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Chausson: Symphony in B♭, Op. 20; Grieg: String Quartet in g, Op. 27; Smetana: String Quartet in e, No. 1, 'From My Life'; Sibelius: Violin Concerto in d, Op. 47

Dvořák: Miniatures for Two Violins and Viola, Op. 75a; Zemlinsky: Symphony in B♭; Danzi: Wind Quintet in F, Op. 68, #2; Klughardt: Concerto in a for Cello & Orchestra, Op. 59

Host’s Choice

SUNDAY NOVEMBER 7TH Krause, Armenian Requiem, Ellison, Say I Am You The Great War of 1914-18 ended with an Armistice on November 11th. In Europe Armistice Day is one of solemn commemoration for the war dead. (In only relatively recent times did Americans come to call it Veterans' Day.) The Armenian Requiem by American composer Ian Krause (b. 1956) was written to mark the centenary of the Armenian genocide of 1915. Armenia is an Orthodox country; there is no tradition there of a standard Latin Requiem Aeternam as there is in Western Roman Catholicism. Nevertheless, Krause constructed this commemorative work employing elements reminiscent of a Mass for the Dead with Armenian liturgical elements and settings of verse by Armenian poets (eg. the Prelude, "I Want To Die Singing" by Siamanto) and the folk melodies of Komitas. The overall effect is like that of Benjamin Britten's War Requiem (1960). Royce Hall in Los Angeles is a splendid venue in which to record a large scale sacred composition. It was there that the world premiere recording of the Armenian Requiem was made in 2015 for release in 2019 through the Naxos label on two compact discs in the "American Classics" series. The performing resources required were considerable: the UCLA Philharmonic, the Lark Master Singers chorus, the Tatzian Children's Choir, the VEM String Quartet, four vocal soloists, and a duduk player, the duduk being a Middle Eastern reed instrument. Neal Stulberg leads the entire musical assemblage.

  There's time remaining this afternoon for another contemporary lyric theater piece inspired by the musical culture of the Levant. British composer Michael Ellison has drawn upon the musical traditions of Turkey for his first opera Say I Am You (2012). Ellison prepared his own libretto in English but based upon the poetry of the 13th century Persian mystic Rumi. Say I Am You tells the story of how a wandering dervish transformed Jelaluddin Rumi (also called Mevlana) from an ordinary Islamic scholar into the legendary ecstatic poet. The opera had its world premiere at the 40th Istanbul Music Festival in cooperation with the Rotterdam Operadagen of the Netherlands. Say I Am You was composed especially for the voices of the Vocallab and the Hezarfen Ensemble of instrumentalists, who play both standard Western and Turkish folk instruments. Lucas Vis directs the singers and players. A 2013 release on a single silver disc from Metier of the Divine Art Ltd. recording group.

SUNDAY NOVEMBER 14TH Vinci,Siroe In the first half of the eighteenth century Naples was as great a musical city as Vienna would be later on. Napoli was an especially big town for opera. The Neapolitan style in Italian opera influenced opera composers all over Italy and Europe in the high baroque period. Sadly, all the notable opera composers active in Naples at that time went to early graves, like the much-esteemed Leonardo Vinci (1690-1730), who lived only slightly longer than Mozart. Like Mozart, Vinci crammed so much composing into just a few years. He wrote some forty operas, mostly opere serie and some buffe or comic works, too. Only now in the twenty first century are the Neapolitan masters: Vinci, Durante, Leo, Pergolesi et al finally getting their due in musically complete, historically-informed recorded interpretations of their works. On Sunday, October 18, 2015 I broadcast the Decca world premiere recording of Vinci's Catone in Utica (1728) with the Il Pomo d'Oro period instrument ensemble, Riccardo Minesi conducting, and featuring Max Emanuel Cencic as Arbace. The remarkable high male voice of this singer gives us some idea of what the castrati superstars of old were capable of. Vinci composed Siroe, Re di Persia (1726) for premiere in Venice, not Naples. It has a libretto by Pietro Metastasio, the foremost progressive librettist of the age. His Siroe libretto was set to music again and again over the course of the century. In London Handel took it up; Handel's Siroe (1728) was heard on this program on Sunday, October 3, 2004. A concert performance of Vinci's Siroe was given at the historic Teatro San Carlo in Naples in 2018. A female vocalist, Cristina Alunno handles the heroic male role of the Persian monarch. Antonio Florio conducts the theater orchestra. The Italian label Dynamic issued Siroe on three CD's in 2019. This, too, is another world premiere recording.

SUNDAY NOVEMBER 21ST Stanford,The Travelling Companion, Loesser, Danny Kaye in Hans Christian Andersen Denmark's world famous writer Hans Christian Andersen (1805-75) receives two musical treatments in recordings that I offer up this Sunday as charming audio entertainments in the hope that both of them will set you in a holiday mood as we approach Thanksgiving Thursday. The English composer Sir Charles Villiers Stanford (1852-1924) wrote ten operas. The last one The Travelling Companion was first produced in Liverpool in 1925 after Stanford's death and did not make it to London until 1935. Its libretto is derived from one of Andersen's stories. Elements in it may remind you of the tale of Turandot. The world premiere recording of The Travelling Companion was made live in performance in 2018 with the semi-professional forces of the New Sussex Opera Orchestra and Chorus, Toby Purser conducting. The vocal principals are all professionals. The British Somm label released The Travelling Companion on two CD's in 2019.

