Mount Wilson FM announces new digital hybrid technology on KMZT AM 1260 to revive classical radio in Los Angeles and Southern California.
62 years ago Mount Wilson launched classical music on 105.1 FM when less than 25% of homes had FM receivers. Industry experts dismissed it as futile. December 1st, 2020 Mount Wilson again swims against the tide with the assistance of digital technology to re-launch Wolfgang and Bach on KMZT 1260 with an improved analog signal and hybrid technology providing KMZT with stereo. And assisted with Digital FM on 105.1 HD4, www.kmozart.com, and on smartphone app (K-MOZART) nationally.
Listen As Follows:
1. KMZT 1260 Analog And Hybrid Digital
2. 105.1 Hd4
4. K-Mozart App(On Your Smart Phone)
There's a brilliant story behind pianist and composer Sarah McKenzie's latest compositions, produced in lockdown in the UK, while Sarah was stranded at the start of the Covid-19 pandemic. The song SCHNELLER! was inspired by drives on the German highway, the Autobahn. It is one of the very few places in the world where there is no speed limit. For someone not used to this it is quite a frightening experience to travel at 130 mph.
The fantastic 'Schneller!' has four trumpets interweaving, performed by the magical Kenny Rampton and then the sublime 'Waiting Here For You' features more outstanding musicians from around the world. Hear Sarah tell the story of those recordings and more.
Harmonious World Podcast host Hilary Robertson interviews Sarah McKenzie. LISTEN
To find out more about Sarah and her latest releases
"The earliest experience of art must have been that it was incantatory, magical; art was and instrument of ritual.The earliets theory of art, that of the Greek philosophers, proposed that art was mimesis, imitation of reality."
I met Smaro Gregoriadou's music a few years ago, in December 2016. I was struck by a couple of her records "Reinventing Guitar II" (2012) and "El Aleph" (2016), in both there was a strong tension towards innovation, towards forms different from those already known and stabilized in the classical field.
"It is at this point that the peculiar question of the value art arose. For the mimetic theory, by its very terms, challenges art to justify itself."*
The style and vision shown by Smaro Gregoriadou was, and still is, very different from Plato's "mimesis", with a focus not only on the content of the music she interpreted, but, above all, on the "form".
"It is the defence of art which givesbirth to the odd vision by which something we have learned to call ‘content', and to the well-intentioned move which makes content essential and form accessory."*
An attention that still seems to be in the strings of the classical guitar of this excellent interpreter, who has returned to the attention of the Neuguitars blog in this sad 2020, with this excellent cd "A Healing Fire".
READ THE FULL Neuguitars REVIEW
The history of flight is full of trial errors; from the stories of Daedalus and Icarus planning escape with wax and feathers, to The Wright Brothers' first successful airplane, human flight has been a dream for humanity for many years.
That's what composer Christopher Tin's latest album, To Shiver the Sky, is all about. An "oratorio about the history of flight and mankind's quest to conquer the heavens," ...Sky tells a story of the evolution of this quest for flight, to reach higher than the earthbound. Throughout this album (featuring guest artists such as the Royal Philharmonic Orchestra, Royal Opera Chorus, Danielle de Niese and more), the evolution of flight is paired with the evolution of Western classical music. The album's story is told through the perspective of eleven historical figures, a "who's who" of "astronomers, inventors, visionaries and pilots."
Classiclectic host Kurt Hauswirth spoke with Christopher about his album, and how it relates to humanity's efforts to keep trying, even through adversity.
LISTEN TO THE PublicRadio90: Classiclectic Connection INTERVIEW
Czech heritage is at the forefront with Elyse Anne Kakacek's album release "Formless." In 1894, composer Antonin Dvorak completed a song cycle in English that was translated from the 1579 Czech version of the Bible. Elyse Anne Kakacek uses Dvorak's English text of the Bible translated from the Czech version in her album "Formless."
Rio Grande Guardian arts correspondent Mario Muñoz spoke to Kakacek about her album "Formless." This podcast features the interview. LISTEN
From Maria Schneider:
"We are heart-broken to miss our annual "Thanksgiving at Jazz Standard." So this year, we are coming to you, with never-before-seen videos and more.
Tune in Friday, November 27th at 7:30PM EST to a live-stream (right here on Facebook or on mariaschneider.com). Afterwards, streamable at your leisure through Monday, November 30th, 11:00AM EST.
Before you tune in, to bring in the smells and tastes of the room, perhaps order out a little barbecue (Blue Smoke is my favorite!), turn the lights down low, light a candle, and let us transport you, first to Jazz Standard with videos from our July & Nov. 2019 performances. Marie Le Claire is also editing her fabulous never-seen video (outtakes from our new recording Data Lords) to bring you inside of our recording session. At the end, you'll see the band reunite on Zoom to talk about music, life, to laugh or cry, and to tell you how much we miss you!
