No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....Amjad Ali Khan - "Love Avalanche" - Performed by Sharon Isbin.
Guitarist Sharon Isbin has been incredibly busy of late. One of her three albums released within the last year is called "String for Peace."
The record is Isbin's first foray into the intriguing sounds of Indian classical music. It's not always easy to separate classical music from its traditional European roots. But when I listen to the music of Amjad Ali Khan, I am reminded that there is so much more out there.
Isbin and Ali Khan have been working on making this collaboration happen for nearly a decade. Isbin's guitar is paired with traditional Indian instruments including the sarod, played by Amjad and sons, and the tabla. Ali Khan says of the collaboration, "The idea is to achieve a cross-fertilization at both the cellular and cosmic levels of two classical music traditions, which are often held to be radically different."
You can hear more about the recording on a recent episode of New Classical Tracks from Minnesota Public Radio.
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No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....Jean Michel Blais - "Nostos" - Performed by La Pieta
Jean Michel Blais draws inspiration from a lot of composers, but is probably most akin to minimalists like Philip Glass and Steve Reich. "Nostos" was improvised initially on the piano in the composer's bedroom in Montreal and recorded on a Zoom microphone, a style of collaboration all too familiar to many of us these days.
On the album "Pulsations," the work is arranged for string orchestra and the cinematic qualities of the piece are very apparent. "Nostos" is chock-full of emotional, sweeping melodies and lush textures. The title in Greek refers to an epic journey by sea like the one found in Homer's "Odyssey," and the piece sounds as though it could easily be the accompaniment to a hero's return to his loved ones from battle.
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No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....
Caroline Shaw - "And So" - Performed by the Philharmonia Baroque Orchestra & Anne Sophie von Otter. I just love how this song begins: A harpsichord and a voice, that's all. The way that something so simple can command your attention is a testament to how great a composer Caroline Shaw is.
She utilizes the rest of the orchestra very carefully as they pluck their way through the second verse, all the while momentum builds in the stunning mezzo-soprano voice of opera star Anne Sophie von Otter. Caroline Shaw is an expert at writing gorgeous melodies that weave through unique textures in the ensemble. "And So" is part of a larger song cycle called "Is A Rose" that juxtaposes 18th and 21st-century poetry and music.
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Award-winning violinist Ray Chen, described as "the ray of sunshine in the violin world" by The Times, has announced his new studio album Solace, professionally recorded and released from his home during the global lockdown, will be digitally released on 7 August 2020. Solace features six movements from J. S. Bach's Six Sonatas and Partitas for Solo Violin representing the personal and powerful feelings Ray Chen has experienced this year.
Violinist Ray Chen will digitally release his new Bach album ‘Solace', recorded from his home during lockdown, on 7 August 2020.
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Music of all kinds are tending toward a consciously experimental direction. Maybe we're finally getting through to them.
In spite of the great lull in today's rock music climate, 2015 proved an astonishing year for experimental music, signifying the simultaneously shrinking and expanding gap between avant-garde and pop traditions. Several of this year's releases, like Clarence Clarity's ineffable No Now or new albums by Oneohtrix Point Never and Holly Herndon, tackle heady concepts of global capitalism and hyper-connectivity of the Internet Age.
While some albums venture into brutal and immersive territory-Blanck Mass' Dumb Flesh, Colin Stetson and Sarah Neufeld's Never were the way she was, and Prurient's Frozen Niagara Falls-others are glossy and luminous-for instance, the bubblegum bass of PC Music's new compilation or the plinking and clinking of Battles' La Di Da Di. Overall, music of all kinds seems to be tending toward a consciously experimental direction.
Just look at recent music from hip-hop greats Kendrick Lamar and Kanye, or even the work of pop stars Lady Gaga and Miley Cyrus. Maybe we're finally getting through to them.
In April, a couple of Constellation instrumentalists-Colin Stetson and Sarah Neufeld-got together to produce the craggy shambler Never were the way she was. The two have occupied close quarters in the past (in Arcade Fire, Stetson was a collaborator and Neufeld a core member). Here, the two position themselves outside the formal constraints of classical and jazz, though the traditions inform their work as much as any others. Never were the way she was tells the story of a girl "who ages slow as mountains; excited, exalted, and ultimately exiled in her search for a world that resembles her experience".
"The sun roars into view" roars into view from a ghostly wisp into a Lovecraftian beast, and "In the vespers" is a jubilant breaking free from a wildwood enclosure. And few song titles more adequately describe their own effect than "With the dark hug of time". Between Stetson's torrential blasts and clacks of bass clarinet and contrabass sax-waves smashing ceaselessly on the shore-and Neufeld's relentless flourishes of string-an epic weaving of linen tapestry-Never were the way she was implores us to contemplate our journey rather than plow through it. To adequately hum these tunes, your entire lymphatic and digestive systems must hum as well.
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Violins of Hope is an artistic and educational project composed of instruments that were owned by Jewish musicians before and during the Holocaust. Violins in the collection were played in the concentration camps and ghettos, providing a source of comfort for some and a means of survival for others. The project was founded by Amnon Weinstein and his son Avshalom, Israeli luthiers who collect these instruments, refurbish them to concert quality, and bring them to communities all over the world, so that their voices can be heard again. The Violins of Hope have traveled to Jerusalem, Sion, Madrid, Maastricht, Monaco, Rome, Berlin, London, Bucharest, Dachau, Dresden, and Auschwitz. In the United States, the project has been presented in Charlotte, Cleveland, Houston, Jacksonville, Sarasota, Washington, D.C, Cincinnati, Nashville, Birmingham, Knoxville, Phoenix, Louisville, Fort Wayne, and San Francisco.
89.7WCPE: Wake Forest NC classical host, Rob Kennedy spoke with Niv about the recording. Listen to the attached interview.
