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The article highlights Barbara Harbach's symphonies, such as "Tempus fugit," "The Journey," and "Pioneer Women," which draw inspiration from themes like time, abolitionist journeys, and pioneering women in Alaska. Harbach's music is praised for its colorful, tuneful, and attractive qualities, with programmatic elements adding depth to the compositions. Jake Runestad, known for his choral compositions like "Dreams" and "Earth Symphony," conveys powerful messages through choir and piano, including themes of armed conflict and the transformative power of music. True Concord, the ensemble Runestad collaborates with, shares his vision of creating beauty and harmony through music. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" introduces the wind symphonies of David Maslanka through an interview with his son, Matthew Maslanka. Matthew discusses his role in preserving his father's compositions and foundation, as well as his work with music engraving. The text highlights recordings of Maslanka's wind symphonies, emphasizing their deep and transformative nature, and touches on his compositional evolution and the importance of music notation software like Dorico. Additionally, the article discusses the influence of immigrant composers in Hollywood, such as Erich Korngold and Miklós Rózsa, on early film music, with Nanette McGuinness exploring their heritage and music in a project called "Émigrés and Exiles in Hollywood" as part of the Jewish Music and Poetry Project. [Extracted from the article]

This article reviews the performance of American pianist George Li's interpretation of the works of classical composers Schumann, Ravel and Stravinsky.

This article discusses a recording of piano duet arrangements of orchestral works by Danish composer Carl Nielsen. The performers, Rikke Sandberg and Kristoffer Hyldig, have made modifications to Nielsen's arrangements while staying true to the composer's intentions. The recording is praised for its superb sound quality and the performers' expressive and precise playing. Overall, the article recommends this recording as an important addition to the piano repertoire and a must-listen for fans of Nielsen's music. The text also briefly mentions a march composed by Nielsen's father, Niels Jørgensen, which is included on the recording. [Extracted from the article]

The article discusses the remastered recordings of Frederick Stock and the Chicago Symphony Orchestra, focusing on Volume 4, which includes works by Tchaikovsky, Mozart, Strauss, Sibelius, and others. Stock's tenure with the orchestra is highlighted, showcasing his strong, committed performances and unique interpretations. The recordings from 1939 and 1940 demonstrate Stock's impressive ensemble-building skills and his influence on the orchestra's later success under Fritz Reiner and Georg Solti. The article praises the quality of the remastered recordings and emphasizes Stock's significant role in the orchestra's history. [Extracted from the article]

The article discusses the late works of composer Shostakovich, particularly focusing on his Viola Sonata and the emotional depth it conveys in the face of mortality. It also highlights performances of Shostakovich's Symphonies Nos. 4-6 by conductor Klaus Mäkelä, noting his restrained and thoughtful interpretations that differ from traditional Russian approaches. Additionally, the article reviews James Ehnes' recording of Sibelius' Violin Concerto, praising his impeccable technique and the dynamic interpretation by conductor Edward Gardner. The article provides insights into the musical nuances and emotional depth of these classical works. [Extracted from the article]

The article discusses the history and impact of the period-performance movement in classical music, highlighting key conductors and orchestras that have embraced this style. It explores the evolution of the movement, its successes, and criticisms, as well as the challenges faced by musicians and critics in adapting to historically informed performance practices. The article also reflects on the personal evolution of passion for music, emphasizing the importance of exploring new works and deepening appreciation for familiar repertoire to rejuvenate one's love for music. [Extracted from the article]

This article explores two musical compositions: "Chasing Home" by Joseph Thalken and "Appalachian Spring: Suite" by Aaron Copland. Thalken's piece tells the story of Syrian refugees seeking a new home in the US, with influences from Arabic music. Copland's ballet represents innocent Americana and is known for its melody-driven style. The Dallas Chamber Symphony delivers a lovely performance of Copland's suite, emphasizing its delicate qualities. The article also discusses Ferdinand Thieriot's chamber works, praising their beauty and character, noting similarities to Brahms' string quintets. Thieriot's Two Adagios and Four Fantasy Pieces are also highlighted for their enjoyable nature and salon-like character. [Extracted from the article]

