Concerts ("PUC")'s 2018-19 season will celebrate the series' 125th anniversary with a set of performances that redefine the scope of what a chamber music series can encompass. Building on PUC's long history of offering the absolute pinnacle of talent, the concerts and initiatives will blur the lines of genre, build new relationships between audiences and performers, and expand the boundaries of the concert experience.

At the heart of the new season is the series of concerts and events centered around PUC's first Artist-in-Residence, conductor Gustavo Dudamel. The Maestro, currently the Music & Artistic Director of the Los Angeles Philharmonic, will visit the Princeton campus three times throughout the 2018-19 season.

Subscriptions to the 2018-2019 season will go on sale in May. Interested individuals are highly encouraged to secure their tickets as early as possible. Patrons can choose from a flexible variety of subscription packages online at or by phone at 609-258-2800, Monday-Friday, 10AM-4PM.

For complete information, visit

--Andrew Ousley, Unison Media

Salisbury Symphony + Darrell Harwood
On Saturday May 5th 2018, the Salisbury Symphony will become the first orchestra in the U.S. to perform alongside a country music band when it presents a joint concert with Darrell Harwood.

The first half of the concert will feature the Salisbury Symphony Orchestra performing well-known Western tunes including Bernstein's "Magnificent Seven," Williams's "Cowboys Overture," Copland's "Rodeo," Albert's "Western Suite," and Daughtery's "American Gothic: Pitchfork," while the second half of the concert will feature Darrell Harwood and his band and include orchestral arrangements of Harwood's original songs including "Out With A Bang," "One For The Money," "Fixer Upper," "Love You More," "Stand Together," "Mama I Hate To See You Cry," and "Magic Cowboy Hat." 

Harwood, who hails from China Grove, NC, is one of country music's most prolific artists, performing over 150 shows up and down the East Coast each year. He has won numerous accolades including the 2016 CMA Country Male Artist Award and 2017 Carolina Artist Showdown Humanitarian Award. Harwood's fast-paced high-energy country rock has earned him a reputation as a powerhouse performer and a loyal following throughout the Southeast.

Tickets range from $25 - $5 and can be purchased by calling 704 216 1513 or online at

--James Harvey, Director

Smetana: Ma Vlast (CD review)

Jiri Belohlavek, Czech Philharmonic. Decca 483 3187.

The Czech nationalist composer Bedrich Smetana (1824-1884) wrote his collection of symphonic poems Ma Vlast ("My Country") between 1874 and 1879. The six movements describe his country's beauty and some of its history, the composer dedicating the cycle to the city of Prague, with the first two sections describing some of the sights and sounds of the city.

In the present recording the late Czech conductor Jiri Belohlavek (1946-2017) leads the Czech Philharmonic in one of his last recordings, and, given that over the years Ma Vlast has become a sort of national anthem for the Czech Republic, it's a fitting final tribute to the country and its music. Belohlavek had been the Chief Conductor of the Czech Philharmonic for two separate tenures (1990-92 and 2012-17), and he had already recorded the Smetana cycle with the same orchestra (for the Supraphon label) some twenty years earlier. So it is certainly a pleasure to have a Czech conductor leading a Czech orchestra in Czech music. The stuff must have been in their blood.

Anyway, the music begins with Vysehrad (1874), which Smetana named after a castle of Bohemian kings in Prague and the rock that stands there. Belohlavek judges the movement pretty well, and it comes off among the best in the cycle. The rhythms are relaxed, the melodies are lilting, and the climaxes come unforced.

After that is probably the most popular piece, Vltava (1874), which describes a river called the Moldau in German and uses an old Czech folk tune as its principal theme. In Smetana's original program notes, he tells us that the music traces the countryside the river runs through: meadows, forests, even conjuring up water nymphs along the way. Because this music is so famous, though, there are quite a few separate recordings of it, my own favorite being a very leisurely, very lyrical one recorded long ago by Leopold Stokowski and available in a collection of rhapsodies (RCA or JVC). Whatever, Belohlavek's interpretation couldn't be more different from Stokowski's. Belohlavek moves his river along at a brisk, accelerated pace, quicker than most any version I've heard. Nevertheless, the tempos never sound rushed, just curious.

Jiri Belohlavek
Coming next is Sarka (1875), referring to a female warrior in Czech legend who exacts a bloody revenge on the male sex after her lover is untrue. This portion of Ma Vlast ties in with the final two sections in describing Bohemia's fierce struggle for independence, and Belohlavek handles it with appropriate fire and fury. Throughout, the Czech orchestra plays splendidly, richly and passionately.

