Joe Wiedemann is an American composer, who has been composing music (particularly for television) for over 40 years. He has been nominated for three Emmy awards for composing/arranging, as well as receiving eight awards for broadcast journalism! He has received other high-level recognition, including a Telly Award, three Silver AXEIM awards, won the American Idol Underground Inaugural Classical Competition, was Keyboard Magazine's Unsigned Artist of the Month, and was listed as Best Keyboards in Garage Band's Pop category. As a child, he wrote music and experimented with a home movie camera, which led to him developing an interest in audio and visual production components. He went on to complete a double major in Music and Radio/TV/Film, and began a career in broadcasting. He was passionate about creating synth music, and made use of the technology (and developments!) available to him in order to create a new sound world. Joe's works are, of course, available in digital formats, and have also been performed live by ensembles around the world. With a particular interest in the use of the synth in classical music, Joe developed the Orchestronics project, releasing his first album in 1999. "Bulls & Bears" contained 11 tracks, and was the result of Joe's experimentation with the possibilities of the synth in an orchestral context. As of 2021, he is up to album number 6: "Painted Variations". This album is about variations - in melody, orchestration, and more, so that each piece is different from the last. Visit the site at the link below, or keep scrolling to listen to some of Joe's works! Joe's compositions: Painted Variations on a Theme of Paganini Evolve Synth Concerto No. 2: I. Andante con moto Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Joe's Top 5 Classical Music Works: Tchaikovsky: Symphony No. 5 Rachmaninoff: Piano Concerto No. 2 Rachmaninoff: Vocalise (arranged for orchestra) Haydn: Cello Concerto No. 1 Anything by Bach... (so we selected the Magnificat BWV 243) Interested in being featured in a future Living Composer post? Download the form below! Learn more about Sound Garden

Earth and nature have been inspiring composers for centuries. Have a listen to five examples of classical music works inspired by Planet Earth! Claude Debussy - La mer: III. Dialogue du vent et de la mer When Debussy was eight-years-old, he saw the Mediterranean Sea for the first time. Later, he also became fond of the Atlantic Ocean. His father, a sailor, told him many stories about his life on the ocean, and hoped his son would follow the same career path (spoiler alert: that didn't happen). However, Debussy's strong connection to great bodies of water inspired "La mer". The original cover image on the score uses "The Wave" by Japanese engraver Hokusai; this was at Debussy's request. The third and final movement of the work - "Dialogue du vent et de la mer" (Dialogue of the wind and the sea) - portrays a stormy conflict between the wind and sea. Philip Glass - Koyaanisqatsi: Koyaanisqatsi This piece was originally composed for the 1982 cult film "Koyaanisqatsi: Life Out of Balance". The film has been considered to be about the complex relationship between man-made technologies and nature, though the creators encouraged viewers to decide for themselves what it all means! The trimmed-down soundtrack by Philip Glass was released in 1983, following the initial release of the film. In 1998, a longer version of the album was recorded as a stand-alone work, rather than as a film soundtrack. The complete original soundtrack recording was released in 2009. The music is in a minimalist style, with many repeated motifs and simple structures and harmonies. The opening track uses the same name as the work in its entirety. The definition of the word "koyaanisqatsi" (from the language of the Hopi people of northeastern Arizona, United States) is along the lines of "life of moral corruption and turmoil" or "life out of balance". In Glass' music, the word is chanted by a bass singer (Albert de Ruiter) over a solemn organ accompaniment. Franz Liszt - Ce qu'on entend sur la montagne "Ce qu'on entend sur la montagne" ("What We Hear On The Mountain") is the first of thirteen symphonic poems by Liszt. A symphonic poem is a narrative piece of music for orchestra, without any spoken or sung words. The work is inspired by a poem by Victor Hugo, in which an unnamed protagonist climbs to the top of a mountain and hears an intense, troubled, musical voice which swirls around them. The protagonist soon realises that there are actually two voices: - one powerful and joyful, representing nature. - one full of sadness and fear, representing humanity. The voices mingle together, separate, cross over, and melt into one another, until the protagonist cannot hear them anymore. Sound Garden Products (article continues below) Engagement with classical music through activities for ages 0-6: Composer Activity Guide: Franz Liszt Learn about our other products! Gustav Mahler - Das Lied von der Erde: VI. Der Abschied "Das Lied von der Erde" (The Song of the Earth) is a composition (described by Mahler as a symphony) for two voices (tenor and alto (or baritone)) and orchestra. It consists of six songs, with the two voices alternating movements. The texts are based on Hans Bethge's "Die chinesische Flöte" poems, themselves adaptations of classical Chinese poetry in German and French translations. The sixth song is a setting of "Der Abschied" (The Farewell). Bethge's text combines poems by Tang Dynasty poets Meng Haoran and Wang Wei, and Mahler added in several of his own lines for the musical setting. An English translation can be found below the embedded video. Translation The sun separates behind the mountains. The evening descends into all the valleys With its shadows, which are full of cooling. O look! Like a silver boat floats The moon up on the blue sky-lake. I feel a fine wind blowing Behind the dark spruces! The brook sings full of melodious sound through the darkness. The flowers pale in the twilight. The earth breathes full of rest and sleep. All longing now wants to dream, The tired people go home, To learn again in their sleep forgotten happiness And youth to rediscover! The birds perch quietly in their branches. The world falls asleep! It blows cooly in the shade of my spruces. I stand here and wait for my friend; I wait for his last farewell. I long, O friend, by your side To enjoy the beauty of this evening. Where are you? You leave me long alone! I walk up and down with my lute On paths that swell with soft grass. O beauty! O eternal love - life - drunk'n world! He dismounted from his horse and offered him the drink. Of farewell. He asked him where he was going And also why it must be. He spoke, his voice was fluttered. You, my friend, Happiness has not been kind to me in this world! Where am I going? I go, I wander in the mountains. I seek rest for my lonely heart. I walk to my homeland, my place. I will never wander into the distance. Still is my heart awaiting its hour! The dear earth everywhere Blossoms in spring and grows green anew! Everywhere and eternal blue light the distance! Forever... forever... Ralph Vaughan Williams - Sinfonia antartica: I. Prelude Vaughan Williams composed music for the 1948 film Scott of the Antarctic. He was so inspired that he reworked much of the music into what became his seventh symphony. This symphony is scored for a full orchestra, with a solo soprano and three-part women's chorus who sing in the first and last (fifth) movements. At the start of each movement there is a (written) literary quotation; these quotations are sometimes recited in performances and recordings of the works. The first movement of the work is introduced with the following quotation: "To suffer woes which hope thinks infinite, /To forgive wrongs darker than death or night, /To defy power which seems omnipotent, /... /Neither to change, nor falter, nor repent: /This ... is to be /Good, great and joyous, beautiful and free, /This is alone Life, Joy, Empire and Victory. - Percy Bysshe Shelley, "Prometheus Unbound" Learn more about Sound Garden