This article provides an overview of two classical music compositions: Strauss' "Vier letzte Lieder" and Stravinsky's "Firebird: Suite" and "Petrushka." The author praises the performances of the cast members and provides background information on the titles and revisions of the compositions. The article concludes by recommending the full Salzburg production of the music over the excerpts provided in the CD. The interpretations of Stravinsky's works by Finnish conductor Santtu-Matias Rouvali are also mentioned. The performances of both compositions are criticized for lacking excitement and drive. [Extracted from the article]

The text provides an analysis of various musical works, including Max Richter's paraphrase of Vivaldi's "The Four Seasons" and symphonies No. 1 and No. 2 by Ferdinand Ries. It offers insights into the performances of these works by different musicians, along with the author's opinions on the quality and interpretation of the music. The article also delves into the background of the composers and their historical context. Specifically, it discusses the premiere and critical reception of Ries's Symphony No. 2 in D Major, composed in 1814 and premiered in London. The text also mentions the misnumbering of Ries's symphonies by the publisher, Simrock, and the confusion surrounding the existence of an Eighth Symphony. The author concludes by praising the performances of Ries's symphonies by Janne Nisonen and the Tapiola Sinfonietta. Additionally, the text reviews a recording of Rossini's opera Armida, highlighting the soprano's shortcomings and the absence of an English translation. It compares this recording to other available versions. Lastly, the text discusses a live performance of Rossini's La Cenerentola from 1952, praising its energy and lively spirit, particularly highlighting the conductor, Vittorio Gui. [Extracted from the article]

This article provides reviews of two different recordings of Bruckner's symphonies. The first review praises Manfred Honeck's interpretation of Bruckner's Seventh Symphony, performed by the Pittsburgh Symphony Orchestra, with special attention given to the timpani. The second review discusses Jakub Hrůša's interpretation of Bruckner's Ninth Symphony, performed by the Bamberg Symphony Orchestra, and highlights the orchestra's sound and the engineering of the recording. Both reviews mention a short orchestral piece by Mason Bates included in the recordings. [Extracted from the article]

This article compares two recordings of Bruckner's Symphony No. 6, one conducted by Andreae and the other by Shani. The first recording is praised for its fiery and expressive qualities, while the second recording is criticized for lacking hierarchy among the instruments and being superficial. The article also briefly mentions recordings by Celibidache and Steinberg, with Celibidache known for his slow conducting style and admiration for Bruckner, and Steinberg known for his traditional approach. Steinberg's recording of Symphony No. 6 is described as a normal and mainstream interpretation. [Extracted from the article]

This article explores different approaches to playing Bach on the piano, comparing the interpretations of pianist Luisa Guembes-Buchanan to those of other pianists. Guembes-Buchanan's intelligent and thoughtful approach to Bach's music is praised, highlighting her incisive attack and strongly articulated playing. The article also discusses composer Marc Harris and his choral symphony, "Aurora Nova," which represents a progression from darkness to light. Each movement of the symphony represents a different stage, with the finale bringing light and hope. The symphony has received positive reception and draws influences from composers like Bruckner and Mahler. [Extracted from the article]

The article discusses the works of British composer Peter Maxwell Davies, focusing on his first three symphonies composed in the late 1970s and early 1980s. Davies, known for his avant-garde style, shifted towards large-scale symphonies using thematic material based on plainsong and ancient chant. The symphonies are described as dynamic seascapes influenced by Davies' relocation to Scotland, capturing the essence of the sea and landscape. Critics note the complexity and depth of Davies' symphonies, requiring time and effort to appreciate fully. [Extracted from the article]

The article discusses various classical music releases, including a collection of Swiss orchestral works, a wind orchestra compilation album, and a jazz column honoring saxophonist Benny Golson. The Swiss orchestral works span over two centuries and showcase a variety of composers, while the wind orchestra album features new pieces with the potential to become classics. The jazz column pays tribute to Benny Golson's compositions, highlighting his timeless and graceful jazz classics that have been celebrated by his peers in the music industry. [Extracted from the article]

The article discusses the life and works of composer Wang, detailing his struggles and triumphs in China before eventually moving to Germany. It also analyzes his Symphony No. 3, drawing comparisons to the influence of Dmitri Shostakovich while highlighting Wang's unique compositional voice. Additionally, the article explores Kurt Weill's symphonies and The Seven Deadly Sins, emphasizing the aggressive and unsettling nature of his music, as well as the satirical and cynical themes present in his work. The performances of these pieces are praised for their quality and emotional depth. [Extracted from the article]