The next title is rather self-explanatory: From Bohemia's Woods and Fields (1875). Here, we're back to the pastoral pleasures of the countryside where we started. This is another well-judged movement from Belohlavek, although I didn't quite picture in my mind the trees and grasslands as clearly as I have with some other conductors, who seem slightly better attuned to the pictorial aspects of the music. Belohlavek appears more perfunctory about things, bringing off the big central theme pretty well, if a bit somberly.

The two last symphonic poems, Tabor (1878) and Blanik (1879), are interconnected and introduce us to a Hussite war tune (the Hussites were followers of John Huss, who initiated a nationalistic movement in Bohemia in the late fourteenth century), and the mountain where the Hussites retreated before their ultimate fight for liberation. I always think of these final portions of the cycle as the battle sequences, but I have never found them as satisfying as Smetana's preceding music. For me, the concluding movements are a little long, a little noisy, and a little repetitious. Whatever, Belohlavek couples these two final movements seamlessly, making them appear all of one piece, and he ends the work as heroically as anyone.

In the end, I cannot say I prefer Belohlavek's recording to some of my old favorites. If I had to choose, I'd still go with Vaclav Neumann (Berlin Classics), Rafael Kubelik (Supraphon), Antal Dorati (Philips or Newton Classics), Paavo Berglund (Warner Classics), Libor Pesek (Virgin Classics), or Antoni Wit (Naxos). Not that I have to choose, and this new entry is surely at least a contender.

Producers Jeri Gemrot and Dr. Alexander Buhr and engineers Vaclav Roubai and Karel Soukenik recorded the music during opening concerts at the Prague Spring Festival, Smetana Hall, Municipal House, Prague in May 2014. The result they obtained is mostly good, old-fashioned Decca sound: very clear, very clean, very wide, very big, very compartmentalized, very highlighted, and very one-dimensional. Fortunately, it is also quiet and fairly natural in its tonal response, although a touch hard and glaring in the upper midrange and a little soft and woolly in the mid-bass. Dynamic impact seems a tad muted at times, too, yet quite striking at others. It's all a bit unusual and occasionally distracting.


To listen to a brief excerpt from this album, click below:

Mozert: Sinfonia Estrema per Una Nota (Betamax review)

Lft. Sir Cedric Noel Vivian Barnstable III (KCB, KCBS, KGB, CGI, DoD, WSJ), the Katzenjammer Baroquen Orchestra; North Corvina Girls' Drum and Bungee Corps; Norman Labernacle Choir; Bill Gates Singers; with the Emerson, Lake & Palmer Quartet. Odyssey Records HAL2001.

Australian composer, trapdoor salesman, and origamist Myles P. Galleon Mozert (1739-1862) was another in the long line of musical prodigies produced by the Mozert family this past quarter century. Although the public probably recognizes him best as the owner of a trapdoor company and an origami shop, he turned to music when the trapdoor business fell through and the origami business folded. All the better for the musical community, then, when he wrote his Sinfonia Estrema per Una Nota in B-flat C-minor Major, here performed by Lft. Sir Cedric Noel Vivian Barnstable III and his accomplished East Corvina Boys' Drum and Bungee Corps.

Mozert wrote the Sinfonia in November 1732, just three days short of his death in December 1659, and the work has remained among his most-popular compositions ever since. Critics who argue that it was his only composition are clearly missing the point.

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As most readers know, Mozert wrote the Sinfonia in thirty-seven contiguous movements rather than the customary two, the work consisting of a single, sustained tone lasting approximately two and a half hours, with no breaks between notes. What's more, the composer left explicit written instructions for the ensemble to omit any suggestion of contrast, inflection, rubato, legato, brio, sostenuto, spirito, bicarbonato, carborundum, initiative, or referendum of any kind. The results can be intensely exhilarating or unbearably emulsifying by turns, and a performance requires the utmost care in its execution, stand, and delivery.

With consummate facility, the band's concertmaster, Major Domo, opens the piece with the work's signature introduction on the Campanelli Metallophone Glockenspiel, Model 17, 9mm, followed by a diverssimentino of gradually diminishing extrapolation. The effect in toto (we're not in Kansas anymore) is exfoliating, to say the least.