From Nov. 27th-30th, 35% of all sales of recordings and downloads at www.mariaschneider.com will go to the musicians in the band, and 100% of "Additional Support" given at point of purchase will go to the musicians. See the Page
Violinist Angèle Dubeau's catalog of recordings has now reached the impressive number of 100 million streams on streaming platforms such as Apple Music, Spotify and Deezer. In her career, she has also sold over 600,000 albums and is one of the few classical musicians in the world to have received Gold Records. Her recent albums have been featured as Albums of the Week on important radio stations like Classic FM in London, KDFC in San Francisco and KUSC in Los Angeles. In recent years, she has performed with her ensemble La Pietà in Europe, Latin America, USA and Canada.
Sony Music today announces the November 20 release of THE CROWN: SEASON 4 (SOUNDTRACK FROM THE NETFLIX ORIGINAL SERIES) with music by BAFTA and Ivor Novello Award-winning composer MARTIN PHIPPS (Black Mirror, Peaky Blinders).
Dynamic pianist CHLOE FLOWER has given the Christmas classic "CAROL OF THE BELLS" an eloquent twist on her latest single, which was co-written and co-produced alongside GRAMMY® Award-winning icon Kenny "Babyface" Edmonds.
Conceived jointly by violinist Movses Pogossian and violist Kim Kashkashian on the occasion of Tigran Mansurian's 80th birthday, the Con anima project brings together a dedicated cast of players to perform the chamber music of Armenia's great contemporary composer.
Recorded in Buenos Aires last year, Albores [Dawn] is among Dino Saluzzi's most intimate albums, featuring the great Argentine bandoneonist alone with the instrument that has been his constant companion since childhood.
Having amassed over 55M streams on his piano album ‘Tales of Solace' released earlier this year, Grammy and Academy Award-nominated composer, songwriter and producer Stephan Moccio returns with a brand-new instrumental Christmas album ‘Winter Poems', out on now on Decca Records.
Outside England, the music of Elgar (1857-1934) still has a crusty, flag-waving reputation, despite the efforts of musicologists and the advocacy of musicians. But over the past eight years, Mr. Barenboim, 77, and his Staatskapelle Berlin have released accounts of Elgar's two symphonies, the oratorio "The Dream of Gerontius" and the Cello Concerto, with Alisa Weilerstein.
It's a connection of long standing: Mr. Barenboim's first wife, the cellist Jacqueline du Pré, collaborated with the conductor John Barbirolli on a classic recording of the Cello Concerto in 1965, and she and Barbirolli in turn inspired the young Argentine-born Mr. Barenboim to learn and record much of Elgar's work with the London Philharmonic.
A fifth album in the Berlin cycle is coming out on Friday, featuring "Sea Pictures" (five songs, sung by Elina Garanca) and "Falstaff," an ambitious, often rambunctious symphonic poem. Mr. Barenboim, whose contract with the Staatskapelle and the Berlin State Opera was extended last year amid accusations of bullying, spoke by phone from Spain about Elgar and his music. These are edited excerpts from the conversation.
Why do you love this music so much?
It's a difficult question to answer, because one has to admit that, historically, Elgar is not so important. If Elgar had not come through this earth, the development of music would have been the same. One also has to forget that he was somewhat anachronistic, when you think what else was being written at the time - Schoenberg, Stravinsky, etc.
The music of Elgar (1857-1934) still has a crusty, flag-waving reputation, despite the efforts of musicologists and the advocacy of musicians.Credit...Central Press/Getty Images
But there is a unique quality in his music which appeals to me tremendously: something emotional, in the best sense of the word. Not outward, but something very, very deep and sincere, which has to do, I suppose, with the modulations - with the harmonic language, which is unlike that of many other composers. The closest is Strauss.
Should we then think of Elgar not as a radical, like Schoenberg or Stravinsky, but as a progressive, like Strauss or Mahler?
I think so. "Falstaff" is a special work in Elgar's output. It has things that connect it to his symphonies, but if the symphonies are close to Strauss's "Don Juan" and "Ein Heldenleben," "Falstaff" is close to "Till Eulenspiegel."
Even in England, "Falstaff" is not that often played compared with some of Elgar's works, and if music lovers know the "Falstaff" story, it's primarily through Verdi.
Verdi, of course. But you know, I take very slight objection to the fact that Elgar's nationality is always mentioned in relation to his music, as if it was not to be expected that one could be English and be a great composer. Nobody talks about the nationality of other composers as much as they talk about Elgar being English; of course, there is a certain Englishness about it, but it's not the most important element.
