ClassicsToday Jed Distler writes.....Per Nørgård composed his first solo cello sonata between the ages of 19 and 21. His seriousness, sensitivity, and strong personality were clearly present early on. The first movement's brooding lyricism never turns on itself, while the microtonal gestures are expressively discreet and anything but gimmicky. The Allegro con brio finale is like a fragmented or interrupted gigue, where sudden double stops and pizzicato chords seemingly challenge the music's dance-like profile.
Wilhelmina Smith's lustrous sonority, wide dynamic range, and impeccable control in the highest registers bring forth the music's potential for color and drama. She conveys similar eloquence and sustaining power throughout No. 2, which consists of two pieces written nearly 27 years apart, and imparts an appropriately incantatory tone throughout the plaintive slides in the brief No. 3's "Prayer" outer movements.
Poul Ruders' Bravour-Studien is essentially a set of variations based on the Rennaissance era's greatest hit "L'homme armé". Ruders pushes the cellist's capabilities in many directions, from hard-to-voice pizzicato flourishes and sul ponticello effects to leaping chords and low-lying runs that must murmur without sounding muddy.
Smith's technical aplomb allows her to navigate Ruders' hurdles without difficulty. That said, I prefer Morten Zeuthen's more volatile and daring interpretation on Dacapo. His quavering vibrato in the opening Overture, for instance, immediately raises the emotional stakes, and the Etude boasts more abandon than in Smith's relatively careful reading, which, however, boasts more reliable intonation. While she nonchalantly dispatches the Intermezzo's arpeggiated chords, Zeuthen patiently spells them out, creating more of a contrast to the quiet pizzicato rejoinders. An unqualified recommendation for the Nørgård, but listeners interested in the Ruders should sample both Smith and Zeuthen.
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Beginning Monday, March 8 at 8 pm PT, Lara Downes will host "Evening Music with Lara Downes," a nightly program featuring classical music spanning centuries and styles, specially chosen and explored to reveal unique insights and context. Additionally, as the station's first-ever Resident Artist, Lara will curate and create new digital content that will engage the California community and give KDFC listeners a more in-depth look at the creativity and history that has shaped our musical lives.
Pianist Lara Downes is a sought-after performer, Billboard Chart-topping recording artist, producer, curator, activist, and arts advocate. Her dynamic work positions her as a cultural visionary on the national arts scene. Lara's musical roadmap seeks inspiration from the legacies of history, family, and collective memory, excavating the broad landscape of American music to create a series of acclaimed performance and recording projects that serve as gathering spaces for her listeners to find common ground and shared experience.
Current Host of the Evening Program, Rik Malone will still be featured as a host and continue to program the music for much of the KDFC schedule. Here's soem Q&A with Lara
AnalogPlanet's Michael Fremer writes.....Impulse! Records, founded in 1960 by Creed Taylor and home to some of the greatest jazz artists of all time including John Coltrane, Charles Mingus, Archie Shepp, Alice Coltrane, Pharoah Sanders and Quincy Jones, among many others, this year celebrates its 60th anniversary.
The orange-and-black imprint known as the "House That Trane Built" was a cultural beacon of progressivism, spiritualism, and activism throughout the 1960s and 1970s. Today, the label thrives with a new vanguard of jazz artists including Shabaka Hutchings, Sons of Kemet, The Comet Is Coming, Brandee Younger, Ted Poor and others.
Jamie Krents, EVP of Verve and Impulse! says, "Impulse! Records has an important and enduring legacy that we are proud to celebrate during this anniversary year. We are thrilled to unveil new music, visual content, merchandise, partnerships and more. The famous orange label has been the musical home to progressive artists that pushed the boundaries of music, thought, and culture. Impulse! continues this legacy with a commitment to our history, and our future with artists like Shabaka and Brandee, who both carry the torch and blaze new trails. We are proud to share the story of this remarkable label with the world in this, its 60th year."
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Hilary Hahn's new recording pays homage to the rich cultural heritage of a city that has been close to her heart throughout her career. Set for international release by Deutsche Grammophon on 5 March 2021, Paris sees the American violinist resume her productive partnership with the Orchestre Philharmonique de Radio France and its Music Director, Mikko Franck. The three-time Grammy Award-winner's album presents the world premiere of Einojuhani Rautavaara's Deux Sérénades, commissioned by Mikko Franck. It also includes Ernest Chausson's Poème and Sergei Prokofiev's Violin Concerto No.1, which received its first performance in the French capital in 1923.
