Sounds Interesting. Phrases of the loon.
This podcast from the Sounds Interesting series spotlights music expressed through the prism of madness in a range of contexts, from the world of fantasy to the theatre of war.
Friends reunited
I can’t remember the year – it must have been around 1980 – that I attended the Three Choirs Festival in England, held that year at Gloucester Cathedral. What I can clearly remember, however, was the feeling of being in a brief time warp. I had met up with the cathedral’s former organist and composer Read More …
Samuel Barber. An orchestral mix.
There can be few pieces to rival the popularity of Samuel Barber’s Adagio for Strings, be it performed from the ‘original score’ (it was itself an arrangement of an earlier string quartet movement) or in one of the plentiful arrangements of the piece for other forces. Such a level of popularity, however, frequently overshadows other Read More …
Piston Power
Quite by accident, I came across the fact that November 25, the date of this posting, also marks the 1955 premiere of American composer Walter Piston’s Sixth Symphony. Taking the lead from that touch of serendipity, I thought this edition might give a sketch of the composer and his output. Within my own sphere of Read More …
Cláudio Santoro: Symphonies 11 and 12
The previous edition of our Naxos blog focused on two symphonies that Brazilian composer Cláudio Santoro composed in the 1950s – the Fourth and Fifth – the latter written to mark the founding of the country’s new capital, Brasilia. Santoro (1919–89) was a member of the Brazilian Communist Party, which brought him major problems during Read More …
Cláudio Santoro: Symphonies 5 and 7
Cláudio Santoro features significantly in the Naxos Music of Brazil series, which is a joint undertaking with Brazil’s Ministry of Foreign Affairs to promote music by Brazilian composers in an extensive series of new albums. Santoro (1919–89) wrote fourteen symphonies, all of which feature on the project’s release schedule and represent the most significant set Read More …
Pater seraphicus (1822–1890)
Pater seraphicus is how the 19th-century pianist/organist/teacher/composer César Franck was known to his pupils. It might be fair to suggest that the consonant Panis angelicus, Franck’s setting of a verse from an ancient hymn, is how he’s best remembered by music-lovers with only limited knowledge of his output. Has the passing of time treated him Read More …
Good mourning, good music
If you’ve already made your will, maybe you’ve also stipulated the music you would like to be played at the assembly for your funeral service. After a lifetime in music, and not once having been able to nominate a favourite piece, I’ve recently opted for a quiet cremation and a silent scattering of ashes. Stirred Read More …
Scoring their centuries
When a composer’s work is marked as his or her Opus 100, it surely marks a milestone in their development. Some composers didn’t make it that far, of course, leaving us wondering what might have been, had they lived long enough or enjoyed circumstances that better facilitated a freedom to compose. Chopin falls into another Read More …
Podcast: JoAnn Falletta introduces Walton’s complete Façades
This podcast features Peter Hall in conversation with JoAnn Falletta, music director of the Buffalo Philharmonic, about her latest release on the Naxos label—a recording of William Walton’s Façades 1 and 2, together with four additional movements. The conversation takes us from Walton’s university days to his association with the poet Edith Sitwell and his Read More …