Associate Executive Unit Producer Yelberton Abraham Tittle, Jr. and Second Assistant Co-Coordinating Sound Engineering Director Joseph Clifford Montana, Jr. recorded the symphony at the Hoover-Electrolux Junior Studios, South Corvina, California in January 2014. They used advanced Toshiba Betamax technology for maximum fidelity, transferring the recording to Crypton 42 carbon-fiber tape for standard home playback.

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The sound obtained by the Odyssey Records junior engineering team can charitably called fluxinary. That is, it appears in continual transition from chocolatey vanilla to obtuse molasses, with hints of cherry blossoms and wild mint in the outermost ridges. Within this framework of estranged epiphanies, one can perceive the delicate fragrances of olive oil, paprika, parsley, sage, rosemary, and thyme, especially when the timpani corps join in. Altogether, it makes for an extraordinary listening experience as well as a bewildering culinary encounter.


To listen to a brief excerpt from this album, click below:

Bax: Symphony No. 2 (CD review)

Also, November Woods. David Lloyd-Jones, Royal Scottish National Orchestra. Naxos 8.554093.

It's always surprised me that the music of English composer Sir Arnold Bax (1883–1953) has never been more recorded. The material is certainly right for the high-fidelity medium. Take his Symphony No. 2 in E minor and C major (1926), for instance. Bax worked on it for two years, scoring it for a very large orchestra, featuring a wide variety of instrumental colors, with big, dramatic contrasts throughout its length. The first of three movements opens on an almost sinister note, builds through a huge, jagged crescendo, settles into a soft, somewhat melancholy mood, and then returns in the finale to the craggy heights of its beginnings, ending where it began in a gentle yet sinister mood. Such rugged individualism was something new for an English composer of the early twentieth century, yet Bax set all of it clearly within a late-Romantic framework.

Audiences apparently loved Bax's Second Symphony for a time, until his style went out of vogue in the mid century. But it isn't so much the symphony here that counts, anyway, as it is his tone poem "November Woods," one of the best things he ever wrote (along with another of his tone poems, "Tintagel"). "November Woods" is even more evocative than the Second Symphony, a kind of miniature adventure in the woods on the proverbial dark and stormy night. 

David Lloyd-Jones
Maestro David Lloyd-Jones brings off both works successfully, especially the symphony, but unfortunately for him he has to compete in the tone poem with Sir Adrian Boult. Boult's "November Woods" on Lyrita is without peer; indeed, it is one of my ten favorite recordings of all time, capturing the spirit of the forest at night with inimitable persuasion. Lloyd-Jones makes the woods dark and menacing. Boult makes them magical, as well.

Besides which Boult's late-Sixties Lyrita sound is superior to the Naxos digital effort. This is not to downgrade the Naxos sound, mind you, which is fine in its own right; but the Lyrita recording has greater transparency, more dynamic range, a wider stereo spread, and, most important, a better presentation of front-to-back imaging, or depth. One has to pay through the nose for the Lyrita reissue, however, about five times the price of the Naxos disc. And therein may lie difference.

You actually can't go wrong with this Naxos release; the performances are first-rate, the sound is OK, and the price is right. It's just my bias showing for the older Lyrita favorite in the tone poem. 


To listen to a brief excerpt from this album, click below:

Mozart: Piano Concertos 25 & 27 (CD review)

Piotr Anderszewski, Chamber Orchestra of Europe. Warner Classics 0190295724221.

This Mozart album marks the third or fourth time I've reviewed something from Polish pianist and composer Piotr Anderszewski (b. 1969). As with the previous performances I've heard from him, the pianist appears technically brilliant, stylistically accomplished, and interpretively subdued. In other words, while he's pleasant enough to listen to, there may not be a lot that's particularly compelling enough about his interpretations to make listeners who already have favorites in the material turn to Anderszewski for anything new or different.

Anyway, Anderszewski begins the program with the Piano Concerto No. 25 in C major, K. 503, which Mozart wrote in 1786. Interestingly, in Mozart's lifetime it was not among his most-admired works and only gained prominence after his death. Today, music critics and audiences alike consider it one of his finest, most-mature works. Because of its symphonic overtones, the concerto is sometimes compared to the composer's "Jupiter" symphony, and one can see the resemblance in the concerto's long orchestral introduction alone.

When the piano enters, we hear immediately Anderszewski's bravura playing--articulate, smooth, flowing, and seemingly effortless. What we don't hear, however, is much explicative variation from the ordinary. The soloist is sensitive when necessary and exclamatory when needed, but not much more.  In other words, the performance is hard to fault on any technical grounds. Anderszewski provides everything Mozart intended except, perhaps, for heart. While it is not exactly a cold approach to the score, it is not one that a listener can easily fall in love with, either.