What is the most important element?
The harmonic language, the orchestration, is remarkable, if the conductor balances the orchestra properly and the orchestra has familiarity with the music, which is very rarely the case, because Elgar is not played that often. The English saying "familiarity breeds contempt" is totally out of place; we forget that orchestras and publics alike need familiarity with music in order to love it.
One of the things that you seem to be saying is that Elgar was part of a European - not just an English - tradition.
This is a very dangerous statement you are making now in view of Brexit, of course. I think he is very much a European composer, don't you?
Absolutely. Wasn't that the point you were trying to make when you played his "Land of Hope and Glory" at the BBC Proms with the Staatskapelle, the year after the Brexit vote?
"Land of Hope and Glory" at the Proms had nothing to do with a political thing; it was totally misinterpreted. We played both symphonies at the Proms, and I wanted to show that you don't have to be English to play this music well.
I am a firm believer in the European idea, and I am a firm believer that a lot of the problem with the European Union is that many people forget that it was not only a financial or economic idea. Let us not forget that whether it is France, Germany, Italy, England or Spain, culture is the greatest contribution, historically, of the continent. It is a different contribution from the other continents, and therefore culture - European culture - is a very important point for today's world, too.
That raises the issue that Elgar is usually thought of as a quintessentially English composer because of his association with the British Empire.
Yes, but do you think that Elgar's connection to the English part of it is more important than, shall we say, Debussy's to France? No.
But as someone who loves Elgar's music, I still have trouble with it historically, as I love and still have trouble with Wagner's music.
Yes, but your problem with Wagner's music, I imagine, has to do with his profile as a person, as a human being, which is not the case with Elgar.
Elgar still wrote works like "The Crown of India" and the "Imperial March," though. So how do you think about performing him today, during a global reckoning with racism, slavery and empire? Should we ignore that part of Elgar? Should we confront it?
No, I think we have to place it in context. Let's be a little bit more neutral in our remarks. We realized a long time ago that slavery was a horrific thing, and we did away with it, but at the time that it was there, it was there. The English Empire quality is only a part of some moments of Elgar's pieces. Let's not dwell on the "Pomp and Circumstance Marches," because that's a "pièce d'occasion," like the ballet in "Aida," but in the serious works - "The Dream of Gerontius," the symphonies, "Falstaff," the Cello Concerto, the "Sea Pictures" - that element is only a part of it.
So we can play him today by accepting that part and moving on? Is that what you are saying?
Yes, I don't think we have to play Elgar and pay special attention, as it were, not to forget that there was a British Empire and that that was the expression of it. That is part of the whole.
Are there particular moments of "Falstaff" that you think show Elgar at his best?
The interlude in the center, the small interlude with the violin solo, is very touching, because it is juxtaposed against very rhythmical, boisterous music. And of course the end. Falstaff's death is an absolute masterpiece of composition.
Elgar had a gift for endings, like the end of the Second Symphony.
Yes, and they are very difficult to conduct. If you look at the score of the end of "Falstaff," it is so constructed - I wouldn't say calculated, because that smells of something not natural. Then, when it's finished, it's finished; it doesn't end on a sentimental note. He dies, and then there is a very little coda, which seems to say death is part of life. And that's it.
PHOTO Credit...Odd Andersen/Agence France-Presse, via Getty Images
Daniel Barenboim and Decca Classics continue their acclaimed Elgar series, recording Sea Pictures again after four decades and paired with the symphonic poem Falstaff. Recorded live in the winter of 2019, the album features the Staatskapelle Berlin and mezzo Elīna Garanča in her first recording of Sea Pictures.
The first orchestral recording from Berlin's Pierre Boulez Saal, Brahms: The Symphonies is a four-CD set featuring Boulez' beloved friend Daniel Barenboim conducting the Staatskapelle Berlin in all four symphonic masterpieces from the great Romantic composer.
One of the most important artists of our time, Daniel Barenboim releases a collection of beloved Debussy pieces in time for the French composer's centenary, including Estampes, Suite bergamasque and Preludes, L.117.
Daniel Barenboim and the Staatskapelle Berlin Record Elgar's Symphony no. 1 for Decca. For their second album featuring the music of Edward Elgar, Daniel Barenboim and the Staatskapelle Berlin have recorded the composer's first symphony, following a recording of his second symphony two years ago. "I hold that the symphony without a program is the highest development of art." With these words, spoken in a University of Birmingham lecture in 1905, Elgar declared himself as belonging to the Brahmsian tradition of the abstract symphony, already thought moribund by many, rather than allying himself with Richard Strauss, the modern master of the symphonic poem.
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