During a conversation with Guitar Player, Al Di Meola, he explains his problem with shredders. Names Surprising Connection With Iconic Rock Song. He says; "They're just going off on the guitar. I come from a compositional background."
During a conversation Di Meola talked about his staple track "Dance With the Devil on Spanish Highway," released on his classic album, 1977's "Elegant Gypsy." "It's a very funny song, in a way," Al said, adding: "By that, I mean the way it's been perceived and written about is a little strange. "It's that word 'shred' that I'm not crazy about. It just feels so limiting and certainly not a good way to describe what I do - because a lot of shredders aren't known as good songwriters. "They're just going off on the guitar. I come from a compositional background. "Even when I played with Return to Forever, we emphasized writing, although we were certainly known for technique. So this song is interesting to me, but not always in the ways that people like to talk about it.
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The first-time teaming of Poland's dynamic Marcin Wasilewski Trio and big-toned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced.
Sony Music Masterworks today releases Not Our First Goat Rodeo, the long-awaited follow-up album to the GRAMMY Award-winning The Goat Rodeo Sessions, with Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile.
Blues Hall of Famer Bettye LaVette has decided to release her stirring rendition of "Strange Fruit" ahead of schedule as it says as much about the history of American racism and the state of the country today.
As COVID-19 shuts down the arts, the performers, and the teachers, I CARE IF YOU LISTEN presents 'a quick start guide to live streaming'
Posted: March 21, 2020 12:00 AM
| By: Admin
We are about a week into the COVID-19 shut downs that have affected almost every arts organization, performing artist, teacher, professor, food industry worker, and beyond. No matter what we do, this will have a giant impact on the economy. For artists, losing performance fees and teaching wages are the hardest blows. Luckily the internet is an incredible resource in times of social isolation. Whether you're an independent artist, small nonprofit organization, or a large institution, there are ways to move your performances online and even monetize these efforts to help mitigate the large-scale cancellations and loss of income facing our creative community.
Artists are already going online with their music. Igor Levit has been live on Twitter. The Dropkick Murphy's hosted a St. Patrick's Day live stream. You can simply go live on any mobile device these days, but there are a few ways to step up your game to get better audio and a good picture. The following is a quick start guide to considering all of the specs and opportunities for your live streaming set up.
Adam Schumaker from I CARE IF YOU LISTEN recommend that you take these steps to get started:
1. Decide the social media platform you want your streams to originate from – I'd recommend a platform you have the most followers and activity on.
2. Assess your streaming devices – what do you and your friends have to work with on the tech side? How can you make it better? How will you mount your cameras and get a great picture?
3. Make your audio the best it can be. Can you collaborate with friends before you go buy something?
4. Last, how will your streaming benefit your community and career in terms of collaborations, networking, and finances. Be creative. Experiment. Have fun.
Igor Levit's work on the 32 Beethoven Piano Sonatas has been the most important endeavour of the past 15 years of his life. This autumn will see his new studio recording of the complete sonata cycle released on Sony Classical on September 13 and represents the recorded testament to almost half his life spent in the study and performance of these sonatas. The release of this momentous 9-album cycle is one of the most eagerly awaited recordings for the 250-year Beethoven anniversary.
No other composer has had such an important influence on Igor Levit's life as that of Ludwig van Beethoven. He admits that this composer's music is around him practically every day and in almost everything he does. The profound impact of Beethoven's music- since his first emotional point-of-no-return with the Missa solemnis at age 13, followed by his first dedicated work on Sonata op. 2/2–has subsequently shaped Levit's approach to almost all music, whether he is playing Liszt, Shostakovich or Rzewski.
Sparked by the tragic death of a close friend in an accident, Igor Levit's piano playing reflects upon an experience of loss encompassing grief, despair, resignation and solace. He concentrates on works whose gloomy grandeur and melancholy beauty have occupied him for years. Each of them pays tribute to the virtuoso possibilities of the piano. Poetic moments of contemplative silence blend with life-affirming and extremely sensual music with a direct physical fascination. ...
Sony Classical announces the release of Pianist Igor Levit's third album - Bach, Beethoven, Rzewski. Available October 30, the album includes Bach's Goldberg Variations and Beethoven's Diabelli Variations, long considered acid tests of the performer's art, plus Frederic Rzewski's gigantic cycle on the Chilean revolutionary song ¡El pueblo unido, jamás será vencido!, which has the reputation of being nearly unplayable. Not content with canonized masterpieces, Levit is equally drawn to the physical challenge of Rzewski's virtuosic tightrope walks.
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Igor Levit has recorded the Partitas by this incommensurable Bach, BWV 825-830: it's the second release by the 27-year-old pianist, whom many regard as the greatest talent of his time. With his debut album, featuring the late Beethoven sonatas, Levit already enjoyed great success and international critical acclaim: the album rose to no. 46 in Germany's Top 100 album charts.
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"Unlike those technically brilliant young pianists who dazzle briefly and disappear, Levit is pre-eminently a real musician who seems built to last." – The Guardian
For the last three years, Igor Levit's name has been the first to be mentioned whenever there has been talk of the most exciting of the younger generation of pianists. What is so surprising about Levit is not only the maturity of his interpretations, but his boundless appetite for new repertoire of works as difficult and demanding as possible. For his long awaited debut album, the twenty-six-year-old Levit has chosen some of the most challenging repertoire ever written for piano: Beethoven's last five piano sonatas. On his two-CD debut set, Levit is not just another young aspiring pianist releasing his debut album, but rather an outstanding artist who meets the exceptionally high demands of this extraordinary music. Levit's technical and artististic command in the difficult "Hammerklaviersonate" op. 106 is sure to be recognized as one of the most astounding accomplishments in recent history of Beethoven recordings.