Piotr Anderszewski
I enjoyed the Andante a little more than the opening, and the pianist does inject a healthy dose of poetic sentiment into it. Again, though, there isn't much variety in the movement's conflicting moods, leaving the whole a little flat. Finally, we get to that festive frolic of an ending, which the pianist handles with characteristic frankness, if not exactly flair. It's all very proper and aboveboard.

Anderszewski follows No. 25 with Mozart's final piano concerto, No. 27 in B-flat major, K. 595, which premiered in the year of Mozart's death, 1791, but which Mozart may have written as early as 1788. The work is more strongly linked by internal themes than most of Mozart's other concertos, and it is more thinly scored, helping it to stand out among his many piano works. As with No. 25, No. 27 begins with a lengthy orchestral introduction.

No. 27 is a somewhat more tranquil work than No. 25, and Anderszewski handles it in an even more-moderate fashion than before. As always, his playing is precise, fluent, and fluid, and it's a bit more involving. Maybe it doesn't convey all the longing and despondency of some other renditions, but it does at least give us a glimpse into Mozart's troubled mind at the time of its composition. This is especially true of the mournful Larghetto. With Anderszewski, the movement is sweet without being cloying, a case in which the pianist's straightforwardness is an asset. In the final movement, Mozart alternates and blends a subdued joy and a hushed sadness, a combination that slightly eludes Anderszewski. Nevertheless, with such refined, if low-key, expression, his goals never appear in doubt.

So, as I said earlier, Anderszewski's performances are technically flawless but not exactly inspiring. If one already has a favored Mozart interpreter--say, Stephen Kovacevich, Vladimir Ashkenazy, Sir Clifford Curzon, Evgeny Kissin, or a host of others--there is probably little reason to acquire additional albums by Anderszewski. If, however, one is a fan of Anderszewski's moderately reserved approach to music making, the present performances will doubtless please one.

Producers Andrzej Sasin, Aleksandra Nagorka, and Alain Lanceron and engineers Rainer Maillard and Douglas Ward recorded the album in the Festpeilhaus, Baden Baden, Germany in July 2017. The sound they obtained is clear and clean, if a tad bright and forward. The piano is nicely integrated with the orchestra, well defined, yet not too close. Because of the relatively small, chamber-sized orchestra, we get a fairly dynamic and transparent overall sound, which should satisfy most discerning listeners.


To listen to a brief excerpt from this album, click below:

Classical Music News of the Week, March 24, 2018

Bach Week Festival for 2018

The Bach Week Festival has announced its 45th annual program of concerts in Evanston, Illinois, April 27 and 29 and Chicago, IL May 4, featuring new twists on presenting music by the event's namesake, German Baroque composer Johann Sebastian Bach.

"Each season, we go 'Bach' to the drawing board to keep the festival fresh while remaining true to our mission," says Richard Webster, Bach Week's long-time music director and conductor. Webster performed in and helped organize Evanston's inaugural Bach Week in 1974 and has been music director since 1975.

The 45th annual concert series will feature the world premiere of Marcos Balter's new Bach-inspired work for solo cello, pianist Sergei Babayan in a Bach concerto and solo works, and the festival's first performance of Bach's Cantata 191.

Single-admission tickets to each of the three main concerts are $30 for adults, $20 seniors, $10 students. Subscriptions to the main concerts are $80 for adults, $50 for seniors, and $20 for students. All tickets for the April 27 Candlelight Concert are $20. Tickets can be purchased online at or by phone, (800) 838-3006. For general festival information, phone 847-269-9050 or email

For complete information, visit

--Nathan J. Silverman Company

West Edge Opera Announces 2018 Summer Festival
West Edge Opera announces its 2018 summer festival venue, casting and program, which includes Debussy's Pélleas and Mélisande, Luca Francesconi's Quartett, and Matt Marks's Mata Hari. The artists include soprano Heather Buck, baritones Hadleigh Adams and Efrain Solis, actress Tina Mitchell, directors Elkhanah Pulitzer, Keturah Stickan and Paul Peers, conductors John Kennedy, Jonathan Khuner and Emily Senturia.

The West Edge Festival 2018 opens August 4 and closes August 19. This year's venue is The Craneway Conference Center, a former Ford assembly plant on the Richmond, CA waterfront. Series tickets go on sale April 1 with a significant reduction in the price of general admission tickets. Single tickets go on sale June 1.