   Danny Kaye was surely one of the most charming performers in American show business in the mid twentieth century. He starred in the 1952 Hollywood technicolor music movie Hans Christian Andersen, a fantasy version of the writer's life. You may think the movie is cutesy and sappy, but Frank Loesser's songs for this film are now regarded as classics from the golden age of American musical comedy. The eight vocal musical numbers were recorded in studio following the film shooting with Danny Kaye backed by the Gordon Jenkins Orchestra and Chorus. Decca released the movie music LP in monaural sound. Decca brought it out again in 2019 in CD format in its "Eloquence" line.

SUNDAY NOVEMBER 28TH O'Neill and Kinkel, Beethoven's Last Night, Reicha, Requiem We know that near the end of his life Beethoven was sketching a tenth symphony. In 1988 musicologist Barry Cooper gave it a go and assembled a first movement of it. Time passed, then a team of musicologists, among them Harvard's Robert Levin (like Bethoven a virtuoso pianist), committed to a tenth symphony project, working toward the celebration of the 250th anniversary of the birth of the composer in 2020. Computer scientist Ahmed Elgammal joined the team and came up with a kind of Beethoven algorithm in an attempt to sensibly organize the bewildering mass of sketches. Beethoven's Tenth was scheduled for its world premiere performance on October 9th of this year in Bonn, the city of Beethoven's birth, with the release of its world premiere recording to follow. This isn't exactly news of interest to lyric theater enthusiasts, but it makes the rock opera from 2000, Paul O'Neill and Robert Kinkel's Beethoven's Last Night strangely topical, even a little prescient. This American lyric theater work has similarities to Andrew Lloyd Webber's Phantom of the Opera, with shades of the Faust legend. The scene is Vienna on a stormy night, March 27, 1827. Beethoven lies on his deathbed and hallucinates a struggle over his immortal soul. The Devil offers Ludwig a Faustian bargain for the manuscript of that Tenth Symphony. Beethoven's Immortal Beloved pleads on his behalf. Even the ghost of Mozart makes an appearance. Beethoven's Last Night is performed by the Trans Siberian Orchestra. There is a cast of nine characters, with backup adult vocalists and a children's choir. Kinkel plays keyboards and O'Neill is heard on guitars, with traditional string players augmenting the electronic instruments and rock music drum kit rhythm section. An Atlantic Records CD release. I originally scheduled this for broadcast on Sunday, March 22,2020 in anticipation of the upcoming 193rd anniversary of Beethoven's death.

   Let's give Ludwig Van a proper sendoff to Music Heaven with a Requiem Mass by his exact contemporary, the Bohemian composer Anton Reicha (1770-1836). Musicians from the old kingdom of Bohemia travelled all over eighteenth century Europe. Like many talented Bohemians, Reicha went to Vienna and there met Haydn. Beethoven he knew when they played viola alongside each other in the Bonn court orchestra. Reicha eventually settled in Paris, where he taught counterpoint at the Paris Conservatoire. He's remembered today as the composer of some wonderful wind quintets, but he wrote much else, including a Requiem for orchestra, chorus and soloists, which now could be considered his magnum opus. It seems he composed it in its entirety circa 1805 in Vienna. For a century and a half the score of his Missa pro defunctis was presumed lost, nor is there any evidence that it was ever performed in his lifetime. A pair of Czech musicologists rediscovered the autograph score, which shows many little corrections toward a performance that never came. The manuscript is missing an entire choral/orchestral number at the end. The missing colossal triple fugue was hiding in plain sight in Reicha's published treatise on composition. The Reicha Requiem had been premiered and recorded in 1986 without this final number. The complete Requiem received its true world premiere recording in Prague, Reicha's birthplace, in 2018 for release through the Czech Nibiru record label. Zdenek Klauda conducts the L'Armonia Terrena orchestra and L'Armonia Vocale chorus with five vocal soloists.

http://thevirtuosi.org/

The Hartford Choralehttp://www.hartfordchorale.org/The Hartford Chorale is a volunteer not-for-profit organization that presents, on a symphonic scale, masterpieces of great choral art throughout southern New England and beyond, serving as the primary symphonic chorus for the Greater Hartford community. Through its concerts and collaborations with the Hartford Symphony Orchestra and other organizations, the Hartford Chorale engages the widest possible audiences with exceptional performances of a broad range of choral literature, providing talented singers with the opportunity to study and perform at a professional level.

The 70+ year old New Britain Symphony Orchestra is a professional orchestra which presents several concerts each season in the Greater New Britain area, performing works from all periods in a wide range of musical styles. In addition to its full orchestra concerts under the direction of Music Director and Conductor, Toshiyuki Shimada, including a free concert for children, members of the orchestra perform in various free chamber music concerts during the concert season.