In essence

1706 Posts
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French Geography or Classical Composers?
Chédeville Picturesquely located on the banks of the Loire River, the settlement of Chédeville has been famous for its cultivation of wine since prehistoric times. Truth be told, however, it hasn’t, as a city by this name is only found
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Niels Gade
“A distinctive Nordic Voice”
Although the public reception of the works of Niels Wilhelm Gade (1817-1890) was left untouched by political and cultural censorship, he never quite achieved the fame of Felix Mendelssohn and Robert Schumann. Nevertheless, Gade is still regarded as one of
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Unsung Concertos
Paul Hindemith: Klaviermusik mit Orchester, Op. 29
The pianist Paul Wittgenstein tragically lost his right arm in World War I. Nevertheless, Wittgenstein decided to continue his pianistic career by commissioning the leading composers of his day to write dedicated piano works for his left hand. Lured by
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Mozartwoche Salzburg 2017
Vienna Philharmonic: Yannick Nézet-Séguin/Rolando Villazón
1 February 2017Wolfgang Amadeus Mozart: Concert Arias for Tenor and Orchestra, KV 420, 431, 36, 21 The vast majority of Mozart’s independent arias is composed for the soprano voice. However, there are a handful of concert arias for the tenor
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Steady as a Rock
Niels Gade, Sophie Hartmann, and Mathilde Staeger
As long as anybody could remember, Niels Gade had always been in love with music! He taught himself to play a variety of instruments, and started composing at a super early age. Once his musical education was formalized, he steadfastly
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Unsung Concertos
Ralph Vaughan Williams: Piano Concerto in C major
The reputation of Ralph Vaughan Williams as the most important English composer of his generation squarely rests on his compositions for the operatic stage and the Concert Hall. These theatrical dramas and orchestral essays characteristically reference the landscapes, myths and
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Claude Debussy: La Flûte de Pan/ Syrinx
Melodrama and Flute Solo
Claude Debussy composed very little music for the theatre. Although he conceived a substantial number of theatrical projects with the playwright, novelist, poet and translator Gabriel Mourey, they somehow never fully materialized. The notable exception is the three-act dramatic poem
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Unsung Concertos
Francesco Petrini: Harp Concerto No. 1, Op. 25
Before she ingloriously lost her head, Marie-Antoinette reigned over music in France in the Age of Enlightenment for nearly twenty years. She invited and actively supported foreign composers, and simultaneously fostered the great tragédie lyrique of Gluck alongside the opéa
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