For complete information, call 510-841-1903 or visit

--Adam Flowers, West Edge Opera

Vienna Philharmonic and IDAGIO Announce Partnership
The Vienna Philharmonic and classical music streaming service IDAGIO announce an important new partnership today.

Classical music lovers can now audio-stream live recordings of the Vienna Philharmonic's famous subscription concerts at the Vienna Musikverein on IDAGIO. First in this series of exclusive recordings to be made available on the streaming service features Christian Thielemann conducting the farewell concert of Dieter Flury, the orchestra's principal flute from 1981 to 2017. The programme includes Brahms's Fourth Symphony and Jörg Widmann's "Flûte en suite".

The partnership also encompasses joint marketing activities, including a series of short films, "Up Close," in which members of the Vienna Philharmonic answer one simple questions: "Which recording should we listen to and why?" You can watch the first in this revealing series of exclusive videos here:

--Elias Wuermeling, IDAGIO PR

MasterVoices Presents New Production of Orphic Moments at JALC Rose Theater
MasterVoices--dedicated to celebrating the power of the human voice through the art of musical storytelling--presents two performances of a new production of Orphic Moments, in conjunction with producers Anthony Roth Costanzo and Cath Brittan.

The performances are Sunday, May 6, 2018 at 8:30 p.m. and Monday, May 7, 2018 at 7:00 p.m. at the Rose Theater at Jazz at Lincoln Center's Frederick P. Rose Hall, NYC. The inventive and contemporary pairing, which premiered at National Sawdust in 2016 to great acclaim, combines trailblazing composer and librettist Matthew Aucoin's dramatic cantata, The Orphic Moment, with Gluck's Orfeo ed Euridice, in a large-scale new version re-conceived for MasterVoices.

The production probes Orpheus's psychology, and his fatal decision to turn back. The traditional myth is viewed through the lens of artistic ego and hubris in moral choice. The production is conducted by Ted Sperling, directed by Zack Winokur, and has scenic design by Douglas Fitch. It features countertenor Anthony Roth Costanzo, sopranos Kiera Duffy and Lauren Snouffer, dancer Bobbi Jene Smith, violinist Keir GoGwilt, Orchestra of St. Luke's, and the MasterVoices Chorus.

Sunday, May 6 at 8:30 p.m.
Monday, May 7 at 7:00 p.m.
Rose Theater at Jazz at Lincoln Center's Frederick P. Rose Hall
10 Columbus Circle
New York, NY 10023

Tickets can be purchased at, by calling CenterCharge (212-721-6500) or by visiting the Jazz at Lincoln Center Box Office, within the Time Warner Center, at Broadway at 60th Street, Ground Floor Monday-Saturday 10am-6pm and Sunday 12pm-6pm.

--Katy Salomon, Morahan Arts and Media

ROCO Announces its 2018-19 Season
ROCO (River Oaks Chamber Orchestra) is excited to announce its 2018-19 season, entitled "Games People Play." The rollicking musical rumpus will include seven world premiere commissions – bringing the organization's total to an impressive 76 – and will reinforce ROCO's commitment to diversity by featuring a female composer, conductor, or soloist on every concert.

The In Concert performances feature pieces running the game-related gamut from a chess match between piano and orchestra, to a sonic simulacrum of solitaire, to an orchestral depiction of a Turkish wrestler. The delightfully unorthodox, musician-led Unchambered series continues to offer a new vision of how chamber music can uniquely connect performers and audiences – including a new piece entitled "Mind Games," where the audience votes with their phones during the performance and influences the direction of the piece.

The Connections series continues to take the music out of the concert hall and into new and unusual places, including a vintage game night at Rienzi, a larger-than-life version of musical chairs at The Heritage Society, and a performance of Peter and the Wolf at the Houston Zoo that swaps 'wolf' for 'bear' in celebration of the zoo's new ursine exhibit.

For more information go to

--Andrew Ousley, Unison Media

PBO Closes Season with a Beethovenian Bang
Waverley Fund Music Director Nicholas McGegan and Philharmonia Baroque Orchestra & Chorale are soon to cap off another season of historically informed performances with a powerful Beethoven program that includes the composer's monumental Mass in C major, Op. 86 and Fantasia in C minor, Op. 80 "Choral Fantasy" in concerts throughout the San Francisco Bay Area April 25-29.

