Kristin Dimitrova

Emmy & Tony award-winner Kristin Chenoweth’s new album, For The Girls, is a heartfelt tribute to the great female singers throughout history, particularly some of Kristin’s heroes and friends. Guest artists include Ariana Grande, Dolly Parton, Jennifer Hudson and Reba McEntire. Produced by GRAMMY award-winner Steve Tyrell, the album includes Chenoweth’s personally charged interpretations of classic songs identified with such iconic artists as Barbra Streisand, Lesley Gore, Linda Ronstadt, Dinah Washington, Dolly Parton and many more.

At Christmas and all through the year, there are angels among all of us who willingly share the true spirit of Christmas in gifts of kindness, service, forgiveness, and love. In December 2018, The Tabernacle Choir and Orchestra at Temple Square, and Bells on Temple Square, joined with superstar entertainer Kristin Chenoweth to celebrate these angels and all the other bounteous gifts of Christmas.

Just when you think you have all your Dall'Abacos in a row, they bring along a new one: Joseph-Marie-Clément Dall'Abaco was the son of famed cello virtuoso and composer Evaristo Felice Dall'Abaco. His long lifespan witnessed an unimaginable measure of musical developments; born the year Vivaldi published L'estro armonico, the younger Dall'Abaco died the year Beethoven commenced work on his Fifth Symphony. For all that time on earth, Dall'Abaco's extant catalog of works, all for cello, is comparatively slim; about 40 sonatas and this set of 11 caprices, preserved only in a very bad manuscript copy made in the nineteenth century. Although these works defy dating, stylistically, they seem to belong to the late Baroque, probably composed before Joseph-Marie-Clément Dall'Abaco was made a baron by the court at Munich in 1759. Although he appeared there many times, Dall'Abaco was never a member of the court orchestra in Munich, and the honorific may have been bestowed as a retroactive gesture to the memory of his father, whose exalted reputation Dall'Abaco was never able to outgrow while he lived.

The sound of the horn epitomized stormy emotions for composers of Romantic music. Robert Schumann is said to have spoken of the horn as being the orchestra's soul. For poets, the horn's sound was a symbol of the soul's longing. For horn players, however, what was at stake for much of the Romantic period was the soul of the horn itself, for it was an instrument that faced experiment and change occasioned by new technology, notably the invention of the valve. This recording explores and illustrates this important era in the evolution of the horn.