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The Lost Chord: February 18 - Taylor-Made

Feb 18, 2018

Afro-British composer Samuel Coleridge-Taylor (1875-1912) achieved much in his comparatively short life, attracting the attention and advocacy of Sir Charles Villiers Stanford, Sir Edward Elgar, and Sir Malcolm Sargent.  His cantata “Hiawatha’s Wedding Feast” became a cultural phenomenon between the wars.  Unfortunately, the composer didn’t live to see it, and his widow saw none of the proceeds, since, always in need of cash, he had sold the rights to the music outright for 15 guineas.  We’ll hear it, among our featured works, this Sunday at 10 pm. 

This week we have a recording of Cavaleria Rusticana from the 1920's, in a superior performance vocally and, for the most part musically. If you have never been a fan of opera in English, this recording may change your mind. It does have an alien sound to it, and not just because of the distant technology used to record it. For one it is in English, and for another it has abrupt cuts that we would never hear today, cuts made to accommodate the nineteen fragile twelve inch 78 rpm discs needed to hold what was an effort to give as complete a performance of the opera as possible. 

Your host for Sounds Choral Sunday (2/18), Ryan Brandau, will present Hubert Parry's Songs of Farewell, in tribute to the 100th centennial of Parry's death. Tune in at 2 pm.

Brandau is Artistic Director of Princeton Pro Music and and adjunct assistant professor at Westminster Choir College.

Gautier de Coincy was a late 12th, early 13th century French cleric who translated into French many of the Latin miracle poems praising the Virgin and then set them to medieval popular songs in the courtly love tradition of the Trouveres, and on Friday's Distant Mirror hear several of these as Andrew Lawrence-King and the Harp Consort perform from their cd Miracles of Notre Dame. Join Allan Kelly at 10 pm.

“The Gilded Age” was a term coined by Mark Twain to describe the era extending roughly from the end of Reconstruction to the turn of the 20th century. We’ll hear music from “The Heiress” (Aaron Copland), inspired by Henry James’ “Washington Square;” “The Age of Innocence” (Elmer Bernstein), after Edith Wharton; “The Magnificent Ambersons” (Bernard Herrmann), adapted from the novel by Booth Tarkington; and “Mr. Skeffington” (Franz Waxman), after Elizabeth von Arnim.  All that glitters is not gold.  We peel back the veneer of prosperity, this Friday at 6 pm.

This week’s Dress Circle (2/18  7:00 p.m.) will be a survey of some of the CDs of a group formed in 1995 called “The Broadway Kids.”  This rotating cast of young people between the ages of eight and sixteen, had to appear in at least one Broadway or off-Broadway show or a major national tour in order to audition, and we’ll be looking at three of their eight CDs including The Broadway Kids “Sing Broadway,” “Back on Broadway,” and “Sing America.”  

On Wednesday, 2-14 in the graduation recital of cellist Timotheos Petrin we hear music by Schumann, Shostakovich, Faure and Rachmaninoff.  Performances from student recitals at the Curtis Institute, Wednesdays at noon and Monday evenings at 10.

"With so many new releases darting at me all over the place, and many classic piano performances that repose on my shelves for years, I've decided to take a deep breath, take a step back, and simply devote an episode to some nice things that I've been neglecting, or missing out on," says Jed Distler, the Classical Network's Artist-in-Residence and host for Between the Keys.

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