Webcasts

Sunday evening (6-17) at 11 we'll hear Johan Kvandal's Wind Quintet, the University of Miami Chorale in Sleep by Eric Whitacre and the 10th Symphony by Alexander Moyzes.  Music from the past half-century or so.

Gian Carlo Menotti's first success and still one of the finest of his operas, was Amelia Al Ballo, Amelia Goes to the Ball. He wrote it beginning in 1933 and finished the orchestration in 1937. Members of the Curtis Institute of Music (where Menotti had studied) premiered the opera at the Academy of Music in Phiiladelphia on April 1, 1937, in an English translation by George Mead. A few days later, the same cast presented it in New York, where is was so successful the Metropolitan picked it up and first performed it on March 3, 1938.

Join host Amanda Quist, Associate Professor and Chair of the Conducting, Organ, and Sacred Music Department at Westminster Choir College, as she surveys some of the many choral works based on poem settings. Enjoy this program Sunday (6/17) at 2 pm.

On Friday's Distant Mirror hear the late 13th--early 14th century Tournai Mass, the very first complete mass, that is, the first mass in which the ordinary remained fixed, although the mass movements were composed by several anonymous scribes.  The Trio Medaieval performs.  There's also music of King Henry VIII of England, who, when not beheading wives or detroying monasteries, had time to write some happening tunes, such as the suite "Rose without a Thorn" written while wooing Anne Boleyn. The Philip Jones Brass Ensemble performs.  Join Allan Kelly at 10pm. 

Wednesday (6-13) at noon on Curtis Calls we'll hear harpist Abigail Kent in solo works by Bach, Farkas, Fauré, Godefried, Hindemith and Scarlatti and with fellow Curtis students in pieces by Debussy and Ravel.  Performances from student recitals at the Curtis Institute, Wednesdays at noon and Monday evenings at 10.

The Classical Network's Artist-in-Residence Jed Distler devotes this week's episode of Between the Keys to 24 preludes by 24 composers. 

"I don't know where this idea came from," says Distler. "But I wound up puttting an awful lot of time, effort and research into coming up with 24 preludes, one prelude per composer, and one pianist per prelude for that matter. The challenge was how to create flow, contrast, continuity and a real sense of build. Somehow everything seems to cohere, but that's for listeners to decide!"