Looking for spooky classical music? We've got your needs sorted - whether for Halloween, another spooky occasion, or just because! Sound Garden Products At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Learn more about Sound Garden

Ludwig van Beethoven composed 32 main piano sonatas (plus 3 as a 13-year-old). These sonatas are one of the most important collections of repertoire (though they were not designed as a collection) for the piano, and for classical music as a genre. We're going to take a look at 5 of them! So, what is a piano sonata, anyway? Piano sonatas A sonata is a composition for a solo instrument, and a piano sonata is a sonata for the piano. The word "sonata" comes from the Latin word "sonare" - "to sound"; a "cantata" (from the word "cantare") is a piece to be sung, and a "sonata" is a piece to be played. A sonata is usually in several movements (stand-alone sections) - most commonly three or four. At least one of the movements is usually in "sonata form" - a musical structure with three main sections: an exposition (introduction of musical themes) a development (development of musical themes, where the themes are altered) a recapitulation (a "recap" of the musical themes from the exposition, usually with some variation). (Sonata form can be found in many different types of musical composition, not only in sonata compositions). Beethoven FAQ We thought we would answer a few common questions about Beethoven before we get into the list: Was Beethoven deaf? - Yes - but he was not born deaf; his deafness developed over time. He first noticed difficulties with his hearing as he neared 30. By his mid-40s, he was completely deaf and had to write and read notes in order to communicate. Amazingly, he continued to compose (and created some of his best work), though he was forced to retire as a conductor and pianist. Was Beethoven black? - Probably not. This theory is based on descriptions of Beethoven's appearance, which have some similarities with descriptions of people with African descent. However, his genealogical records show that he had Flemish heritage. Some people argue that perhaps one of his ancestors had an affair with someone of African ancestry, but this theory is unlikely. There were other black composers and musicians working in Europe around Beethoven's time, however, such as George Bridgetower and Joseph Bologne (the "Chevalier de Saint-Georges"). Was Beethoven blind? - No. He became deaf, but his eyesight was fine. Was Beethoven rich? - He lived comfortably, earing 4000 florins per year from 1809 on the condition that he remained in Vienna for the rest of his life. This was more than the average middle class citizen at the time would have earned. Was Beethoven married? - No, he never married. He did, however, have romantic interests - most notably his "Immortal Beloved", to whom he wrote (but never sent) a ten-page love letter. We don't know who the intended recipient was, but candidates include Antonie Brentano, Julie Guicciardi, Therese Malfatti, and Josephine Brunsvik; all of these women had been considered romantically by Beethoven. It is possible the Beethoven had an affair with Brentano in 1811-1812. After this point, there is no evidence of any relationships (but he did meet up with prostitutes). Now that we've answered those important questions, on to the list! We're going to go in numerical order (we'll let you decide which sonata is the best!), so settle in and let's get listening! Piano Sonata No. 8 in C minor, Op. 13 "Pathétique" The "Pathétique" sonata was composed in 1798 when Beethoven was 27 years old. It is dedicated Prince Karl von Lichnowsky - a friend of the composer. The nickname "pathétique" ("Grande sonate pathétique" in full: "grand emotion-inducing sonata") was given to the work by Beethoven's publisher (and Beethoven approved!). The three movements are: I. Grave - Allegro di molto e con brio (Solemn - Very quickly and with vigour) II. Adagio cantabile (Slow, in a sung style) III. Rondo: Allegro (Rondo form: fast) Piano Sonata No. 14 in C# minor, Op. 27, No. 2 "Moonlight" The "Moonlight" sonata was completed in 1801, and dedicated to his student Countess Giulietta Guicciardi. It is marked "Quasi una fantasia" ("almost a fantasy" (musical form)). The "moonlight" nickname came from a remark by German music critic and poet Ludwig Rellstab after Beethoven's death; the first movement of the work reminded him of moonlight shining upon Lake Lucerne. This sonata is one of Beethoven's most popular piano works The three movements are: I. Adagio sostenuto (Slow and sustained) II. Allegretto (Moderately fast) III. Presto agitato (Very fast and agitated) Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Piano Sonata No. 17 in D minor, Op. 31, No. 2 "Tempest" The "Tempest" sonata was composed in 1801-1802; this nickname was given after Beethoven's death. It is a reference to Shakespeare's play "The Tempest"; Beethoven supposedly suggested that his associate Anton Schindler should read it. However, he may have actually been referring to a different "Tempest": preacher and author C. C. Sturm (Storm/Tempest), who was greatly admired by Beethoven. The three movements: I. Largo - Allegro (Slow, broad - Fast) II. Adagio (Slow) III. Allegretto (Moderately fast) Piano Sonata No. 21 in C major, Op. 53 "Waldstein" The "Waldstein" sonata was composed in 1804. It marked a new phase in Beethoven's evolution as a composer. The work was dedicated to Beethoven's friend and patron Count Ferdinand Ernst Gabriel von Waldstein (hence the nickname) of Vienna. It also has a second, less-frequently-utilised nickname: "L'Aurora (The Dawn)", as the opening of the third movement has been associated with daybreak imagery. The three movements: I. Allegro con brio (Fast, with liveliness) II. Introduzione: Adagio molto (Introduction: Very slow) III. Rondo. Allegretto moderato — Prestissimo (Rondo (form). Moderate - Very, very fast) Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" The "Appassionata" ("passionate") sonata was composed in 1804-1805~, and was dedicated to Count Franz von Brunswick. This work received its nickname by the publisher of an arrangement for four hands (two pianists) in 1838. Beethoven considered "Appassionata" to be one of his most tempestuous piano sonatas. The three movements: I. Allegro assai (Very fast) II. Andante con moto (Walking pace, with movement) III. Allegro ma non troppo – Presto (Fast, but not too much - Very fast) Learn more about Sound Garden

In many cultures, particularly those with a Christian heritage, Easter weekend is very important. Many classical music works are inspired by both religious and secular aspects of different holidays, and this one is no exception! Here are FOUR Easter-themed works for you to listen to! Bach: St Matthew Passion The "St Matthew Passion" (German: Matthäus-Passion) is a Passion - a musical work which explores the final period in the life of Christ, designed to be performed during the Christian Holy Week. The "St Matthew Passion" sets chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales and arias. One of the most stunning Bach arias is found in this work: the alto aria "Erbarme dich, mein Gott", also featuring violin obbligato (an instrumental part which is integral to a piece of music). One of the greatest violinists of the 20th century, Yehudi Menuhin, called it “the most beautiful piece of music ever written for the violin". The text reflects the apostle Peter’s heartache after he denies knowing Jesus three times. Translation: Have mercy, my God, For the sake of my tears! Look here, heart and eye Weep bitterly before thee. Have mercy, my God. Excerpt recommendations: 1. Chorus I & II, Kommt, ihr Töchter 6. Aria (Alt). Buß und Reu 8. Aria (Sopran), Blute nur, du liebes Herz 27. Aria a doi