HH made some time available TODAY!! to speak with radio stations about the new release. The list includes
KDFC: San Francisco
Spokane Public Radio: WA
WGTE: Toledo OH
WCMU: Mount Pleasant MI
WCPE: Wake Forest NC
WMHT: Schenectady NY
WQLN: Erie PA
WOMR Provincetown MA
Winnipeg's CLASSIC107: Canada
A Quiet Madness features three piano pieces, a piano and violin duet, a series of seven scenes for four flutes and a solo accordion piece that was composed as a response to Hurricane Katrina. The album immerses the listener in a photorealistic sound world of understated beauty. At once calming and thought-provoking, it allows the ear and mind to make their own connections without feeling overwhelmed by thematic constraints. William Susman's precise harmonic and rhythmic languages invite us into a subdued, enchanting expression of madness that roams all over the map, akin to the mind wandering during a rainy day-or, perhaps clairvoyantly, akin to the strange passage of time spent in self-isolation during the collective trauma of COVID-19.
Harmonious World Podcast's Hilary Robertson conducts her first podcast with William Susman and extracts from the composer's music. LISTEN TO THE SEGMENT
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CRB's BRIAN MCCREATH writes.....Boston Symphony Orchestra Music Director Andris Nelsons describes the three online performances he conducts, each of them featuring Beethoven symphonies, and works inspired by them, written by composers of our time.
In January 2020, Nelsons and the BSO were looking ahead to a concert tour of Asia, followed by the last chapters of the 2019-2020 season. The tour, however, was cancelled as the now world-wide pandemic took hold in the very countries the orchestra was to have visited. And eventually, those last dynamic chapters of the season, including Nelsons's return, were also stricken from the schedule.
In a radically changed world, Nelsons and the orchestra were finally reunited to record three concerts for BSO Now, the Boston Symphony's online concert series. And in a remotely-produced interview, Nelsons described each concert, revealing the ways his relationship with Beethoven's symphonies have evolved, as well as how the impact of those symphonies is refracted through compositional voices of our time.
I began by asking Nelsons to describe the feeling of returning to Symphony Hall after being gone for so long.
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The New York Times - David Allen writes....For his new album, Benjamin Grosvenor delved into historical recordings of the daunting Sonata in B minor. "This is music that's probably not supposed to be played cleanly," Benjamin Grosvenor said of Liszt's Piano Sonata in B minor, the centerpiece of his new album.
How do the great musicians prepare to play the great works? Each has his or her own methods, and tends to keep the strategy quiet, a secret key to success.
One thing that distinguishes the subtle Benjamin Grosvenor, 28, from the rest of the pack of young star pianists is his extensive knowledge of historical recordings. This listening has paid off in a spellbinding Liszt recording out on Decca on Friday, crowned with a typically thoughtful account of the treacherous Sonata in B minor.
"I almost feel like you should know the notable recordings of a work like this," Grosvenor said of the sonata in a recent interview. "More than anything, it helps you understand what works and what doesn't work. You react to some things positively and you react to some things negatively, and that fuels your imagination."
What do you think about the opening bars of the sonata, which are so spare compared to what follows?
It's foreboding, and mysterious, and a little bit threatening. It would be quite interesting to just line up eight recordings of the first bar. For someone who is a music lover but who is not that acquainted with putting a piece together, it might just be interesting to hear how two notes can essentially be interpreted in so many different ways.
There are many valid approaches. What Vladimir Horowitz does in a large hall in his Carnegie recording, this kind of demonic thing, works very well. Cherkassky's is interesting; it sounds like he's improvising, like it's something that's just come to him in the moment, but it's obviously conscious because he executes it in the same way at the end of the slow movement as well.
I was aiming for something mysterious, almost - so the notes are not too present. They're quite soft, very much like plucked strings, the bass more in it than the treble, like what Alfred Brendel does.
So comparisons with orchestral sounds help you define what you are trying to achieve, even in a work as pianistic as this?
