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This article explores two musical compositions: "Chasing Home" by Joseph Thalken and "Appalachian Spring: Suite" by Aaron Copland. Thalken's piece tells the story of Syrian refugees seeking a new home in the US, with influences from Arabic music. Copland's ballet represents innocent Americana and is known for its melody-driven style. The Dallas Chamber Symphony delivers a lovely performance of Copland's suite, emphasizing its delicate qualities. The article also discusses Ferdinand Thieriot's chamber works, praising their beauty and character, noting similarities to Brahms' string quintets. Thieriot's Two Adagios and Four Fantasy Pieces are also highlighted for their enjoyable nature and salon-like character. [Extracted from the article]

The article focuses on Raymond Tuttle's perspective on "2001: A Space Odyssey," highlighting how it influenced his view on the movie and his relationship with music. Topics include Tuttle's lack of interest in watching the film due to his dislike of earworms, his journey from a college music course to becoming an avid collector, and the impact of his experiences on his musical preferences.

The article discusses Samuel Siskind, a 17-year-old composer, poet, singer, and pianist from Los Angeles, who has shown remarkable talent and maturity in his musical compositions. Siskind's first album, "Awake," features choral works, a song for baritone and piano, and a piano étude, showcasing his diverse talents. His music is inspired by nature and reflects themes of isolation, liberation, and the balance between hardships and beauty in the world. Siskind's compositions, written during the COVID-19 lockdown, offer a unique perspective on the challenges faced during that time. [Extracted from the article]

This article provides a review of two performances of Wagner's opera Die Walküre, focusing on the portrayal of Gurnemanz by Georg Zeppenfeld and Kundry by Elīna Garanča. The author highlights Zeppenfeld's non-traditional and youthful interpretation, as well as Garanča's glamorous and feminine portrayal. The article also discusses other performers in the opera and compares different recordings of Wagner's works. Additionally, the text reviews a collection of solo piano transcriptions of Wagner's opera scenes performed by Nikolai Lugansky, praising their ability to capture the emotional power of Wagner's music. Another recording of Die Walküre featuring Laila Andersson-Palme as Brünnhilde is also discussed, with Andersson-Palme receiving praise for her passionate performance and impressive trills. The rest of the cast and conductor Francesco Cristofoldi are commended, and the recording is recommended for those interested in a great Brünnhilde performance. [Extracted from the article]

The article explores the Quartetto Noûs's interpretation of Shostakovich's string quartets 10-12, focusing on their emphasis on anger rather than sorrow. It compares their approach to that of the Fitzwilliam Quartet and the Pacifica Quartet, highlighting differences in tempo and emotional expression. The article also provides historical context for Shostakovich's quartets, discussing the political climate in which they were composed. Additionally, the text briefly mentions compositions by Sibelius and Prokofiev, reviewing performances of Shostakovich's Eighth Symphony by Bernard Haitink, Janine Jansen's recording of the Sibelius Violin Concerto, and a recording of Sibelius' Karelia Suite, Rakastava, and Lemminkäinen Suite conducted by Susanna Mälkki. [Extracted from the article]

This article provides a comprehensive review of various musical compositions and performances. It discusses a recording featuring pianists Pavel Kolesnikov and Samson Tsoy, who deliver a passionate and contrasting performance of Schubert's Divertissement à la hongroise and Fantasy in f, as well as a new piece by Leonid Desyatnikov called Trompe-l'œil. The article highlights Desyatnikov's innovative approach in incorporating fragments and echoes of the original work. It also mentions the fictional author Pierre Ménard, who rewrites Don Quixote, and praises the performances of Kolesnikov and Tsoy in concerts featuring LGBT composers and performers. The text further reviews recordings of Schubert's Klavierstücke and Hummel's Piano Sonata, and compares the works of Schubert and Loewe in the Lieder tradition. The article concludes by commending the intelligent and imaginative program of a recording featuring Konstantin Krimmel performing songs by Schubert and Loewe. [Extracted from the article]

This article explores various recordings of Claude Debussy's compositions, including a performance of "Four Last Songs" by soprano Erin Stagg and the Milwaukee Symphony Orchestra, as well as a piano album by Saskia Giorgini. The reviewer praises Stagg's singing and the MSO's playing, highlighting the beautiful execution of the performance. Giorgini's atmospheric and colorful interpretation of Debussy's solo piano works is also commended. The text also discusses other recordings, such as an incidental music score for Le martyre de Saint-Sébastien and a violin album by Max Zorin. The author suggests that Zorin's interpretation of Debussy's Violin Sonata is noteworthy. [Extracted from the article]