Cori So ist mein Jesus 29. Choral, O Mensch, bewein' dein Sünde 39. Aria (Alt), Erbarme dich 49. Aria (Sopran), Aus Liebe will mein Heiland 65. Aria (Baß), Mache dich, mein Herze,rein 68. Chorus I & II, Wir setzen uns mit Tränen nieder Wagner: Parsifal "Parsifal" is a work in three acts by German composer Richard Wagner. It is an Arthurian (as in King Arthur) tale, based on the 13th-century epic poem "Parzival" about the knight Parzival's search for the Holy Grail. Wagner came up with the idea of "Parsifal" on Good Friday in 1857, but did not finish it until 25 years later. He described the work as "Ein Bühnenweihfestspiel" ("A Festival Play for the Consecration of the Stage"), rather than an opera (but most people call it an opera). It is "through-composed" - there are no stand-alone arias or excerpts, though some sections were arranged by Wagner for concert performances. One such section is the "Good Friday Music" from Act III, Scene 1. A fun fact: At Bayreuth Festspielhaus (a venue built by Wagner and dedicated solely to the performance of his works), audiences do not applaud at the end of the first act of "Parsifal". At the first performance, there was much applause after the first and second acts. Wagner told the audience that the cast would not be giving curtain calls (bows, acknowledgement of applause) until the end of the performance. The audience misinterpreted this, and thought they were not to applaud at all. Over time, the tradition developed that no applause would be heard after the first act. Want the full opera? Here it is! Be aware that it is over 4 hours long in its entirety (the music is gorgeous - totally worth it). Make sure you have plenty of snacks! Click here for the libretto (text) in German and English. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Mascagni: Cavalleria Rusticana "Cavalleria rusticana" ("Rustic chivalry") is an opera in one act by Pietro Mascagni (Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci). The story was adapted from a short story and play of the same name. It is considered to be a "verismo" (realism) opera. It is often double-billed (performed together with) another short opera, "Pagliacci" by Ruggero Leoncavallo, and together the two are called "Cav and Pag". "Cav" was entered as part of a competition for young Italian composers who were yet to have an opera performed on stage. Mascagni heard about the competition two months before the closing date, and quickly got to work. The librettists (text writers) sent fragments of their text to Mascagni, sometimes on the back of a postcard. The opera was submitted to the competition on the last day that entries would be accepted. Out of 73 operas, three were chosen as winners, including "Cavalleria rusticana". Its first performance was a great success, with Mascagni taking 40 curtain calls! The action takes place on Easter Sunday. The back story: The young villager Turiddu, has returned from military service. He finds out that his fiancée Lola was married to the carter Alfio in his absence. In revenge, he seduces a young woman named Santuzza. Lola is jealous, and begins an affair with Turiddu. The plot: Lots of drama between the four parties! Alfio and Turiddu end up dueling to the death. Who wins? You'll have to watch the opera to find out (this link is a film version, by Zeffirelli, with English subtitles)! One well-known excerpt of "Cav" is the "Easter Hymn", sung by a church choir, the villagers, and Santuzza. The villagers enter the church, while Santuzza and Lucia remain outside. Mahler: Symphony No. 2 "Resurrection" Mahler's second symphony is known as the Resurrection Symphony. Though the composer had some religious background, he did not convert to Catholicism until a few years after the completion of this symphony. Its purpose was to explore the human concepts of life and death, rather than exploring religious doctrines. The entire work is around 1.5h long, and is often included among the greatest symphonies of all time. Mahler had some difficulties deciding on a text for the final (fifth) movement, which he had decided would feature a choir. Inspiration came to him in the form of Friedrich Gottlieb Klopstock's "Die Auferstehung" (The Resurrection). He wrote to conductor Anton Seidl: "It struck me like lightning, this thing, and everything was revealed to me clear and plain". The fourth movement, "Urlicht" (Primal Light), serves as a bridge between the orchestral movements and the choral movement. It is a song Mahler had already used in his "Des Knaben Wunderhorn" set of songs, and is sung by an alto (mezzo-soprano or contralto) soloist. It illustrates the longing for heavenly relief from earthly challenges. Translation: O red rose, Man lies in greatest distress, Man lies in the greatest pain, I would rather be in heaven. Then I came to a wide path, There came an angel who wanted to turn me away, Oh, no, I would not be turned away. I am from God and want to go to God again, The good Lord will grant me a little light, Which will light me into eternally blessed life. Learn more about Sound Garden

Looking for dark, melancholic classical music? We've put together a playlist featuring some of our favourite examples of dark classical music - from the sad to the beautiful to the desperate to the haunting to the tragic...and more! What else would you add to our list? Sound Garden Products At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Learn more about Sound Garden

We've selected a range of works to suit your mood! Whether you're looking for classical music for energy, for focus, for calm, for romance, for melancholy, for kids, for travel, for inspiration, or something else, you're sure to find it here! What will you listen to today? Classical Sessions for...Calm Learn about the science of calm, accompanied by selected classical music works, with our "Classical Sessions for...Calm" print-and-go workbook! Learn more about Sound Garden

Chamber music is a genre of classical music with a history spanning several centuries. It has long been enjoyed by all kinds of people from all demographics of society. Read about its origins and development, and then listen to some examples of chamber music works from the Middle Ages through to today! What is chamber music? Chamber music is a form of (classical) music that is composed for a small group of instruments, usually with each one playing a different part. Solo instrumental works are usually not considered to be chamber music. Much of the chamber music of the past was designed to be played in palace chambers or in the home; more recently, chamber music works are regularly performed in large concert halls. Chamber music is often considered to be "conversational", as the different instrumental parts engage in "dialogue" around a theme or motif. In the "Early Music" era of classical music (the Medieval and Renaissance Eras), man-made instruments usually accompanied the human voice. However, there were also "consorts", or instrumental ensembles, which were popular at court and in wealthy households. In the Baroque Era, chamber music was not a clearly defined genre, as the same musical works could be performed on a variety of different instruments, in orchestral or chamber ensembles. However, the sonata da camera (chamber sonata) and sonata da chiesa (church sonata) musical forms for one to five (or more) instruments are often considered to be the original chamber music forms, developing into the "trio sonata" form. In the Classical Era of music (as opposed to classical music as a genre), a lighter, more simple "galant" style of music was preferred, compared to the complexity often present in the music of the Baroque Era. The custom of "serenades" began, where people would hire musicians to perform below their own balconies or those of friends or lovers. Composers sometimes wrote works specifically for this custom. One such composer was Franz Joseph Haydn - the "father of the string quartet" - who