The article discusses Xilin Wang's Symphony No. 3, highlighting the composer's background and the dark, depressing nature of the work. Wang's symphony, influenced by Shostakovich, is described as relentless in its bleakness, lacking the humor and sarcasm often found in similar works. The piece, dedicated to those who uphold democracy and freedom, is noted for its dissonant and anguished chords, offering no comfort or hope to listeners. The review also touches on the historical context of Wang's life in China and the political implications of his composition. [Extracted from the article]

The article discusses the comparison between two recordings of Schumann's string quartets and piano quintet by Gringolts and Hanson/Laloum. It highlights differences in tempo and interpretive approaches between the two ensembles. Additionally, the article reviews a performance of Schumann's Symphony No. 4 by Florian Merz, critiquing the conductor's interpretation as lacking in Romantic essence. Lastly, it evaluates a Lieder recital by Diana Damrau and Jonas Kaufmann, praising their vocal performances and mature depiction of love. [Extracted from the article]

The article discusses a recording of SCHUBERT Symphonies Nos. 1-7, 9, praising the high-quality production and excellent performances. The reviewer expresses mixed opinions on the conductor's approach, particularly towards the Ninth Symphony. The article also covers Clara Schumann's Piano Concerto and Grieg's Piano Concerto, highlighting the distinct qualities brought by the performers to each piece. Overall, the article provides insights into the interpretation and performance of classical music pieces, offering a critical perspective on historical performance practices. [Extracted from the article]

The article discusses the remastering of Maria Callas's Gioconda recording, highlighting the improved sound quality of Pristine's transfer. It also compares Stewart Goodyear's performance of Prokofiev's Piano Concertos Nos. 2 and 3 with other notable recordings, noting his technical proficiency but lack of charisma. The text emphasizes the historical significance and musical intricacies of the recordings, providing insights into the performances and the artists involved. [Extracted from the article]

The article discusses various classical music performances and recordings, including works by Rachmaninoff and Ravel. It highlights different conductors, orchestras, and musicians, providing insights into their interpretations and styles. The text also delves into the historical background of Rachmaninoff's life and musical influences, offering a comprehensive view of the composer's journey and impact on classical music. Overall, the article offers a detailed analysis of classical music performances and recordings, catering to enthusiasts and researchers in the field. [Extracted from the article]

The article discusses two musical works by Olivier Messiaen, focusing on the vocal virtuosity displayed in "Chants de terre et de ciel" and "Poèmes pour Mi." The unique sound world created by Messiaen, influenced by bird calls and Catholic mysticism, is highlighted, along with his unconventional approach to rhythm and harmony. The review also examines "Des canyons aux étoiles...," a piece inspired by the red-rock canyons of Utah, showcasing Messiaen's distinctive style and use of percussion. The performances are praised for their color, energy, and commitment to exploring the possibilities of sound. [Extracted from the article]

The article discusses various piano duet arrangements of orchestral works by Liszt, Beethoven, and Berlioz, highlighting the challenges of translating orchestral music to the piano due to differences in sustain and dynamics. The performances are noted for their technical brilliance but criticized for lacking the lyrical qualities of string instruments and sounding somewhat mechanical. Another section of the article reviews a Liszt recital by French pianist Tanguy de Williencourt, praising his fresh and enthusiastic interpretations of Liszt's works, particularly the B-Minor Sonata. The article also covers a Naxos release of choral works by Portuguese composer Fernando Lopes-Graça, showcasing accessible melodies and beautiful singing by Coro Casa da Música. Additionally, the article briefly mentions a Supraphon recording of works by Jan Antonín Losy, a lesser-known Bohemian aristocrat and composer from the Baroque period. [Extracted from the article]

The article from Fanfare: The Magazine for Serious Record Collectors discusses performances of ELCOCK's Violin Concerto and Symphony No. 8 by different conductors and orchestras. The review provides detailed critiques of the performances, highlighting aspects such as tempo, orchestration, and overall interpretation. The article also mentions the historical context of the compositions and compares them to works by other composers. The review offers insights into the musical nuances and challenges presented by these pieces, providing a comprehensive analysis for readers interested in classical music. [Extracted from the article]