This article discusses the recording and performance of Bach's Leipzig cantatas by Hans-Christoph Rademann and the Gaechinger Cantorey. The cantatas were composed by Bach during his time as cantor of the Thomaskirche in Leipzig, where he was required to produce and perform a new cantata every Sunday. Rademann's goal was to perform and record all 29 surviving Leipzig cantatas, and this release is Volume 3 of the series. The performances are period instrument performances, but Rademann avoids the "one voice per part" approach and instead follows Bach's own instructions for the minimum number of voices. The result is a reverent and engaging release, with special mention given to the female soloists. This recording is part of a larger project by the Bachakademie to record all of Bach's sacred cantatas. [Extracted from the article]

This article explores the origins of Bach's keyboard concertos, suggesting that many of them were transcriptions of earlier works. While evidence of this exists, the true origins are difficult to determine due to the loss of original manuscripts. The article also highlights the presence of more keyboard concertos than commonly known, including single, double, and triple harpsichord concertos. The author offers some criticism of Tianqi Du's interpretation, particularly regarding dynamics and the orchestra's sound. The article concludes by recommending other performances of Bach's keyboard concertos, such as those by András Schiff and Murray Perahia. Additionally, the article discusses a CD featuring Tianqi Du playing Bach compositions, praising his crisp and clear articulation and comparing it to Glenn Gould's style. The CD includes an interview with Du in multiple languages, where he discusses Bach's approach to transcribing music. The author also mentions the Academy of St. Martin in the Fields and conductor Jonathan Bloxham, who accompany Du on the CD, and praises the music-making as a refreshing departure from historically informed performance practices. [Extracted from the article]

This article provides an overview of various music releases across different genres. It highlights the expressive and approachable music of Michael Finnissy, the phenomenal piano compositions of Liszt, and the captivating Medieval Song. Other notable releases mentioned include works by Kurtág, Bach, Ligeti, Freda Swain, and Victoria de los Angeles. Each release is briefly described and recommended for further exploration. The article also mentions recordings and performances by Robin Holloway, Casken, Bartók, Beethoven, Yojo Christen, John Coltrane, Eric Dolphy, Louise Bertin, Sandrine Piau, Magdalena Kožená, as well as DVD performances of Britten's A Midsummer Night's Dream and a modern production of Turandot. [Extracted from the article]

This article discusses the work of composer Robert Burns Arnot, who has recently released a collection of symphonies titled "ARNOT Symphonies: Nos. 2, Molokai: A Treacherous Crossing; No. 3, Birth of the Romantik; No. 4, The Birth of Rock and Roll." Arnot, who began his musical career as a trumpet player, later became a doctor and journalist before returning to music in his retirement. The article provides an overview of Arnot's compositions, including Symphony No. 2, which was inspired by the Molokai-Oahu Paddleboard World Championship, Symphony No. 3, which explores the transition from Classical to Romantic music, and Symphony No. 4, which draws influence from rock and roll. The article praises Arnot's music for its professional competence and recommends his work, particularly Symphony No. 2. Additionally, the article includes an interview with composer Dinah Bianchi about her album "First Impressions," in which she discusses her mission to share her talents and inspire others through her music. [Extracted from the article]

The article discusses Samuel Siskind, a talented 17-year-old composer, pianist, baritone, poet, and actor from Los Angeles. Siskind has achieved remarkable success, including composing for the National Children's Chorus and working with renowned artists like Madonna. His debut digital release, "Awake," features a variety of compositions, showcasing his talent and creativity. Siskind's music is described as original, accessible, and beautiful, with themes of nature, love, and escape prevalent in his work. The article praises Siskind's musical abilities and anticipates a promising future for the young composer. [Extracted from the article]

This document is a review of various musical works, including a Lieder recital by a French singer named Devieilhe, Mozart Masses conducted by Christoph Poppen, and a performance of Mozart's Requiem conducted by Mariss Jansons. The reviewer praises Devieilhe's rendition of Mozart's vocal works and highlights her authentic trill and accuracy in high notes. The Mozart Masses are described as hackwork by Mozart, but the conductor and performers are commended for doing justice to the music. The performance of Mozart's Requiem is praised for the strong presence of the orchestra and appropriate tempos chosen by Jansons. [Extracted from the article]