composed not only 68 string quartets, but also many works for other chamber music ensembles. Many other composers continued to write chamber music works during this era - most notably Mozart, whose innovations greatly expanded the possibilities of the chamber music genre, and Beethoven, whose ground-breaking work was essential to the transition between the Classical and Romantic Eras. In the Romantic Era, societal and technological changes greatly affected the development of music, including chamber music. Employment of composers by the aristocracy was on the decline, so subscription concerts became popular; composers would write works for a professional audience to play to a paying audience in a rented hall. Chamber music was a very important part of the output of many composers; thousands of chamber works were composed during this time, many of which are among the most frequently-performed today. As the 20th Century drew near, classical music, including chamber music, became highly experimental. Composers explored the limits of the different elements of sound and music. Throughout this century and into the 21st, many different movements took place, leading composers into a number of different directions, from 12-tone serialism (where a "series" of twelve notes form the basis of the work) to neoclassicism (modelled on more traditional structures and rules, with a modern twist) to "chance"/"aleatoric" music, and much more. Today, living composers continue to explore and experiment with the possibilities of chamber music. Modern-day chamber music groups often perform works from both the past (especially the Romantic Era) and the present. Historical works continue to be performed in both concert halls and more unconventional contexts. Some chamber music groups may choose to focus particularly on "new" music, such as in the case of the Kronos Quartet, or on "crossover" (classical mixed with other genres) music, such as in the case of the Vitamin String Quartet. Chamber music also continues to be a popular form of classical music for amateurs and professionals alike! Examples Michael Praetorius - Terpsichore Tafelmusik ("Table music") was a term used predominantly between the mid-1500s to the late 1700s to describe light music designed to be played at feasts and banquets. Composers often used this term as a title for a collection of this type of music, which could be instrumental, vocal, or both. Michael Praetorius wrote about Tafelmusik in his "Syntagma musicum" of 1619. His Terpsichore collection of musical arrangements (the tunes were already a part of the French dance repertoire) are an example of Tafelmusik; they were meant "for princely meals and also for banquets”. Terpsichore is made up of more than 300 instrumental dances, and is named for the muse of dance. Franz Joseph Haydn - String Quartet in C Major, Op. 76, No. 3 "Emperor" Haydn was instrumental in the development of chamber music, earning himself the title "Father of the String Quartet". In 1897/98, Haydn composed six string quartets, dedicated to the Hungarian count Joseph Georg von Erdődy. The third of these quartets is nicknamed "Emperor" as the famous second movement is a set of variations on "Gott erhalte Franz den Kaiser" ("God save Emperor Francis"). This was an anthem Haydn wrote for Emperor Francis II; the melody was used for the national anthem of Austria-Hungary, and later for the post-war German "Deutschlandlied" anthem. Wolfgang Amadeus Mozart - Clarinet Quintet, K. 581 Mozart's clarinet quintet (a work for a single clarinet and a string quartet) is one of the earliest and best-known works highlighting the clarinet. It was written for the clarinettist Anton Stadler. The original composition was for basset clarinet, but nowadays the work is usually played on a clarinet in A. The quintet is sometimes referred to as the Stadler Quintet. Ludwig van Beethoven - Große Fuge, Op. 133 The Große Fuge (Great Fugue/Grand Fugue) is a single-movement work for string quartet. It is one of Beethoven's late works, composed when he was almost completely deaf. This "double fugue" (a piece with two fugue "subjects" which are developed simultaneously) work was beyond its time, and was therefore condemned by critics at the time of composition. However, since the early 20th Century, it has come to be considered one of Beethoven's greatest works. It was initially meant to be the final movement of the composer's "Quartet No. 13 in B♭ major, Op. 130", but his publisher knew it wouldn't go down well with the public. Beethoven composed a new finale, publishing the Große Fuge as a separate piece. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Franz Schubert - Piano Quintet in A major, D. 667 "Forellenquintett" (Trout Quintet) The "Trout Quintet" is a piano quintet work which, unusually, is written for piano, violin, viola, cello, and double bass, rather than the standard piano and string quartet (two violins, viola, cello). It is known as the Trout because the fourth movement (out of five) is a set of variations on Schubert's Lied (song for voice and (usually) piano) "Die Forelle" ("The Trout"). This piece is important because of its innovative use of harmony (relationships between notes) and the timbral (sound quality) characteristics, such as the unusual choice of instruments and the piano part which concentrates largely on the highest register. Filmmaker Christopher Nupen created a documentary in 1969 called "The Trout", which focuses on a performance of this quintet. The film has gone down in music history for its depiction of the process and relationships behind the now-famous concert which brought together a legendary group of musicians: Itzhak Perlman, Pinchas Zukerman, Jacqueline du Pré, Daniel Barenboim, and Zubin Mehta. Arnold Schönberg - Pierrot lunaire, Op. 21 (Moonstruck Pierrot) "Pierrot lunaire" is a 1912 melodrama (an emotional, dramatic work which focuses on the character rather than action/plot) in three parts of 21 movements in total. It is written for reciter (usually a soprano singer), accompanied by a "Pierrot ensemble" of flute, clarinet, violin, cello and piano (instruments may also be "doubled" by similar instruments). The vocal line is written in a sprechstimme (sung-spoken) style, and the music is atonal - it does not have a fixed "home" key. Maurice Ravel - Chansons madécasses (Madagascan songs) Ravel's "Chansons madécasses" is a set of three songs for mezzo-soprano or baritone voice, flute, cello, and piano. The works are settings of texts from the poetry collection of the same name by Évariste de Parny. They are usually performed together as a song cycle, though this was not the composer's original intention. Dmitri Shostakovich - String Quartet No. 8 This work was composed in only 3 days (in 1960), and was dedicated "to the victims of fascism and war". Shostakovich was in Dresden, Germany for a film music project, and had recently (and reluctantly) joined the Communist Party of the Soviet Union. The work may have been meant as somewhat of a suicide note or epitaph, according to his friend Lev Lebedinsky (spoiler alert: Shostakovich died of heart failure fifteen years later). The composer is very much central to the work, using his signature D-S-C-H (D, E-flat, C, B notes in German) motif, and it is believed that this work was deeply personal to him. Steve Reich - Different Trains "Different Trains" is a 1988 three-movement piece for string quartet and tape. It won the Grammy Award for Best Classical Contemporary Composition the following year, for the original recording by the Kronos Quartet. The work was inspired by Reich's train journeys during World War II. As a youngster, he travelled between New York and Los Angeles to see his parents; his Jewish heritage meant that had he been living in Europe, he might have been travelling to a more nefarious destinations. The recorded tape fragments are speech snippets, and these provide a source for the string melodies. 