Klaus Döring's Classical Music/Klaus Döring's Klassische Musik

by  Maureen Buja    Where is your happy place? Debussy’s 1904 work  L’isle Joyeuse  seems to kidnap us, fly us through the air, and deposit us in a world of warm breezes, blue skies, perhaps a fluffy cloud or two, and, of course, surrounded by all our friends. Although those giving only a cursory look at Debussy’s biography pin this work to his elopement with  Emma Bardac  to the isle of Jersey (after sending his wife back to her parents in Normandy), but the work was written over a year earlier. Debussy, in writing to a performer who sought help on how to approach his music, suggested that he think of the world of the imagined faraway land, such as Watteau’s  L’embarquement pour Cythère . Watteau:  L’embarquement pour Cythère , 1717 (Louvre Museum) The picture is a blend of happiness and sadness: the three pairs of lovers shown in the right foreground, or rather the same couple in three aspects of love: New Love, Familiar Love, and the ...

by   Frances Wilson  Samuel Coleridge-Taylor Deep river, my home is over Jordan; Deep river, Lord, I want to cross over into campground. Oh don’t you want to go to that gospel feast, that Promised Land where all is peace? Deep river, Lord, I want to cross over into campground. African-American Spiritual “ What Brahms has done for the Hungarian folk music, Dvořák for the Bohemian, and Grieg for the Norwegian, I have tried to do for these Negro Melodies. ” – Samuel Coleridge-Taylor, composer   There is something reminiscent of  Brahms ’ writing for the piano in the melody, harmonies and textures of Deep River, one of Samuel Coleridge-Taylor’s 24 Negro Melodies, and if you didn’t know it was by this English mixed-race composer, you might mistake it for a lesser-known work by the great German romantic. ‘Deep River’ is a song about crossing boundaries, physical and metaphorical. Through the richness of the music’s textures, its simple yet memorable melody and it...

by  Emily E. Hogstad       There’s something thrilling about the opening of a great piano concerto. The big instrument gets rolled onstage; the soloist and conductor stride out to applause; the pianist sits and raises their arms and nods to the conductor to begin. Today, we’re looking at piano concerto openings that have a claim to be among the best: excerpts that are particularly striking, surprising, or spellbinding. Of course, when it comes to ranking classical music, there is no such thing as an objective list. Today, we’ve made some subjective calls and made a countdown list in reverse order. Keep scrolling to find out which piano concertos we think have the best openings, and which concerto nabbed the number one spot. 10. Robert Schumann: Piano Concerto in A minor   The first movement of Robert Schumann’s piano concerto began life as a Phantasie in A minor, which he wrote over the course of four days in May 1841. He had just married Cla...

by Janet Horvath  To be a good conductor, you must first play a musical instrument. We professionals who’ve played in professional orchestras appreciate the conductors who have emerged from the ranks. They learn from the inside what we need from them, to name a few:   Sir Neville Marriner   (violin), Edo de Waart (oboe), Serge Koussevitzky (double bass), Thomas Søndergård (timpani), and Jaap van Zweden (violin – the youngest concertmaster ever appointed to the Amsterdam Royal Concertgebouw Orchestra). But it’s a bit rarer when world-renowned instrumentalists turn to conducting after a brilliant career as a soloist. Some extremely talented musicians do (or did)  both  such as Daniel Barenboim, Leonard Bernstein, Pinchas Zukerman, and Mitsuko Uchida. Cellists becoming conductors seem to lead the pack. Did you know these 15 conductors were cellists in a previous life? Arturo Toscanini Arturo Toscanini  (1867-1957) is considered by many to b...

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