The article discusses Semyon Bychkov's recordings of Dvořák's Symphonies 7-9, along with the overtures In Nature's Realm, Carnival, and Othello. Bychkov's conducting style is described as affectionate and mellow, focusing on warmth and color rather than dramatic tension. The article compares Bychkov's interpretations to other conductors and highlights the strengths and weaknesses of his performances, ultimately suggesting that listeners who appreciate mellowness may enjoy his recordings. Additionally, the article briefly mentions other recordings of Ernst Eichner's symphonies and Elcock's Violin Concerto and Symphony No. 8. [Extracted from the article]

The article discusses performances of Dvořák's Symphonies and concertos by various artists. It highlights the contrasting emotional tones of the music and the interpretations by different musicians. The text also provides background information on the performers and their approaches to the compositions. Overall, the article offers insights into the nuances of musical interpretation and performance styles. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" discusses performances of Dvořák's American Suite and Symphony No. 9. It highlights the strong performance by tenor Garès and conductor Rovaris, despite some reservations expressed by Rovaris. The article also praises the energetic and upbeat program by Simon Callaghan and Hiroaki Takenouchi, featuring works by composers like Dorothy Howell and Pamela Harrison. Additionally, it reviews Nathalie Stutzmann's conducting of the Atlanta Symphony, noting her transition from contralto to conductor and her promising start as a music director. [Extracted from the article]

The article discusses the original and revised versions of Bruckner's Symphony No. 9, highlighting the differences in orchestration, tempo, and mood between the two versions. It also critiques a recent performance of the symphony by Paavo Järvi and the Tonhalle Orchestra in Zurich, noting issues with balance, rhythm, and overall interpretation. Additionally, the article briefly reviews other symphonies by Fridrich Bruk and Adolf Busch, providing insights into their compositions and performances. The text offers a balanced perspective on the musical works discussed, providing valuable information for those interested in classical music research. [Extracted from the article]

The article discusses the historical context and critical reception of Anton Bruckner's Symphony No. 8, focusing on various conductors' interpretations and recordings of the piece. It highlights the significance of the original 1887 version of the symphony and the challenges faced by conductors in capturing Bruckner's intended vision. The text also briefly mentions Eliahu Inbal's performance of Bruckner's Symphony No. 8 in 2015, emphasizing his dedication to the original version and the unique qualities of his interpretation. [Extracted from the article]

The article discusses the various versions and revisions of Bruckner's Symphony No. 4, highlighting the composer's extensive revisionism compared to other composers. It explores the differences between the 1874, 1876, 1878, and 1888 versions of the symphony, with a focus on the 1888 edition performed by Gerd Schaller. The text also reviews a performance of the 1878-80 version by Franz Welser-Möst and the Cleveland Orchestra, noting the conductor's emphasis on precision and polished ensemble over emotion. Additionally, it mentions Eliahu Inbal's specialization in original versions of Bruckner symphonies, particularly the 1887 version of Symphony No. 8. [Extracted from the article]

The article discusses various versions of Bruckner's symphonies, focusing on Symphony No. 3 and Symphony No. 4. Different conductors and orchestras are analyzed in their interpretations of these works, highlighting differences in tempo, sound quality, and overall performance. The text provides a detailed critique of each version, offering insights into the nuances of Bruckner's compositions and the challenges faced by conductors in bringing out the best in these symphonies. [Extracted from the article]

The article discusses different conductors' approaches to performing Bruckner's symphonies, focusing on specific versions and interpretations. It highlights the differences in sound quality, tempo, and orchestral size, as well as the historical context of Bruckner's compositions. The text provides a critical analysis of various performances, comparing different conductors' styles and the impact on the overall interpretation of Bruckner's music. [Extracted from the article]

The article from Fanfare: The Magazine for Serious Record Collectors discusses Margaret Brouwer's compositions, including "The Art of Sailing at Dawn," "Rhapsody, Concerto for Orchestra," and "Symphony No. 1, 'Lake Voices'." Brouwer's music is described as tonal with touches of dissonance, showcasing her strong gift for melody and orchestral color. The compositions are influenced by Debussy and Ravel, capturing serene and vibrant moods, with Symphony No. 1 reflecting Brouwer's Dutch-American heritage and love for the Great Lakes. The performances by Marin Alsop and the Vienna Radio Symphony Orchestra are praised for their energy and exploration of unfamiliar voices, making the recording highly recommended for listeners. [Extracted from the article]