21st Century Ok, we're going to add a few examples here! Just like in the 20th Century, composers in the 21st Century continue to explore the possibilities of chamber music, unrestricted by the "rules" of the "common-practice" era (Baroque through to the end of the Romantic Era). This includes creating new subgenres, genre crossovers (such as classical/pop/rock), using electronic and non-traditional instruments together, and more. Check out our Living Composers blog posts for some examples of the range of work being created by the composers of today! Norwegian artist Bjørn Nes explores a range of different genres in his work, and his 2021 release "Abacus" includes a Baroque-inspired guitar quintet. The material was modelled on Baroque dance styles, and was first developed on the electric guitar before being digitally notated, arranged, and so on. The writing process was balanced between the physical and digital music-making worlds. Rather than having a featured role as is often the case in classical works which include non-traditional instruments, the electric guitar is treated as a part of the ensemble in the "Guitar Quintet in F-major". The timbral (sound) quality of the electric guitar is, of course, different to the timbres of the bowed string instruments (violin, viola, cello) - just as in the case of the distinctly-timbred harpsichord, which was treated as both an ensemble and a solo instrument in the Baroque Era. Another composer who combines genres and influences in her work is American Jennifer Higdon. Her work is often considered "neoromantic" (a modern twist on Romantic Era-style music), but has included influences from pop, rock, folk music, as well as drawing inspiration from nature, the performers she composes for, and much more. A prolific contemporary classical composer, she receives commissions from all around the world, including for chamber music ensembles. Her "Piano Trio" is in two movements, inspired by colour: "Pale Yellow" and "Fiery Red". Later, she also composed "Color Through" - a work which can be performed on its own or combined with the "Piano Trio". New Zealand composer Salina Fisher often draws on her Japanese heritage, her fascination with nature, and her violin background in her work. She enjoys collaboration with a variety of art forms, having worked closely with practitioners of taonga pūoro (Māori traditional instruments), Japanese instruments, ceramics, and film. Her music has been commissioned and performed worldwide? "Lumina" is inspired by New Zealand glow worms and the caves they inhabit. It was commissioned by the LA Phil for performance by International Contemporary Ensemble in the Noon to Midnight Festival 2019, and is orchestrated for soprano saxophone, bass clarinet, bassoon, percussion (waterphone, vibraphone, glockenspiel, suspended cymbal, tam-tam, crotales), piano, violin, viola, and cello. These are just a few of many examples of chamber music from Middle Ages through to this century. What else can you discover? Pin the graphic to save the article! Learn more about Sound Garden

This month we're starting a new feature here at Sound Garden: performer interviews! We're looking forward to sharing performers' stories and getting their takes on the music they love! First up, we're excited to feature pianist Haley Myles! Haley is a Young Steinway Artist, and today marks the release of her second album, dedicated to Chopin's nocturnes. That's right, the album is available now! In February 2021, Haley began the "Chopin Nocturne Project", where she undertook the challenge of recording and releasing a new nocturne each Friday until completing the set. "The Complete Nocturnes" is an extension of this. Back in Chopin's time (1810-1849), composers and other musicians often performed in "salon" events - living room performances, hosted by wealthy socialites. Some of their music was composed specifically for this setting. Inspired by this intimate salon aesthetic, Haley recorded and produced her album "The Complete Nocturnes" (link to Spotify) at her home in Lyon, France. Interpreting each nocturne as a story, Haley invites her listeners on an inward journey. Her natural sense of rubato, attention to nuances, and extended phrasing create heartfelt interpretations from beginning to end. Read on for the interview and a track-by-track breakdown! Want to purchase the album? Click here (link opens in new tab)! Interview How did you get started in classical music? I grew up being exposed to classical music; I went to symphony performances when I was a child, and I had a CD of Daniel Barenboim playing Mozart concerti. I travelled a lot as a child, so I wasn’t in a place where I could pick up an instrument until I was 15. At that point, I was living in Spain, and across the street was a library with an upright piano; I started to noodle around, and I loved it! I found a really encouraging teacher who introduced me to composers I hadn’t heard of previously. My first teacher didn’t really focus on technique, he would just introduce me to music. For example, he would place a Beethoven sonata in front of me and tell me to play it through. When I got back to the US, I was lucky enough to study with a teacher who got her degree from Juilliard. When I went to her, I told her I wanted to become a concert pianist (she didn’t say that I couldn’t!). She gave me a lot of études and studies, so I had to take a step back from the repertoire; I had to go back to basics. After that, I continued with different teachers and got my Masters. At that point, I felt ready to go the competition route (I’m a laureate of seven different international competitions). There was one competition, and the audition was being held at the Steinway hall. I came in a week early, introduced myself, and asked if I could try the piano. They said yes; the manager heard my playing, really enjoyed listening to me, and suggested that I apply for the Young Artist programme, which I did. 6 months later, I was officially a Young Steinway Artist! Who are your favourite composers and why? Chopin - not surprisingly - and Schubert. I gravitate toward Classical (era) composers as well as the Early Romantic composers. I resonate more with their musical language; I feel like it is direct in its (perceived) simplicity. I feel this way about Schubert’s music; it is so focused on a singular melodic line. I feel like Schubert’s “Drei Klavierstücke” (which are very close to my heart) represent the scope of Schubert’s personality: the first movement is quite serious, the second is more lilting, and the third is comedic. Chopin has a lot of focus on the melodic line, too, but with extra flourishes. Chopin’s music is very passionate, and it can become dark at times, but there are always elements of pride, hope, and perseverance. I think that is a beautiful message. That’s how I feel when I play his music! As well as the Chopin nocturnes, I love the piano concertos. I fell in love with the first concerto first, when I was younger. As time has gone on, I have grown to understand and love the second concerto just as much. What is your favourite performance memory? Two moments stand out: One of my first “real” (professional) performances - just outside of Milan, Italy. I was playing a programme featuring a piece by Liszt (“Vallée d’Obermann”), which is technically challenging. I was incredibly anxious beforehand, and was asking myself “Can I pull it off?”