As a pianist you've been playing the piano all of your life; you have a natural association with piano sound. So it's only when you're forced to put it into words that you try to make those associations. But it is an appropriate way to think, because, for most composers, the piano is always trying to imitate other instruments, because of its nature as a percussion instrument. Again, it's a line of thought that adds fire to the imagination, and the colors that you then draw out.
One of the challenges in the piece is how to create tension over the whole, or even just over shorter periods of double octaves, or continuous fortissimo dynamics. You picked out a section near the start as an example.
In this double-octave passage there is a lot of fortissimo playing, and you vary that in terms of dynamics, but the meter is the same for a while, with these continuous quavers.
Horowitz, in the final rise and descent, just pushes through. There's lots of wrong notes, but it's raw. It's exceptionally difficult because of the octaves, but if you can push through it in that way I think it's very effective, all the way to the lowest note on the piano.
So when you are playing the piece live, does atmosphere matter more than precision in passages like this?
Yes, this is music that's probably not supposed to be played cleanly. Part of the struggle is, it is technically difficult, but that's what makes it exciting. Someone said of Horowitz that his playing is not exciting because he plays fast, but because he plays faster than he can. In this music there's an element of that. Lupu generates the tension in a different way; it's tension by holding back, by creating a limit that you're working against.
Then the slow movement poses quite different challenges.
It's magical music. The most incredible bit for me is this ascending line in the right hand, the scales after the climax. It's the most static point of the piece, and a groove needs to be found between static to the point of no motion, and finding the magic that's in it. Not to play it too casually. Claudio Arrau there is very special; it's such a wonderful moment with these triple pianissimos - finding that beautiful color, and where to take the time.
Then comes the fugue, a moment when I'm always wondering how fast a pianist is going to try to play. Is this another place where aura matters more than accuracy?
The counterpoint needs to be clear. So it's the point at which you can still characterize it, and that point is different for each pianist, as long as it builds and builds gradually to the right point.
Intellectually speaking it's not necessarily correct, but I quite like the idea of treating the first five bars as a kind of fanfare. They don't carry enough to push forward out of the slow movement, so to me they inevitably sit somewhere in between if you are going to take it at that tempo. I like the change of pace there.
The magic, and the music, of the slow movement return on the very last page.
It's this final transition from darkness to light: the rumbling in the left hand, then the way that it ascends to the top of the piano. Those diminished chords are little shards of light, then it comes away to the very low notes, then these transcendent last chords. That's what the last page is about: transcendence. You can't help but think that the last note is an awakening from a dream.
Close listening brought out the enormous range of possibilities in a work that presents an intellectual challenge of interpretation as much as a punishing test of technique. The piece is a Faustian struggle between the diabolical and the divine; the question is how to make it cohere over more than 30 minutes.
Image“You react to some things positively and you react to some things negatively,” Grosvenor said, “and that fuels your imagination.”
"You react to some things positively and you react to some things negatively," Grosvenor said, "and that fuels your imagination."Credit...Kalpesh Lathigra for The New York Times
There is no single answer. The example of Radu Lupu points in one direction. "It has this great inevitability about it," Grosvenor said of Lupu's interpretation. "In terms of the way he controls the pulse it's quite symphonic, and also in the kinds of sounds he produces."
Shura Cherkassky, a figure beloved of pianophiles whose impulsive, visionary performances were so idiosyncratic that Grosvenor said he would never dare imitate them, offers something else in a live recording from 1965. "Sometimes it feels kind of improvisatory and sometimes he doesn't quite do what's written in the score," Grosvenor said. "But he somehow makes this miracle of his own unique narrative from it."
Perils lurk whichever way a pianist turns. "The danger in pursuing this symphonic, quite rigid, controlled outlook is that it could quite easily become something more of an academic exercise than the fantastical piece that it is," Grosvenor said. "And obviously if you go along the Cherkassky route, you could make it sound like something that doesn't make much sense."
If Grosvenor successfully traces a course between those extremes, he also takes inspiration from how his forebears have resolved the many difficulties in a work of this scale. These are edited excerpts from the conversation.
Milan Records today announces the February 12 release of MINARI (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer EMILE MOSSERI (The Last Black Man in San Francisco, Kajillionaire).
The third volume in David Korevaar's highly acclaimed series devoted to Lowell Liebermann's solo piano music (MSR Classics MS1688) continues his journey of recording all of Liebermann's works for the piano.