The article discusses the music of Dutch composer Johannes Bernardus van Bree, focusing on his Concert Overtures, Violin Concerto, and Fantasy in Form of a Symphony. Van Bree's compositions are described as anomalies in Dutch music history, as he was a rare Dutch composer during a time when the spotlight of music history was elsewhere. The article provides insights into van Bree's life, career, and musical style, highlighting his orchestration skills and the charm of his compositions. The review praises the performances of violinist Ariadne Daskalakis and the Cologne Academy orchestra, recommending the recording for those interested in exploring Romantic period music from the Netherlands. [Extracted from the article]

The article discusses Robert Burns Arnot's Christmas Symphony and A Visit from St. Nicholas, highlighting his journey as a composer and the influences behind his works. Arnot's compositions are described as tonal and evocative of the Christmas season, with a focus on nature and nostalgia. The article also mentions Arnot's background as a physician and journalist, and his return to music later in life. Overall, Arnot's works are praised for their emotional impact and craftsmanship, making them a recommended listen for those seeking light, classical music. [Extracted from the article]

This document provides a collection of reviews and summaries of various musical compositions. The first review praises Virgil Thomson's piano portraits, highlighting their unique and beautiful qualities. The second review focuses on Sir Michael Tippett's oratorio "A Child of Our Time," which explores themes of persecution and suffering during World War II. The third review discusses a program of music by Joaquin Turina, performed by Concerto Málaga, while the fourth review examines the recordings of violinist and conductor Frederick Grinke. Grinke's warm tone and his collaboration with composer Vaughan Williams, who composed a violin sonata for him, are discussed. The article also mentions that the recordings on the disc include world premiere recordings of four out of the five works, with the exception of The Lark Ascending. The Concerto accademico is noted for its somewhat austere Neoclassical style. [Extracted from the article]

This text provides a review of two different musical performances. The first part discusses a performance of Scriabin's Second Symphony by Kazushi Ono with the Brussels Philharmonic. The reviewer praises Ono's conducting but criticizes the short timing of the performance. The second part discusses a new recording of Shostakovich's string quartets by the Danel Quartet. The reviewer notes the faster tempos in this new recording and the strict numerical sequence of the quartets. The reviewer also mentions the history of recordings of Shostakovich's quartets and the significance of following the composer's development. [Extracted from the article]

This article provides a collection of reviews for various musical performances and recordings. The first review critiques a performance of Brahms's Fourth Symphony, describing it as a disturbing portrayal of death and destruction. The second review evaluates a recording of Schumann's Piano Concerto, noting that the pianist's interpretation lacks the playful charm found in other versions. The third review praises Jan Willem de Vriend's conducting of Schumann's symphonies, highlighting the precision and clarity of the performances. The fourth review discusses a live recording of Schumann's chamber music, commending the engaging performances and vibrant sound quality. The final review assesses a recording of Scriabin's Symphony No. 2, expressing personal disappointment with the conductor's interpretation and the symphony's lack of compelling musical ideas. The author, a devoted Scriabin enthusiast, considers the Second Symphony to be a letdown compared to the composer's other works. [Extracted from the article]

This article provides a comprehensive review of various musical compositions and performances. It discusses a recording featuring pianists Pavel Kolesnikov and Samson Tsoy, who deliver a passionate and contrasting performance of Schubert's Divertissement à la hongroise and Fantasy in f, as well as a new piece by Leonid Desyatnikov called Trompe-l'œil. The article highlights Desyatnikov's innovative approach in incorporating fragments and echoes of the original work. It also mentions the fictional author Pierre Ménard, who rewrites Don Quixote, and praises the performances of Kolesnikov and Tsoy in concerts featuring LGBT composers and performers. The text further reviews recordings of Schubert's Klavierstücke and Hummel's Piano Sonata, and compares the works of Schubert and Loewe in the Lieder tradition. The article concludes by commending the intelligent and imaginative program of a recording featuring Konstantin Krimmel performing songs by Schubert and Loewe. [Extracted from the article]