Classical Music Form

Béla Bánfalvi (violin), Károly Botvay, Karoly Botvay (cello), János Bálint (flute), Deborah Sipkai (harp), Peter Schmalfuss (piano), Rudolf Knoll (baritone vocals), Ernst Gröschel (piano), Evelyne Dubourg (piano). The Men and Boys Choir of the Cathedral and Abbey Church of St. Alban, Barry Rose, Wiener Sängerknaben, Hamburg State Opera Chorus, Léopold Stokowski, Max Pommer, Christian Rainer, Loic Bertrand, Salvador Mas Conde, Helmuth Froschauer, Sir Adrian Boult, Leopold Ludwig, Bystrik Rezucha, Bernhard Güller, Sir Malcolm Sargent…

Classical Discovery offers an ideal package, providing an overview of classical music and its history in an entertaining and easy-to-understand form. In a lavishly presented cloth-bound book, accompanied by 12 CDs with over 900 minutes of playing time, Classical Discovery tells the story of the classics in word, music, and images from its earliest days until modern times. With Classical Discovery, anyone can gain entry to the world of classical music, whether for the first time or to gain new insights and perspectives.

Jan Ladislav Dussek was perhaps Europe's greatest pianist until Beethoven came along, and much of his music involves the piano. He wrote works in many genres, however, including some substantial choral music at the end of his life that, in places, looked forward to Schubert. Consider this Messe Solemnelle in G major, an hourlong work that receives not only its world premiere recording but possibly its first performance in any form; it was discovered by Academy of Ancient Music director Richard Egarr in a Florence library. Physical CD buyers will get a weighty scholarly apparatus, but even online listeners will find an enjoyable work that could easily find its way into the choral repertory.

Moondog - Instrumental Music by Louis Hardin (1978) {LP - Musical Heritage Society MHS3803} (Released on VINYL but not CD)
FLAC (tracks) - 16bit/48kHz - VINYL LP RIP -> 250 Mb | MP3 @320 -> 107 Mb
Full Artwork @ 600 dpi (jpg) -> 56 Mb | 5% repair rar
© 1978 Musical Heritage Society | MHS 3803
Classical / Jazz / Avant-Garde / Modern Classical / Minimal / Experimental / Third Stream

LOUIS T. HARDIN (MOONDOG). In the beginning was tonality. Then came atonality which was revolutionary. Tonality continued in folk music and popular music, in spite of atonality, but in the case of serious composers, it was taboo to even think of writing tonal on pain of being ignored and unperformed. I persisted in writing tonal music, and by opposing the atonal revolutionaries, I became a counter-revolutionary. I maintained the tonal tradition, unaware that the founder of atonality himself had repudiated the 12-tone System, which he had conceived. But that was not the end of atonality, for even though its founder gave it up, his pupils did not, and so, for the time being, at least, it survives. As it was in the beginning, is now, and ever shall be, Tonality!

Mea is the title of the piece opening the CD with Krzysztof Olczak's compositions presented here, a Gdansk composer and accordionist, a long-time lecturer at the Stanislaw Moniuszko Academy of Music in both these fields, a member of the Polish Composers' Union and the Polish Society for Electroacoustic Music.

Johann Sebastian Bach was an incredibly good "recycler" of his own music and reused much of what he had already composed in a different form. For the concerts of the Collegium Musicum, which had been taken over from Telemann, in the famous Caf Zimmermann, he needed a large number of instrumental pieces. This was also a special opportunity to perform music for up to four harpsichords - a field of experimentation that must have been extremely appealing to Bach as a legendary keyboard virtuoso.

As a Chilean-born composer and pianist living in Australia, I have nurtured a penchant for bringing Latin American vernacular music into the classical concert hall. Both of these musical traditions are widespread and possess an immense canon fashioned by many an inspired composer. Just as significant, both have been greatly impacted by a myriad of interactions with vernacular music over several centuries. A brief survey of the Western tradition may identify composers such as Mozart and Beethoven engaging with Turkish music, Bartók with Eastern European folk music, or Bizet and Debussy with Spain.