Grammy and Oscar-nominated songwriter and composer Stephan Moccio has released a brand new solo piano version of ‘Earned It', a track he co-wrote and co-produced with The Weeknd for the 2015 blockbuster film Fifty Shades of Grey.
This brand-new recording marks the continuation of Leipzig's Bruckner Cycle with Andris Nelsons and the Gewandhausorchester
Andris Nelsons and the Gewandhausorchester Leipzig continue their award-winning Bruckner cycle.
Deutsche Grammophon celebrates it's 120th anniversary with ambitious international program
Posted: June 11, 2018 12:00 AM
| By: Admin
Deutsche Grammophon (DG), the world's oldest and most renowned classical music label, will celebrate its 120th anniversary this year with an unprecedented, wide-ranging and ambitious international program of activities to celebrate the Yellow Label's illustrious past, dynamic present and prosperous future.
DG120: Curated global program of activities to Throughout its unique history, Deutsche Grammophon has been a committed and long-term investor in culture, innovation, music and the arts, and during the 2018/2019 season DG120 will present a celebration of the cultural importance of classical music and the extraordinary artists who help bring it to life.
"These are exciting times for classical music," observes Dr. Clemens Trautmann, President Deutsche Grammophon. "Deutsche Grammophon's 120th anniversary is about sharing classical music's emotional force and expressive beauty with as many people as possible around the world. The Yellow Label's founders used new technology to inspire millions and – together with our family of artists – we are determined to continue what they started as we engage established and future audiences with our DG120 campaign. We are delighted to welcome Google Arts & Culture, Volkswagen Group and our other international partners who are supporting this ambitious global initiative."
The carefully curated program features multi-disciplinary activities, events, rare archival treasures and an exciting new product suite that will captivate music fans around the world. DG120 will include:
One of the defining characteristics of DG is its long-lasting relationships with the world's greatest musicians. Today's community of DG artists will play a central role in the DG120 celebrations with a program of worldwide concerts that will take place in Beijing, Berlin, Hamburg, Hannover, Hong Kong, London, Seoul, Shanghai, Taipei and Tokyo, with further events to be scheduled.
The DG120 live festivities will begin on October 10, 2018 with a spectacular launch concert at the site of Beijing's historic Imperial Ancestral Temple (Taimiao), which stands just outside the Forbidden City. The concert will feature the globally renowned Shanghai Symphony Orchestra and Maestro Long Yu, who will perform Orff's Carmina Burana with Aida Garifullina, Toby Spence and Ludovic Tézier, before being joined by Hélène Grimaud for Ravel's Piano Concerto in G major.
The Forbidden City, a UNESCO World Heritage Site, is an imperial palace complex that served as the home of emperors as well as the ceremonial and political centre of the Chinese government for almost 500 years, until the end of the Qing Dynasty. The Imperial Ancestral Temple, whose layout echoes that of the Forbidden City, was used by the imperial family on important occasions as a place in which to offer sacrifices to their ancestors. The DG120 concert will be a celebration of both Chinese classical music excellence and the global cultural resonance of Deutsche Grammophon. It will be the first classical music event to be held at the site since 1998, when it hosted a legendary performance of Turandot, directed by Zubin Mehta.
Other key DG120 events include performances at Beijing's National Centre for the Performing Arts by the Berlin Staatskapelle and the inimitable Maestro Barenboim, and further concerts throughout the anniversary year featuring performances from DG's unbeatable roster of artists: Anne-Sophie Mutter, considered one of the greatest violinists of all time; Lang Lang, pioneering pianist and global cultural icon; Seong-Jin Cho, winner of the XVII International Chopin Piano Competition; and Max Richter, influential groundbreaking post-minimalist composer.
Special DG120 editions of the label's highly successful Yellow Lounge classical club nights are planned to take place throughout the year in Beijing, Hong Kong, Seoul, Shanghai, Taipei and Tokyo. The innovative club nights will be live streamed to fans around the world. Yellow Lounge will also visit Wolfsburg, home to DG120 Yellow Lounge partner, Volkswagen Group.