. I did, and I was very proud of myself in that moment! My mentor Paul Badura-Skoda was in the audience, and he gave me a standing ovation; it touched my heart, and gave me a lot of confidence. In Portugal, I was supposed to be playing the Schubert “Fantasy in F-minor” with my duo partner, and he dropped out the day before. Paul Badura-Skoda said “I can play piano, too!”, and said he could perform it with me. I was grinning from ear to ear! As we were walking on stage, he asked me why I was smiling so much - it was a dream come true! What do you enjoy doing outside of music? I practice yoga daily, and am certified. I love yoga because it can be anything you want it to be! You can express yourself however you want to on a yoga mat. I live in the countryside, so I love spending time in nature - I often go outside with my dog (Rachmaninoff!). Nature grounds me and centres me, and I draw a lot of inspiration from it. There are lots of other things I enjoy - like eating great food and drinking good wine! Tell us about the Chopin Nocturne Project! I started the Chopin Nocturne Project in February (2021). When it first started, I wasn’t sure what to expect. In the back of my mind, I had this idea of creating an album, but I wasn’t sure if it was possible - mostly due to financial reasons. I made a promise to record a nocturne every Friday, and I thought this would allow me the time necessary to really dive deeply and explore these works without pressure. Surprisingly, I received a lot of encouragement, as well as donations and contributions to this project. Because of the support of these wonderful people, I was able to create this album. I recorded 95% of the album in one day - it was a 10-hour day at the piano! I had my incredible technician come in, and he was able to create exactly what I wanted. The piano was in perfect shape, so I played all of the nocturnes in succession - a piano doesn’t hold its tuning forever! I did about three takes for each nocturne. When I was editing, if I found a chord or trill I didn’t like, I re-recorded that section and edited it in. In three days, the recording and editing was all done. My brother-in-law mastered the tracks for me, and the whole album was done in less than a week! Which of the nocturnes is your favourite (impossible question!)? When I first started playing the piano, I remember my teacher showed me a recording of Yundi Li playing Chopin’s Op. 9, No. 1. When I first heard that, I remember thinking, “This is what falling in love feels like”. It’s because of that piece of music that I decided to pursue piano professionally; it was a big turning point for me. What do you hope listeners will gain from listening to this album? Music is so special because it allows us to transcend our reality; it’s something ephemeral. It lingers in the air, and it can take us to another place. We can connect directly with another person to give them a moment of peace/repose - to heal their soul. There is something so human about music; I just want to connect with others! What would you say to someone who is new to classical music and wants to get started? Visit Sound Garden: classical music immersion - there are resources for all different ages and levels of experience (Note: Thanks, Haley! We didn’t ask her to say this)! Classical music isn’t boring, classical music is for everyone. Now that concert halls are opening back, I would encourage somebody to go and see a live concert. There is nothing that replaces being in front of a symphony orchestra, for example. I think if everyone experienced it for themselves, they would gain a new appreciation for it. There are well-known pieces that are well-known for a reason - the staples in the classical repertoire. Everybody knows Beethoven’s “Symphony No. 5” - that’s because it’s really worth listening to! Out of the Chopin nocturnes, the most famous is Op 9, No 2. You can argue that it’s overplayed, but it’s overplayed for a reason: because it is really beautiful music! On my recording I did something different with this nocturne - I added ornamentation that Chopin included in another edition. They are hardly ever played, and I think they are very beautiful! "The Complete Nocturnes": Track-by-track Haley's thoughts on each of the tracks from the album: Op. 9, No. 1 This nocturne evokes a desolate and barren winter landscape as the sun gleams on a snow-covered field and trees. The narrator, isolated and forsaken, fosters such a strong memory of spring that, for a moment, it becomes reality. Op. 9, No. 2 This tender nocturne announces the arrival of spring almost as a lullaby. The narrator, healing from previous wounds, is opening his heart again to hope and love. Op. 9, No. 3 It is early summer, the sun is high, and the narrator and his friends are out for a hike in nearby fields. They sometimes lose their footing while traipsing in the high grass, but never their spirits as they laugh and enjoy the company and sunshine. Suddenly, the wind picks up and clouds roll in, darkening the field and threatening the entourage with rain. However, the sun returns just as swiftly as it disappeared, leaving the friends to continue enjoying their promenade. Op. 15, No. 1 This piece is a delicate assurance, the promise of safeguarding another person, a sweet sense of security. Life intervenes and menaces the narrator and his beloved. Ultimately, the tempest was not as threatening as it first appeared to be and all is still well, all will continue to be well. Op. 15, No. 2 This nocturne elicits a moment of tranquillity and laziness on a humid summer’s day. Moments of inward reflection intertwine with placid enjoyment. Op. 15, No. 3 On a fair autumn day, a farewell pierces the heart and causes the narrator almost physical anguish. Op. 27, No. 1 After an unexpected and unjustified loss, the narrator attempts to find peace in nature. As dead leaves fall onto the lake on a bitterly frigid autumn day, the narrator attempts to shield himself from the cold and from life’s cruelty. The nocturne ends with the calm that the narrator was desperately seeking. Despite the hardship and grief, his heart thaws and he perseveres. Op. 27, No. 2 This piece is the blossoming of a new love, tender yet passionate, treated gently. The lovers embrace at dusk against a dusty purple sky. Op. 32, No. 1 One of the most gentle nocturnes - the newfound lovers cherish having found each other. They bask in being around one another and in simple actions, such as the exchange of smiles and holding hands. A sudden jolt sharply brings them back to reality. Op. 32, No. 2 This nocturne elicits sweetness and a sense of security. An older couple still finds contentment in their daily life. Despite disagreements and their faults, their love remains and they always find a way back to acceptance and joy. Op. 37, No. 1 The narrator gazes into her fireplace as she allows her thoughts to wander. A memory comes and repeats itself, swimming before her eyes in the flames, becoming distorted and fuzzy. For a moment, she resigns the memory to the past and finds acceptance before melancholia once again overwhelms her. Op. 37, No. 2 This nocturne brings forth an image of laughter over aperitifs with friends and loved ones on a summer’s day. Sunshine and light-heartedness pervade most of the afternoon. Op. 48, No. 1 It is the Polish insurrection and the Poles are fighting Russia for their freedom and independence. Snow surrounds them and the Polish forces are suffering in the bitter cold. They try to draw comfort from a fire as they kindle wistful memories of their family and loved ones, but the oppressiveness of the occupation is never far from their minds. Despite their hardships, the Polish soldiers are proud of their country and they do not lose hope. They are resolute and will continue to fight for their freedom. Op. 48, No. 2 In the midst of the arduous insurrection, a woman replays a memory. She refuses to let go of it and does her best to imprint the moment in her memory. For an instant, she is deeply comforted as she enters the memory and forgets about the current difficulties. Perhaps it is a woman waiting for her beloved soldier to return home. Op. 55, No. 1 This piece shows one of the darkest moments of the narrator’s mental health as he risks succumbing to depression. He finally manages to transcend the blackness. Op. 55, No. 2 This nocturne creates a feeling of suspension as the narrator leaves his worries behind and focuses entirely on the wonders and miracles of life. Op. 62, No. 1 This nocturne evokes a newfound feeling of compassion and tenderness towards the fragility of life. Op. 62, No. 2 This piece is about finding happiness and gratitude in day-to-day life and treasuring the simple and mundane moments. Op. 72, No. 1 The narrator wraps himself in self-absorbed unhappiness and momentarily allows himself to wallow in nostalgia. No. 20 in C-sharp minor In this piece, there is a sadness so acute that it develops into a physical pain that the narrator feels in his core. His stomach is heavy and he feels his heart sink. No. 21 in C minor This nocturne is a folk song sung by a solo voice. It is the story of someone who has suffered but still has hope and pride - an anthem of resilience. Want a copy of the album, for your listening pleasure? Learn more about Sound Garden