This article discusses a recording of Beethoven's symphonies and overtures, orchestrated by Mahler. The author expresses their aversion to Mahler's music but attempts to keep an open mind. They question the relevance of recording these Mahlerized versions of Beethoven's works, as the trend in Beethoven performance has shifted towards smaller orchestras and faster tempos. The author criticizes Mahler's additions to Beethoven's music, such as increased instrumentation, and suggests that these recordings may only be of interest to those curious about the meeting of two musical geniuses. [Extracted from the article]

This article discusses two different recordings of Beethoven violin sonatas. The first recording features violinist Viktoria Mullova and pianist Alasdair Beatson. Mullova, originally from Russia, has had a successful career in the West and has recorded several Beethoven sonatas with fortepiano accompaniment. The second recording features violinist Maria Solozobova and renowned pianist Martha Argerich. Solozobova, though less well-known, delivers a solid performance, although some aspects of her playing may be slightly lacking. Overall, both recordings offer unique interpretations of Beethoven's music and showcase the talents of the respective musicians. [Extracted from the article]

Henrik Dam Thomsen's recording of Bach's Six Suites for Solo Cello is highly regarded for its historically accurate interpretations and exceptional sound quality. Thomsen's performances are described as intimate, vibrant, and creatively interpreted, making this recording a valuable addition for those interested in the Bach suites. While Thomsen's use of a modern cello and tuning may differ from period instrument performances, his renditions are praised for their ease and majesty. The text also discusses other cellists' performances of the suites, providing information on tempo variations and specific moments in the recordings. Additionally, the text includes an interview with harpsichordist John Walthausen, who discusses Filament's debut CD featuring the Trio Sonatas of Dieterich Buxtehude, highlighting the group's interest in Buxtehude's chamber music and the challenges and rewards of recording the CD. [Extracted from the article]

I agree with every point in Christopher D. Cooks article, 'How Trump Can Unite the Left' (February issue), except one: his continued advocacy of useless, counterproductive alternative political parties. U.S. [...]

The article from "Fanfare: The Magazine for Serious Record Collectors" features an interview with Eric Holtan, the founder of True Concord, a professional chamber choir and orchestra based in Tucson, AZ. True Concord focuses on performing choral masterworks and works from America's cultural mosaic, including new commissions. Despite the challenges posed by the COVID-19 pandemic, True Concord adapted by presenting safe outdoor concerts and making video recordings for online consumption. Holtan emphasizes the importance of music in providing beauty, joy, and hope, especially during difficult times. The article also discusses Jake Runestad's compositions, Dreams of the Fallen and Earth Symphony, which explore themes of war, humanity's impact on the Earth, and the power of music to convey emotional depth and complexity. The performances by True Concord Voices and Orchestra are praised for their excellence and emotional intensity, making the album a significant contribution to the classical music repertoire. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" features an interview with composer Margi Griebling-Haigh, discussing her influences, compositions, and family connections in the music industry. The article highlights her daughter Gabrielle Haigh's performance on a unique album concept featuring a cello octet and soprano soloist. Griebling-Haigh's compositions, including a three-song cycle based on poems by Edna St. Vincent Millay, showcase her lyrical gift and conservative tonal idiom. The article also mentions her connections to other composers and her approach to music composition. [Extracted from the article]

The article delves into Handel's final oratorio, Jephtha, examining the challenges he faced due to failing eyesight and the personal nature of the composition. It explores the biblical narrative of Jephtha, who unwittingly vows to sacrifice his daughter upon his return from battle. The Music of the Baroque performance in Chicago, conducted by Jane Glover, receives praise for its emotionally charged vocal performances and the clear, energetic delivery of the Music of the Baroque Chorus. Additionally, Margi Griebling-Haigh's album "Voices from the Other Side" is discussed, featuring a mix of well-known and lesser-known composers inspired by collective consciousness and literary sources. [Extracted from the article]

The article discusses the work of émigré European composers who fled the Nazis and settled in Southern California, enriching American music. Ensemble for These Times (E4TT) has performed their works in Los Angeles, San Francisco, and Poland. The CD "Émigrés and Exiles in Hollywood" showcases these composers' contributions to classical and cinematic music, with a focus on chamber works, solo piano compositions, and songs in various languages. The ensemble's commitment to sharing this music with a wider audience is evident, making the CD a valuable cultural and historical experience. [Extracted from the article]