"We share many values with Deutsche Grammophon," notes Benita von Maltzahn of the Volkswagen Group. "The yellow label's anniversary campaign is destined to boost the audience for classical music and raise the profile of the qualities of excellence and cultural exchange that the art form represents. We are thrilled to be part of the journey and look forward to partnering with DG and to bringing our expertise to the amazing range of DG120 events.
To coincide with the 120th anniversary, DG and Google Arts & Culture are creating digitized versions of rediscovered and previously unreleased tracks extracted from rare surviving Galvano metal masters, recorded in the early 1900s. These treasures, found within the deep vaults of the DG archive, include a reading from one of his novels by iconic Russian author Leo Tolstoy, early recordings by legendary American jazz trumpeter Louis Armstrong, leading Russian bass Feodor Chaliapin and Austrian-born violinist and composer Fritz Kreisler.
These unique and remarkable recordings are in the process of being restored in association with Google Arts & Culture as part of a digitization partnership, as DG adds them and details of their history to its parent company, Universal Music Group's already extensive global digitization program. Four hundred unique shellac records will be released over the next several months, beginning with 40 today, among them Louis Armstrong & his Orchestra with "St. Louis Blues," recorded in 1934 and a recording of Pietro Mascagni conducting members of the Berlin Staatskapelle in a 1927 performance of the famous Intermezzo from his opera Cavalleria rusticana – which can be found at: https://artsandculture.google.com/partner/deutsche-grammophon. In addition, tap dancer Andrew Nemr and Tilt Brush artist Atma created unique visualizations for some of these tracks.
"As inventor of the gramophone and founder of the world's oldest record labels, Emil Berliner brought music into everyday life," comments Philipp Justus, Vice President Central Europe, Google. "We are excited about Deutsche Grammophon's collaboration with Google Arts & Culture to digitize hundreds of the world's oldest records, and to make this important chapter of music history more accessible to people everywhere."
Expanding on DG's legacy around the invention of the gramophone by the label's founder, Emil Berliner, DG will make cultural background material available: the result are 12 online exhibitions curated by DG opening on Google Arts & Culture's platform (https://artsandculture.google.com/partner/deutsche-grammophon) as well as in their mobile app (Android & iOS) on June 11th. Users can learn about some of the legendary artists of classical music like Leonard Bernstein or Herbert von Karajan, how records are made, or how the invention of the gramophone brought music to our living rooms. The records will also be made available through DG's own channels and on partner platforms including Google Play Music, YouTube Music, Spotify, Apple Music and Amazon.
At the center of an extensive product suite for classical collectors will be DG120: The Anniversary Edition, a flagship 120-CD collection spanning 120 years of recorded music and presenting all the main genres of the label's unrivaled catalog, which will be released globally on September 21. The deluxe box set will also contain some of the new remastered tracks that have been extracted from historic metal masters and feature hidden gems of the DG archive. Pre-order DG120: The Anniversary Edition now:
Other unique products that will be released throughout the year include a vinyl edition of Herbert von Karajan's legendary 1963 cycle of Beethoven's nine symphonies. The Karajan-Beethoven LPs will be issued in a limited edition of 1,200 box sets, and in an additional super deluxe version of which only 120 copies will be available, each accompanied by unique artworks from artist Gregor Hildebrandt, who uses fragments of pre-recorded cassette tape as raw material in his creative process. His Karajan-inspired art will be presented at Berlin's new Deutsche Bank Forum for Art, Culture & Sports to launch the LP edition.
The DG120 initiative will also feature an exclusive range of merchandise created in partnership with leading global merchandise company Bravado; the publication by Verlhac Editions of a revised and updated version of State of the Art: Deutsche Grammophon – The Story in German/English, French and English/Mandarin editions; and a special mini-series documentary exploring the art of recording as invented by the Yellow Label. Further aspects of the campaign will be announced throughout 2018.
Supported by Universal Music Group, the world's leading music-based entertainment company, Deutsche Grammophon's DG120 anniversary campaign will shine a spotlight on classical music's vitality and extraordinary contribution to global culture. The Yellow Label is characterized by its commitment to its artists and their creative longevity, its drive to discover and support excellence in signing new composers and artists and its determination to ensure a lasting legacy for an unrivaled catalog. Its work in all these areas is underpinned by a constant desire to innovate, experiment and retain leadership in its field.
