Usc Title 15

This CD presents a complete recital given by the master violinist Joseph Szigeti in the Hancock Auditorium at the University of Southern California on 13 January 1957. This concert originally formed the last of a series of three concerts featuring works by 20th-century composers entitled ‘Eleven Masterpieces of the Twentieth Century’, which Szigeti performed at numerous college campuses throughout the United States in the late 1950s. He described this three-part series was ‘an incentive to break with the “one-programme-each-season” type of concertizing that the organized audience movement demands.’

Richard’s new release “Tangos”! Richard’s well-known discs have garnished praise such as “Best Contemporary Jazz Guitar Album” (Tune Up Magazine), a nomination for “Record of the Year” (Ad Lib Magazine), and “Best New Artist” (Radio & Records Magazine). His album ‘SOuLIDIFIED’ spent 17 weeks in the top 10 for radio airplay of American contemporary jazz radio (Radio and Records Magazine), and three weeks at number 1 in the world for satellite and cable airplay (Music Choice). This has been an exciting time for Richard, a time of growth and change. In 2012 and 2013 Smith traveled to 11 countries around the globe performing music from his 13 releases and collaborating with a group of international all-stars on “Tangos” – the deepest and most engaging release of his career.

Pawel Szymanski - Chamber Works - The Silesian String Quartet (2006) {EMI Classics}
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© 2006 EMI Music Poland | 0946 3 84393 2 5
Classical / Contemporary Classical

Paweł Szymański (born 28 March 1954 in Warsaw, Poland) is a Polish composer. When he was a student attending the Fryderyk Chopin University of Music, Szymański studied composition under Włodzimierz Kotoński. Paweł later studied under Roman Haubenstock-Ramanti as well as Tadeusz Baird. His music is based on strict technical discipline and the initial sound material of Szymański’s pieces has roots in past conventions but is always processed and composed from the beginning. Szymański himself talks of his music using the qualification “surconventionalism”. His style is similar to that of a neoclassical composer, but instead Szymański emphasizes past styles within his works. Many of his works also include influences from the baroque era as well as from Renaissance fantasias. He often modifies these classical styles of music until they become abstract and impressionistic.

Pawel Szymanski - Works for Piano - Maciej Grzybowski (2006) {EMI Classics}
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© 2006 EMI Music Poland | 0946 3 71878 2 1
Classical / Contemporary Classical

The record with Paweł Szymański's music performed by the well-known pianist Maciej Grzybowski is one of the first publications of the Polish Audiovisual Publishers released together with the EMI label. It opens the entire series of recordings of this outstanding composer and leading Polish postmodernist signed by PWA. The album is opened by the now famous Two Studies, one of the most recognizable pieces by Szymański, characteristic of his style, which defines a specific technique of surconventionalism (composer's definition), consisting in revealing only parts of the musical narrative, so that the listener must reconstruct the whole by imagination "ragged" rhythmic course.

Alfred Desenclos and Jean Langlais were both superlative composers of choral music, yet most of their works are performed far too infrequently. This album offers superb performances of some of the best choral works by these great French masters. Initially called the ‘Madrigal Singers,’ the USC Thornton Chamber Singers were first formed in 1939 under the direction of Max T. Krone — a professor of music education, composition and choral music, as well as the dean of USC’s former Institute of the Arts. In 1942, Krone brought Dr. Charles C. Hirt, then the director of the Glendale High School choirs and a USC alumnus, to the school as both a lecturer and as Director of the Chamber Singers. Hirt later established and became chair of the Choral and Sacred Music department. In 1956, the Chamber Singers adopted its current name in a move designed to better reflect the group’s repertoire.