The article from "Fanfare: The Magazine for Serious Record Collectors" discusses violinist Xika Huang's album "Romantic Virtuoso," which showcases her virtuoso abilities and emotional depth in performing various pieces. The album features works by composers like Wieniawski, Dvořák, Beethoven, Paganini, Sarasate, and Sinding, highlighting Huang's range and artistry. The article also delves into the historical context of the Romantic era and the significance of virtuoso performers like Paganini and Liszt. Additionally, it mentions Xika Huang's background, education, and successful career as a violinist. [Extracted from the article]

The article discusses Robert Burns Arnot's Christmas Symphony and A Visit from St. Nicholas, highlighting his journey as a composer and the influences behind his works. Arnot's compositions are described as tonal and evocative of the Christmas season, with a focus on nature and nostalgia. The article also mentions Arnot's background as a physician and journalist, and his return to music later in life. Overall, Arnot's works are praised for their emotional impact and craftsmanship, making them a recommended listen for those seeking light, classical music. [Extracted from the article]

This article discusses a recording of piano duet arrangements of orchestral works by Danish composer Carl Nielsen. The performers, Rikke Sandberg and Kristoffer Hyldig, have made modifications to Nielsen's arrangements while staying true to the composer's intentions. The recording is praised for its superb sound quality and the performers' expressive and precise playing. Overall, the article recommends this recording as an important addition to the piano repertoire and a must-listen for fans of Nielsen's music. The text also briefly mentions a march composed by Nielsen's father, Niels Jørgensen, which is included on the recording. [Extracted from the article]

The article discusses a collection of horn trios from Mozart to Piazzolla and beyond, performed by Howard Wall, Elmira Darvarova, and Thomas Weaver. The set includes works by various composers, including Mozart, Brahms, and modern composers like Elizabeth Raum and Phillip Ramey. The performances are described as diverse and well-executed, with some pieces receiving world premiere recordings. The collection showcases a wide range of styles and eras, providing a unique listening experience for fans of classical music. [Extracted from the article]

The article discusses Charles Ives' Piano Sonata No. 1, highlighting the challenges and complexities of performing his music due to his innovative approach to composition. It emphasizes the importance of consulting unpublished manuscripts at the Yale Music Library for a deeper understanding of Ives' creative process. The text also explores Ives' background as a pianist and organist, shedding light on his musical influences and performance instructions within the sonata. The article compares different interpretations of the sonata by pianists such as John Noel Roberts and William Masselos, showcasing varying tempos and approaches to the piece. [Extracted from the article]

The article discusses the works of composer Dinos Constantinides, focusing on his Violin Sonata, Fantasia, Idyll, and other compositions. It highlights his Greek heritage and the influence of Greece on his music. The article also mentions his career in the United States, his return to Greece, and his connection to his homeland. The text praises the performances of violinist Kurt Nikkanen and pianist Maria Asteriadou on a Centaur CD featuring Constantinides's works. [Extracted from the article]

The article highlights Barbara Harbach's symphonies, such as "Tempus fugit," "The Journey," and "Pioneer Women," which draw inspiration from themes like time, abolitionist journeys, and pioneering women in Alaska. Harbach's music is praised for its colorful, tuneful, and attractive qualities, with programmatic elements adding depth to the compositions. Jake Runestad, known for his choral compositions like "Dreams" and "Earth Symphony," conveys powerful messages through choir and piano, including themes of armed conflict and the transformative power of music. True Concord, the ensemble Runestad collaborates with, shares his vision of creating beauty and harmony through music. [Extracted from the article]

Presents a letter in response to "The Morning After in California," which appeared in the October 27, 2003 issue.

The article discusses new music for string orchestra by Philadelphia-area composers, performed by Chamber Orchestra First Editions (COFE) and conducted by James Freeman. The compositions featured on the album were commissioned and premiered by COFE between 2016 and 2022, showcasing a variety of styles and inspirations. The music is described as tonal, with some dissonances, and the performances are praised for their precision and intensity. The article highlights the importance of librettos in opera and challenges the notion that words don't matter in the genre, emphasizing the connection between opera and poetry. [Extracted from the article]

Several letters to the editor are presented in response to the articles in the previous issues including one on the evaluation of the song "The Promise," by Bruce Springsteen, one on the Bee Gees, and one on the wrong information on Mark Blake's review on the album of Eric Clapton.

Presents letters to the editor of the February 2005 issue of the periodical "Frontiers" concerning the lesbian, gay, bisexual and transgender community.

Sereval letters to the editor and responses are presented regarding Barry Brenesal' review of the recording of composer Hannu Lintu in the Enesca SymphonyNo.1, reviews of Camilla Wicks recordings, and playwright George Kaufman.