One of the most prestigious names in global classical music since its foundation in 1898, Deutsche Grammophon has always stood for the highest standards of artistry and sound quality. Home to the greatest artists of all time, the famous yellow label is a beacon to which music lovers all over the world look for outstanding recordings and interpretations.
Deutsche Grammophon's current artist roster includes some of the most distinguished artists in classical music, such as Anne-Sophie Mutter, Anna Netrebko, Martha Argerich, Daniel Barenboim, Hélène Grimaud, Evgeny Kissin, Lang Lang, Murray Perahia, Maurizio Pollini, Grigory Sokolov, Daniil Trifonov, Krystian Zimerman, Gustavo Dudamel, Andris Nelsons, Yannick Nézet-Séguin, Elīna Garanča, Bryn Terfel, Rolando Villazón and Max Richter. In addition, the label's catalog represents the cultural legacy of whole generations of maestri and features recordings from many of the finest classical artists in music history including Claudio Abbado, Leonard Bernstein, Pierre Boulez, Herbert von Karajan, Carlos Kleiber, Vladimir Horowitz, Mstislav Rostropovich and Andrés Segovia. Highly dedicated to the development of new repertoire, Deutsche Grammophon also fosters and promotes a whole range of popular, contemporary artists.
Recorded live to the highest industry standards in front of the magnificent scenery of Beijing's Forbidden City, this unique gala concert celebrates the 120th anniversary of Deutsche Grammophon. The concert features conductor Long Yu and the Shanghai Symphony Orchestra, both freshly signed as exclusive recording artists to Deutsche Grammophon, and performances from Aida Garifullina, Daniil Trifonov, Mari Samuelsen, and more.
Impulse! has brought together some of the great progressive jazz musicians of our time to pay tribute to The Beatles'Sgt. Pepper's Lonely Hearts Club Band. A Day In The Life: Impressions of Pepper will be available on vinyl for Record Store Day on November 23, available on CD, digital, and streaming platforms on November 30, with a wide vinyl release on January 18, 2019.
A Day In The Life: Impressions of Pepper includes performances and interpretations by artists such as UK saxophonist and Impulse! recording artist Shabaka Hutchings, Impulse! pianist Sullivan Fortner, Verve recording artist Miles Mosley, Onyx Collective, percussionist Antonio Sanchez, guitarist Mary Halvorson, The JuJu Exchange and more.
This stellar lineup represents some of the great progressive jazz artists from around the world: Shabaka from the UK Jazz scene, Miles Mosley and Cameron Graves from LA's West Coast Get Down, Onyx Collective from NYC, Makaya McCraven and the JuJu Exchange from Chicago.
Many people picture grim-faced Beethoven, shaking his fist at the heavens and persisting through deafness and illness to compose works of transcendent beauty, but he also stirs emotions that feel both deeply personal and ubiquitous. There are moments of red-cheeked optimism, quiet introspection, playful dances, heroic declarations, a restless search for the sublime. And while Beethoven is perhaps most famous for his sonatas and symphonies, he composed an opera, chamber works, songs, sacred music, incidental music for the stage, even dances. Taken together, these selections paint a rich portrait of Beethoven's humanity, which has attracted artists of the highest caliber such as Leonard Bernstein, Carlos Kleiber, Janine Jansen, and Martha Argerich. Some of these recordings are legendary, but all of them jump out with their undeniable virtuosity and brilliance. This collection may remind you of that iconic portrait of immortal Genius suffering for Art, but it will also reacquaint you with an artist from another time who somehow captured so much of the human experience.
Decca Records is proud to release The Official Recording of The Royal Wedding, one of the most eagerly awaited events of the year. Having recorded the entire service live at St George's Chapel, Windsor Castle today, every piece of music, the readings, blessings and the vows will be available to listen to permanently on all streaming services in just a few hours: a first for a Royal Wedding. The physical album, on CD, will then be released into retail stores around the world from 1st June.