Johann Wolfgang von Goethe (1749-1832) was a German poet, playwright, novelist, scientist, statesman, theatre director, and critic. He wrote many different kinds of literary works, and is considered one of Germany's greatest writers. Many composers were and are inspired by his work, and Goethe himself was a music lover. Music features often in works such as "Faust" and "Werther", both of which were later turned into well-known operas. The character of Mignon (who sings "Kennst du das Land") is found in the celebrated "Wilhelm Meister" novels - in this case, "Wilhelm Meister's Apprenticeship". Mignon is a 13-year-old girl, who was kidnapped from her home country of Italy by a troupe of acrobats, and brought to Germany. She is raised androgynously - hence the name Mignon, rather than the feminine Mignonne. Young, disillusioned merchant Wilhelm is fascinated by Mignon; he buys her freedom, and the two form a close bond. Wilhelm is attracted to her exoticism and sensuality; her character is somewhat of a Lolita/nymphet archetype (these terms are from the 20th Century, recognised because of Vladimir Nabokov's novel "Lolita"). In “Kennst du das Land”, Mignon recalls her homeland and expresses her desire to go there with Wilhelm - her new father figure. Here is the text to the song, first in German and then in English. Read on for examples of how composers set it to music! German Kennst du das Land? wo die Citronen blühn, Im dunkeln Laub die Gold-Orangen glühn, Ein sanfter Wind vom blauen Himmel weht, Die Myrte still und hoch der Lorbeer steht, Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Geliebter, ziehn. Kennst du das Haus? Auf Säulen ruht sein Dach, Es glänzt der Saal, es schimmert das Gemach, Und Marmorbilder stehn und sehn mich an: Was hat man Dir, du armes Kind, gethan? Kennst du es wohl? Dahin! Dahin Möcht' ich mit dir, o mein Beschützer, ziehn. Kennst du den Berg und seinen Wolkensteg? Das Maulthier sucht im Nebel seinen Weg; In Höhlen wohnt der Drachen alte Brut; Es stürzt der Fels und über ihn die Flut. Kennst du ihn wohl? Dahin! Dahin Geht unser Weg! o Vater, laß uns ziehn! English Do you know the land where the lemon trees bloom; where golden oranges glow amid the dark foliage? A gentle wind blows from the blue sky, the myrtle stands still, the laurel tall: do you know it? There, O there I would like to go with you, my beloved! Do you know the house? Its roof rests on pillars, the hall shines, the room shimmers, and marble statues stand and look at me: what has been done to you, poor child? Do you know it? There, O there I would like to go with you, my protector! Do you know the mountain and its clouded walkway? The mule seeks its way through the fog, in caves the ancient brood of dragons dwells; the rock falls, and the tide falls over it. Do you know it? There, O there Go our way! O father, let us go! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Settings Listen to these four settings of the German text, and see how each composer used music to tell the story. Keep scrolling for three special mentions! Beethoven - 6 Gesänge, Op. 75: I. Kennst du das Land "Mignon" Schubert - Mignon, D. 321 Wolf - Goethe-Lieder: IX. Kennst du das Land Schumann - Lieder un Gesänge aus Wilhelm Meister, op. 98a: I. Kennst du das Land Special Mentions Thomas - Mignon: Connais-tu le pays *This French setting of the text is very well-known, from the opera "Mignon". Adamo - Little Women: Kennst du das Land *In this opera by American composer Mark Adamo, the character Dr. Bhaer sings the first stanza in German, and the second in English. Berg - Mignon *This setting only sets the first stanza of the poem. Learn more about Sound Garden

"Come Away, Death" is a song from Shakespeare's Twelfth Night. It is sung by the fool Feste - a fool being a clever peasant or commoner who uses humour to outdo the upper class. Despite the - uh, less than cheerful - title of the song and some of the deathly undercurrents found within the play, it is, in fact, a comedy. In late Elizabethan/early Jacobean England, the plague was endemic (constant) in Europe, along with other diseases. Crimes were often punishable by death, infant mortality levels were high, and the age of life expectancy was low (34 years on average for an English male). Death was something all Europeans were very familiar with, as well as simply being an inevitable event for all human beings. It is a topic which is often found in works of art from the time, including those which were intended to be humorous. Here are just a few of the references to death to be found within the play: It is mentioned twice within the first four lines (and many times throughout the rest of the work)! The plot centres on the twins Viola and Sebastian, who were separated in a shipwreck and presume each other dead (spoiler alert: they aren't!). The character Olivia is in mourning for her recently-deceased father and brother. Sir Toby and the Fool exchange song lyrics: (ST) "But I will never die", (F) "Sir Toby, there you lie!) A duel is set up, where each opponent first believes the other to be violent and out for blood, and later believes that the other has promised to not draw blood. “Come Away, Death”, is about a man who wants to die due to unrequited love, and wants to be buried far away without ceremony. The character of Orsino asks Feste to sing it: "O, fellow, come, the song we had last night.—/ Mark it, Cesario. It is old and plain;/The spinsters and the knitters in the sun/And the free maids that weave their thread with bones/Do use to chant it. It is silly sooth,/And dallies with the innocence of love/Like the old age." The text is as follows: Come away, come away, death, And in sad cypress let me be laid; Fly away, fly away breath; I am slain by a fair cruel maid. My shroud of white, stuck all with yew, O, prepare it! My part of death, no one so true Did share it. Not a flower, not a flower sweet On my black coffin let there be strown; Not a friend, not a friend greet My poor corpse, where my bones shall be thrown: A thousand thousand sighs to save, Lay me, O, where Sad true lover never find my grave, To weep there! Notes: In Classical Antiquity, cypress/cyprus trees were a symbol of mourning. They are to this day often found in cemeteries in the Muslim and Christian world, and are believed to be the tree from which the wood of Jesus' cross came. Does "cypress" then refer to the wood of a coffin? More likely a shroud: most people were buried in shrouds, as coffins were generally for the wealthy in Shakespeare's time. Cyprus/cipres/cypress was also the name for a transparent, crape (form of crêpe)-like material, often used to make shrouds. Yew trees are also often associated with churchyards and cemeteries. They represent resurrection and eternity in the Christian tradition; the drooping branches can take root and form new trees, creating a new life cycle. Burying pieces of yew with the deceased became a custom for early Christians. As mentioned above, coffins were not yet in common use. As the protagonist expects a low-key burial in an unmarked grave, he does NOT expect to be placed in a coffin, just as he does not expect this coffin to be strewn with flowers. Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Settings Many composers have set this text to music. Have a listen to our four selections, and let us know which is your favourite! Roger Quilter Gerald Finzi Erich Korngold Madeleine Dring Learn more about Sound Garden

