The Cypress String Quartet explores the middle quartets of Beethoven in their latest recording. "During the tumultous early years of the 19th century, Beethoven created a distinctive musical voice characterised by urgent exhortation, lofty artistic intent and massiveness of scope ..." state the liner notes regarding Beethoven's three 'Razumovsky' quartets, op. 59. Find out in the quartet's own words how Beethoven was able to accomplish such a feat and listen to 'Razumovsky' No. 1 in F from the Cypress' new recording in Friday's program.
The Icelandic pop/classical musician Olafur Arnalds reinvents the Chopin sound in his new project with pianist Alice Sara Ott. Frustrated with the pristine characteristics of Chopin recordings Arnalds uses the room and microphones--much as the way other genres of music such as rock, country and blues have--as part of the actual interpretation. Hear music from The Chopin Project on Thursday's program.
The redbuds are in bloom. Daffodils are everywhere. Spring has officially reached the Arkansas Ozarks. In celebration of the season I pair Anne Akiko Meyers's recording of Vivaldi's "Spring" alongside Daniel Hope's release of Max Richter's Vivaldi Recomposed "Spring." That's all coming up on Wednesday's program.
UA Music professor Er-Gene Kahng and composer Ryan Cockerham explore the universe of non-narrative film and music with the music of Alvin Lucier and short films of Stan Brakhage in their first event for the Fuse New Music series.
Rodion Shchedrin's description of cantabile is "to express firstly a certain tension in the 'soul' of the notes, and also the manner in which they are produced. The term also refers to the juxtaposition, interweaving, conflict and resolution of the soloist's singing lines against the orchestra." Hear the fascinating work performed by Maxim Vengerov, violin, and the London Symphony Orchestra conducted by Mstislav Rostropovich on Tuesday's program.
Composer Dmitri Tymoczko asks what music composers should write when we carry the whole history of music in our pockets. His answer is to "make music that weaves between stylistic poles in a way that is unexpected and entertaining ... an attempt to find hidden roads connecting the familiar places we love." One piece that attempts this is his chamber work "Eggman Variations." Catch it on Tuesday's program.
Pianist Anna Shelest says of Schumann's first piano sonata "when you listen to the F sharp minor sonata you are not only hearing music of immense beauty but also of fantastic strangeness, and strangeness always accompanies great art." Hear her new recording of this strangeness on Monday's program.