The musical highlight of the moving and joyous ceremony was British cellist, Sheku Kanneh-Mason, one of the most exciting musicians of his generation, who was personally asked by the bride and groom to perform at their wedding. The 19-year-old musician took centre stage for the all-important signing of the register. Dressed in a black Paul Smith suit with vibrant pink tie, Sheku played three beautiful pieces: "Sicilienne" by von Paradis, Schubert's "Ave Maria," and "Après Un Rêve" by Fauré. He was accompanied by orchestra*, as the Royal Couple officially became husband and wife. Knowing he was performing not only for the Royal Family, 600 invited guests in the Chapel, and an estimated global audience of up to three billion people, the talented teenager was thrilled to be involved in the occasion:
History was written in 2000 BC, and 2018 marks the 150th anniversary of Brahms' Lullaby, so this precious musical tradition has deep cultural and emotional roots. These personal songs bring people together, span generations, and tell stories about where we come from, who we are now, and our hopes for the future. The legacy continues with the release of Hopes and Dreams: The Lullaby Project on Decca Gold (Verve Label Group). The recording is inspired by the Lullaby Project, a program of Carnegie Hall's Weill Music Institute which pairs pregnant women, new mothers, and family members with professional artists to write and sing personal lullabies for their babies, supporting maternal health, aiding child development, and strengthening the bond between parent and child. Hopes and Dreams: The Lullaby Project features fifteen lullabies written by parents from across New York City, as performed by Fiona Apple, the Brentano String Quartet, Lawrence Brownlee, Rosanne Cash, Joyce DiDonato, Janice Freeman (The Voice 2017), Rhiannon Giddens (Nashville), Angélique Kidjo, Patti LuPone, Natalie Merchant (10,000 Maniacs), Dianne Reeves, Gilberto Santa Rosa, Pretty Yende, and Catherine Zeta-Jones.
The second installment of the Jazz Loves Disney series, Jazz Loves Disney 2: A Kind of Magic features guest artists including Angélique Kidjo, Laura Mvula, Jamie Cullum, Jacob Collier, George Benson, Madeleine Peyroux and more, taking on beloved melodies from the Disney canon. The album will be released on Verve Records on November 10. The Jazz Loves Disney series celebrates the nostalgia and universal appeal of the music of Disney films. The rich catalogue of Disney songs that span genres and generations inspired producer Jay Newland and arranger Rob Mounsey to continue the series.
7 NEW 106 TOTAL
SYND: NPR, CBC Direct: SiriusXM Markets include: New York, Los Angeles, Chicago, San Francisco, Philadelphia, Boston, Atlanta, Portland, Detroit, Denver, Memphis, Orlando, Albuquerque, Wichita, Madison WI, Honolulu, HI(Statewide), Barcelona, Berlin INTER: Canada, UK, Spain, Germany, South Africa Online: LaughingPlace, Troonradio, Quisqueya, udiscovermusic, The Healthy Mouse, The Daily Shuffle, Dis411, NextBop.com, MOJA, GreenArrow, Jazz Gallery 41, The Jazz groove, Sun Music, Jazz Weekly, Radio Free Amsterdam
The Passion of Charlie Parker is a new album from producer Larry Klein that tells the story of Charlie Parker using his music as inspiration for new songs that narrate his life. Guest artists include Gregory Porter, Madeleine Peyroux, Kandace Springs, actor Jeffrey Wright, and more. The album will be available on impulse!/ Verve digitally on June 16, with physical release to follow on June 30. Larry Klein says, "With this album I've endeavored to do something new and different in an effort to illustrate who ‘Bird' was as an archetypal character, and to draw attention to the huge impact that his work had on Jazz." Rather than create another tribute of traditional bebop tunes, Klein partnered with lyricist David Baerwald to create a musical play that tells the story of Charlie Parker's life while still playing with the jagged melodic nature of Charlie Parker's compositions.
7 NEW 123 TOTAL
SYND: Jazz After Hours, Jazz Happening Now, Jazz Inspired, Voice of America Direct: SiriusXM Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Cleveland, Portland, Miami, Detroit, New Orleans, Minneapolis, Austin, Denver, Albuquerque, Orlando, San Antonio, Sacramento, Louisville, Knoxville, Madison WI, Rochester, Tampa, Honolulu, OR(Statewide), WV(Statewide), VT(Statewide), KS(Statewide), MS(Statewide), HI(Statewide), Toronto, Vancouver INTER: Canada, UK Online: GreenArrow, Jazz & Blues Report, KUHS/Vaya, Soulandjazz.com, Jazz Weekly, Radio Valencia, Que4 Radio, Freaky Party, theguardian