Updates from the world's leading classical music label
Here are the openings of 20 well-known works, or of movements within those works. Can you name the composer and the title of the work? Scroll down the page to check your answers. Question 1 Question 2 Question 3 Question 4 Question 5 Question 6 Question 7 Question Read More …
The last decade in the life of Austrian composer Frank Schreker (1878-1934) proved a tragic conclusion to his hitherto highly successful career as a teacher, conductor, administrator and composer. In the mid-1920s critics were bearing down on him for failing to step in line with developing compositional styles; by the 1930s his work had come Read More …
Borrowing other people’s music and weaving it into your own composition is far from uncommon. We’re not talking plagiarism here i.e. passing other people’s music off as your own, which seems to happen far more regularly in pop music than in classical. A composer might borrow from himself, which explains why you might get a Read More …
The Buffalo Philharmonic’s latest release showcases two suites of music by Richard Strauss: the first, Le Bourgeois Gentilhomme, one of the composer’s favourite scores and an absolute jewel of incidental music; the second, a new symphonic orchestral suite of his opulent opera, Ariadne auf Naxos. Conductor JoAnn Falletta discusses both the music and the context Read More …
Having grown up a student in the northern hemisphere, September was never a favourite month of mine since it primarily marked the start of a new academic year. This mild dread was exacerbated by all the jolly ‘Back to School’ advertisements, since the experience itself never seemed particularly jolly to me. Knowing that Naxos will Read More …
Have you ever commissioned a new work from a composer? I’ve been through the process a number of times. No work longer than twenty minutes. But when you get the brief of the commission right, which encourages the composer to turn up a bit of magic, it can be one of the more satisfying experiences Read More …
Raymond Bisha presents a new recording of two works written only three years apart at the very end of the 19th century: Albéric Magnard’s Chant funèbre (Funeral Song) and Richard Strauss’ Ein Heldenleben (A Hero’s Life). The former may have been unduly neglected, but the latter is testament to the enduring popularity of Strauss’ tone Read More …
I was eleven years old when I paid my first visit to a Madame Tussaud’s waxworks. Lookalike film stars and world leaders held some interest for a youngster, but the much anticipated highlight was a visit to the Chamber of Horrors. The display of instruments of torture had the desired effect on the visitor as Read More …
Where would we be without our heroes? Well, classical music would certainly be the poorer without the heroic thread that weaves through the catalogue. Works are branded heroic either by their general aura, the mention of the word in the title, or the name of a specific hero on which a piece is built. We Read More …
After a hard day’s work, there’s nothing like going into flop mode, a glass of something in one hand, the other gently rifling through ranks of CDs or scrolling through a digital cache of music, finding the escape hatch from office stress into down time. Pity, then, the poor composer who has been struggling all Read More …