A new album by oboist Alexandre Ficarelli and cellist Raïff Dantas Barreto is out now: "Brazilian Music for Oboe & Cello". This album is the latest release from São Paulo (Brazil)-based record label Azul Music. Alexandre Ficarelli and Raïff Dantas Barreto are colleagues in the Municipal Symphony Orchestra of São Paulo. As well as being an oboist, Alexandre is a university professor, with a special focus on Brazilian music. Following extensive research of Brazilian oboe and cello repertoire, he invited Raïff to begin working on this album project, which includes previously unpublished and newly commissioned works. Both artists brought repertoire options, new ideas, and new insights to the table, creating a collaboration which is a celebration of Brazilian classical music! Read on for the interview! Interview How did you get started in classical music? Alexandre: I come from a family of musicians: my father was a composer, pianist and even conducted a little, and my uncle (my father's brother) was a French horn player in the São Paulo Municipal Symphony Orchestra. I started studying music at the age of 6, beginning with the recorder. At the age of 10, I started learning the oboe. It took years of dedication, study, countless hours of practice, and a lot of love for music to get to where I am today. Raïff: I started playing the violin when I was 12 years old. I discovered the cello at age 14 - thanks to my father, who always listened to classical music at home. I was also lucky to have a great teacher, Nelson Campos. After a few years, I went to Italy to study with Enrico Contini at the Conservatory of Parma. Who are your favourite composers and why? Raïff: Beethoven, Bach, Brahms, Schubert, Shostakovich, and Villa-Lobos. They are wonderful. Alexandre: It's very difficult to answer this question. I have always listened to music, ever since I was a kid. From Bach to Stravinsky, from Palestrina to Shostakovich, and from Villa-Lobos to Almeida Prado... there was nothing I didn't like. I learned to understand and enjoy contemporary music during my study in Germany. Each song or piece has its own peculiarity. How would you describe the classical music of Brazil? What makes it unique? Raïff: It's unique because it is a mix of popular music (folk music) and European traditions. Alexandre: Complementing what Raïff said: The mix of cultures comes from European and Black music (from the arrival of African enslaved people in the 16th century) and the traditions of the indigenous people who already inhabited these lands. This brought an incredible diversity to Brazilian music. The universe of Brazilian music is much broader than just bossa nova (which I love) and samba; we are also discovering our music. How did the idea for this album project come about? Alexandre: In my academic career (as a professor at the University of São Paulo), I have always researched Brazilian music. Through this research, I came across some oboe and cello duos that I found very interesting. I invited my friend Raïff to play them, and that was the beginning of this project. We played chamber music together, but never before as a duo. Raïff: It was an invitation from Alexandre that I accepted right away! We've played in the same orchestra for many years. What was the process like for researching, developing, rehearsing, and recording your album? Raïff: Alexandre brought some pieces, I showed him others, and we commissioned composers to create works for our duo. Alexandre: It was an incredible process, where each of us brought new insights to the repertoire and solutions to the musical problems. Recording was a pleasant experience; issues were easily solved, and Adonijas Jr. from Arsis Studio was very competent. Is there a particular work/movement on the album which has a special meaning to you? Raiff: Two works: 1) the Sonatina for solo cello by Mário Ficarelli, which I had the opportunity to play in the composer's presence in a concert dedicated to his compositions, and 2) the Frevo Obooecélico by Villani-Cortês, who, in addition to being a magnificent composer, is a great friend. Alexandre: Recording my father's (Mario Ficarelli) solo piece brought a mixture of feelings (he passed away 7 years ago). On one hand, I encouraged him to write a solo work for oboe, and it was dedicated to me. On the other hand, it is always a responsibility to record a piece for the first time. What do you hope listeners will gain from listening to your album? Raïff: Pleasant moments becoming familiar with a little Brazilian music and these two wonderful instruments. Alexandre: I hope everyone has fun listening to Brazilian music, especially through the unusual combination that is oboe and cello. Furthermore, these songs are rarely performed, even in Brazil! Do you have future projects planned together? Do you have future plans for continuing to advance and promote Brazilian music? Raïff: We have many concerts ahead as colleagues of the Municipal Symphonic Orchestra of São Paulo and as members of our duo. I intend to record the complete work of Villani-Cortês for cello and piano soon. Alexandre: As Raïff said, we have plans to record other duos. I also already have recording sessions scheduled for the next album, which will involve Brazilian Music for oboe and piano. What would you say to someone who is not familiar with classical music but would like to get started? Alexandre: Every human being has been exposed to classical music; they just don't know how to classify it. Whether in cartoons, movies, or television, classical music is always present. There is no right or wrong in classical music, just give it a chance and try it out! Raïff: Get started, you won't regret it! Sound Garden Products (article continues below) At Sound Garden, we currently offer the following products to help you to learn about and engage with classical music: Classical Sessions for adults and teens Classical Inspirations for ages 6-12 Composer Activity Guides for parents/carers of ages 0-6 Online courses ...and more! Brazilian Music for Oboe & Cello: Track-by-track The artists' thoughts on each of the works from the album: José Guerra Vicente: Divertimento para Oboé e Violoncelo Raïff: José Guerra Vicente was a great Brazilian composer, and it is unfortunate that the piece is not played more often. Edmundo Villani-Côrtes: Frevo Oboecélico para Oboé e Violoncelo Raïff: This work was composed especially for the duo. It is a short piece that requires a lot of skill. Mario Ficarelli: Quatro Esboços para Oboé Solo Alexandre: This piece explores different characteristics of the oboe sound covering the entire range of the instrument. Liduino Pitombeira: Seresta No. 18 para Oboé e Violoncelo, Op. 226: Modinha Alexandre: Modinha is a folk song originally from the 18th century. In this version, it receives a modern touch. This piece was dedicated to our duo. Liduino Pitombeira: Seresta No. 18 para Oboé e Violoncelo, Op. 226: Baião Alexandre: Baião is a North-eastern Brazilian style of music and dance with very unusual rhythms. Mario Ficarelli: Sonatina para Violoncelo Solo Raïff: This is a beautiful work that enriches the Brazilian solo cello repertoire. José Vieira Brandão: Duo para Oboé e Violoncelo: I. Seresta Alexandre: Seresta was a new name that emerged in 20th century Brazil for the oldest tradition of popular singing in cities: the serenade. This type of song is very melodious. José Vieira Brandão: Duo para Oboé e Violoncelo: II. Desafio Alexandre: This movement is based on a typical Brazilian singing improvisation by two alternating singers (repentistas). The album is available on all major streaming platforms. Learn more about Sound Garden