The 2017/18 season finale entitled "Beethoven Unleashed" is inspired by Beethoven's epic Akademie concert of 1808, during which he premiered the Mass in C and "Choral Fantasy." PBO will also include Cherubini's poignant tribute to Haydn, "Chant sur la mort de Joseph Haydn."

For complete information, visit

--Dianne Provenzano, Philharmonia Baroque

Coming up in France à Cordes...
The 14th-century relocation of the papacy from Rome to Avignon provided ripe opportunity for both shock and satire. The Roman de Fauvel, an allegorical verse about an orange-hued donkey who becomes king, and whose marriage to Fortune results in the antichrist, is probably the best known work to come out of the tumult.

Basel-based virtuosa Corina Marti performs exquisite musical selections by Philippe de Vitry and others, Ars Nova tales that tell of calamity that ensues when a state loses its way and an ass takes the throne.

Sunday, April 8 at 4:00pm
L'Église Française du Saint Esprit
111 East 60th Street, NYC

Corina Marti, clavisymbalum, double flutes, and recorders

For more information and tickets, visit

--Salon/Sanctuary Concerts

San Francisco Girls Chorus Concludes Season with Jacobsen World Premiere
The San Francisco Girls Chorus and Artistic Director Designate Valérie Sainte-Agathe conclude the 2017-18 subscription season on Sunday, April 22, at 4 p.m. at the Forum at Yerba Buena Center for the Arts, San Francisco, in a program in collaboration with composer and violinist Colin Jacobsen.

Featuring the world premiere of Jacobsen's Vocalissimus, the program celebrates Lisa Bielawa's final concert as SFGC's Artistic Director with a musical amalgam of projects and partnerships created during her five seasons with the chorus. Selections from the ensemble's newly released album Final Answer are featured, including Opening: Forest from Bielawa's TV opera Vireo: The Spiritual Biography of a Witch's Accuser, Final Answer by Theo Bleckmann, Herring Run by Carla Kihlstedt, and Bubbles by Aleksandra Vrebalov. Also featured on the program are three hymns from The Crucible by Philip Glass and Septuor by French composer André Caplet.

For more information, visit

--Brenden Guy PR

ASPECT Foundation Presents "Weimar, The Cradle of Musical Talent"
The ASPECT Foundation for Music & Arts presents Weimar: The Cradle of Musical Talent on Thursday, April 19, 2018 at 7:30 p.m. at The Italian Academy at Columbia University, NYC, part of the foundation's second New York City season of illuminating performances featuring many of the most prominent performers and musical scholars of today.

The evening features celebrated pianist Vsevolod Dvorkin and 2007 International Tchaikovsky Competition Gold Medalist, cellist Sergey Antonon, in Bach's Cello Suite No.1 in G Major, Mendelssohn's Cello Sonata No. 2 in D Major, and Liszt's Piano Sonata in B Minor, paired with an illustrated talk by veteran BBC radio host and musicologist Stephen Johnson. Johnson will delve into the city of Weimar's significance during the twentieth century as a beacon of culture. This includes Bach's tenure as Weimar's court organist; twelve-year-old Mendelssohn's visit to the city, effectively making an impression on the writer Goethe; and Liszt's 1842 appointment as court composer. Alongside performances of some of these three composers finest instrumental works, this concert examines the Golden Age of a city that became a place of refuge during troubled times.

"Weimar: The Cradle of Musical Talent"
Thursday, April 19, 2018 at 7:30pm
The Italian Academy at Columbia University, 1161 Amsterdam Avenue, NYC
Tickets: $45 includes wine and refreshments

--Katy Salomon, Morahan Arts and Media

The Emerson String Quartet and Pianist Evgeny Kissin's First U.S. Tour
For the first time, Evgeny Kissin joins the Emerson String Quartet in chamber music for three performances in the U.S. at Chicago's Symphony Hall (April 15), Boston's Jordan Hall (April 22) and  New York's Carnegie Hall (April 27), following a European tour in Baden Baden, Paris, Munich, Essen, Vienna, Amsterdam. The program features Piano Quartets by Mozart and Fauré, and Dvorák's Piano Quintet No. 2 in A Major, Op. 81, a central masterwork of Romantic-era chamber music.

The Emerson Quartet & Evgeny Kissin talk about their first-time collaboration:

--Xi Wang, Kirshbaum Associates

John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

Contact Information

Readers with polite, courteous, helpful letters may send them to

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa