Thursday, April 13, 2023

Classic FM Live 2023 at the Royal Albert Hall: photos from our night of operatic hits

 

Classic FM Live 2023 at the Royal Albert Hall: photos from our night of operatic hits

12 April 2023, 21:27 | Updated: 13 April 2023, 11:55

Soprano Danielle De Niese performs with the English National Opera Orchestra and Chorus
Soprano Danielle De Niese performs with the English National Opera Orchestra and Chorus. Picture: Matt Crossick

By Maddy Shaw Roberts

Explore all the photo highlights from Classic FM Live on 12 April, when we filled the Royal Albert Hall with lights, fireworks and the greatest hits of opera.

Classic FM Live with Viking returned to London’s Royal Albert Hall on 12 April 2023 for a sparkling night at the opera.

World-renowned soprano Danielle De Niese, star American baritenor Michael Spyres, and boy treble Malakai Bayoh, took to the stage to sing enduring operatic melodies – from arias ‘Habanera’ and ‘Nessun dorma’, to great opera overtures by Mozart and Verdi.

Opening with Carl Orff’s monumental ‘O Fortuna’ from Carmina Burana, the English National Opera Orchestra and Chorus were our ensemble and choir for the evening, performing music from Carmen, La Traviata, Madame Butterfly and The Marriage of Figaro under the baton of Paul Daniel.

Explore our selection of photo highlights below...

  1. Welcome to the stage – the English National Opera Orchestra and Chorus!

    Conductor Paul Daniel leads the English National Opera Orchestra and Chorus
    Conductor Paul Daniel leads the English National Opera Orchestra and Chorus. Picture: Matt Crossick
  2. Your hosts for the evening, Alexander Armstrong and Myleene Klass...

    Alexander Armstrong and Myleene Klass host Classic FM Live at the Royal Albert Hall
    Alexander Armstrong and Myleene Klass host Classic FM Live at the Royal Albert Hall. Picture: Matt Crossick
  3. Superstar soprano Danielle De Niese performs ‘Habanera’ from Carmen

    Danielle De Niese sings ‘Habanera’ from Carmen
    Danielle De Niese sings ‘Habanera’ from Carmen. Picture: Matt Crossick
  4. Danielle De Niese with Agustín Lara’s thrilling ‘Granada’

    Danielle De Niese with Agustín Lara’s thrilling ‘Granada’
    Danielle De Niese with Agustín Lara’s thrilling ‘Granada’. Picture: Matt Crossick
  5. American baritenor Michael Spyres delights with Rossini’s ‘Figaro’ aria

    Michael Spyres delights audience with Rossini’s ‘Largo al factotum’
    Michael Spyres delights audience with Rossini’s ‘Largo al factotum’. Picture: Matt Crossick
  6. Maestro Paul Daniel leads the English National Opera Chorus

    English National Opera Chorus led by Paul Daniel
    English National Opera Chorus led by Paul Daniel. Picture: Matt Crossick
  7. Michael Spyres entertains with vocal acrobatics in ‘Figaro’ aria

    Michael Spyres entertains with vocal acrobatics in ‘Figaro’ aria
    Michael Spyres entertains with vocal acrobatics in ‘Figaro’ aria. Picture: Matt Crossick
  8. Glorious Mozart and Verdi overtures from the English National Opera Orchestra

    Mozart and Verdi overtures from the English National Opera Orchestra and Chorus
    Mozart and Verdi overtures from the English National Opera Orchestra and Chorus. Picture: Matt Crossick
  9. Michael Spyres brings the house down with Puccini’s ‘Nessun dorma’

    Michael Spyres sings Puccini's aria 'Nessun dorma'
    Michael Spyres sings Puccini's aria 'Nessun dorma'. Picture: Matt Crossick
  10. Boy treble Malakai Bayoh makes his Royal Albert Hall solo debut

    Malakai Bayoh sings Handel at Classic FM Live
    Malakai Bayoh sings Handel at Classic FM Live. Picture: Matt Crossick
  11. Paul Daniel congratulates Malakai on his performance and standing ovation!

    Paul Daniel gives Malakai Bayoh a fist-bump
    Paul Daniel gives Malakai Bayoh a fist-bump. Picture: Matt Crossick
  12. English National Opera Orchestra and Chorus under the baton of Paul Daniel

    English National Opera Orchestra and Chorus under the baton of Paul Daniel
    English National Opera Orchestra and Chorus under the baton of Paul Daniel. Picture: Matt Crossick
  13. Michael Spyres and Danielle De Niese duet on Verdi’s ‘Drinking Song’

    Michael Spyres and Danielle De Niese duet on Verdi’s ‘Drinking Song’
    Michael Spyres and Danielle De Niese sing Verdi’s ‘Drinking Song’. Picture: Matt Crossick
  14. Chorus and audience sing ‘Happy Birthday’ to the star soloists!

    Michael Spyres and Danielle De Niese embrace at Classic FM Live
    Michael Spyres and Danielle De Niese embrace at Classic FM Live. Picture: Matt Crossick
  15. Confetti rains down for a grand finale from the English National Opera Orchestra and Chorus

    English National Opera Orchestra and Chorus
    English National Opera Orchestra and Chorus. Picture: Matt Crossick

Monday, April 10, 2023

Rachmaninoff: Piano Concerto no.2 op.18 - Anna Fedorova - Complete Live ...


Rachmaninov’s Piano Concerto No.2 tops Classic FM Hall of Fame in composer’s 150th anniversary year


Rachmaninov’s Piano Concerto No.2 is voted as the new No.1 in the Classic FM Hall of Fame 2023.
Rachmaninov’s Piano Concerto No.2 is voted as the new No.1 in the Classic FM Hall of Fame 2023. Picture: Alamy
Classic FM

By Classic FM


There’s a new number one in the Classic FM Hall of Fame, as Rachmaninov’s second piano concerto tops the chart for the first time in 10 years.

Rachmaninov’s Piano Concerto No.2 has topped the Classic FM Hall of Fame for the first time in 10 years, in the year that marks 150 years since the composer was born.

A long-time favourite in the world’s biggest survey of classical music tastes, the monumental work has reached the No.1 spot eight times since the chart began in 1996.

In recent years it has lost out to Vaughan Williams’ enduringly popular The Lark Ascending, which has enjoyed four consecutive years in the top spot before being knocked off in 2023.

The new chart, which was revealed live across the four-day Easter weekend on Classic FM, also sees a record number of film music entries with 35 soundtracks voted in.

View the full Top 300 >

Rachmaninov finished writing his second piano concerto in 1901, as he emerged from a period of particularly troubling mental health. He dedicated the piece to the neurologist Nikolai Dahl as thanks for his treatment and support throughout his illness.

The piece was premiered in November of that year to great acclaim, and remains a firm favourite more than a century later. It featured prominently in the soundtrack of the 1945 romantic drama, Brief Encounter, and provided Eric Carmen with the inspiration for his hit pop power ballad, ‘All by Myself’, in 1975.

The tune cemented its popularity in 1996, when Canadian vocal powerhouse Celine Dion famously released her cover – and further still, when it was featured to great comedic effect in the 2001 film Bridget Jones’ Diary.

Friday, April 7, 2023

An Easter Hallelujah Cassandra Star & her sister Callahan



Top 30 Most Underrated Classical Composers


Here are the top 30 most underrated classical composers (from the 16th to the 20th century. It is my own opinion and I know I ommited many composers that deserve much more recognition (especially among casual listeners), but 30 is also just a finite number and I cannot include all composers here. Maybe I will do a second part, where i try to add more American composers. Yet I encourage everybody to mention other underrated composers in the comments and explore the ones I listed here. have fun!

Here are the timestamps:

30)  00:23 Bohuslav Martinů
29)  02:29 Max Bruch
28)  05:26 Nikolai Medtner
27)  07:06 Frederick Delius
26)  08:40 Karol Szymanowski
25)  10:43 Fanny Mendelssohn
24)  12:13 Heitor Villa-Lobos
23)  13:42 Alexander von Zemlinsky
22)  15:45 Gustav Holst
21)  17:44 George Enescu
20)  19:16 Muzio Clementi
19)  20:43 Gerald Finzi
18)  22:04 Dietrich  Buxtehude
17)  23:28 César Franck
16)  25:21 Erich Korngold
15)  26:58 Georg Phillip Telemann
14)  28:12 Ottorino Respighi
13)  29:57 Vasily Kallinikov
12)  31:28 Heinrich Schütz
11)  32:50 Rued Langgaard
10)  35:31 Johann Kuhnau
09)  37:10 Louis Spohr
08)  38:53 Charles Valentin Alkan
07)  40:05 Mieczysław Weinberg
06)  41:48 Christoph Graupner
05)  43:23 Moritz Moszkowski
04)  45:09 Sir Arnold Bax
03)  47:33 Einojuhani Rautavaara
02)  49:32 Joachim Raff
01)  50:56 Franz Schreker

And here are the recordings I used:

30)   

 • Bohuslav Martinů:...  
29)   

 • Bruch: Serenade f...  
28)   

 • Piano Concerto No...  
27)   

 • Delius: On Hearin...  
26)   

 • Szymanowski: Symp...  
25)   

 • Piano Sonata in G...  
24)   

 • Symphony No. 10 "...  
23)   

 • Zemlinsky: Lyrisc...  
22)   

 • Gustav Holst(1874...  
21)   

 • Romanian Rhapsody...  
20)   

 • Clementi: Concert...  
19)   

 • Romance in E-Flat...  
18)   

 • Passacaglia in D ...  
17)   

 • Cello Sonata in A...  
16)   

 • Violin Concerto i...  
15)   

 • Flute Sonata in G...  
14)   

 • Sinfonia Drammati...  
13)   

 • Vasily Kalinnikov...  
12)   

 • Musikalische Exeq...  
11)   

 • Sfærernes Musik T...  
10)   

 • Toccata in A Major  
09)   

 • Symphony No. 9 in...  
08)   

 • 12 Etudes dans le...  
07)   

 • Cello Concerto in...  
06)   

 • Christoph Graupne...  
05)   

 • Moritz Moszkowski...  
04)   

 • Tintagel  
03)   

 • Symphony No. 7, "...  
02)   

 • Raff: Symphony No...  
01)   

 • Franz Schreker: C...  
Intro:   

 • Bachianas Brasile...  

Most Fun Classical Songs and Popular Tunes for Easter

By Hermione Lai, Interlude

Most Fun Classical Songs and Popular Tunes for EasterPandemics come and pandemics go, but Easter will surely return every year. For many Christians around the world this is the most important holiday of the year. It commemorates the Passion of Christ, starting with the Last Supper and culminating with the crucifixion and death of Jesus. But above all, it celebrates the resurrection of Jesus Christ. The time around Easter, in many cultures and in different parts of the world is connected with a sense of renewal. Hurrah, Spring is finally coming!

Here Comes Peter Cottontail

Here Comes Peter Cottontail 

“Here comes Peter Cottontail”

Easter is not just a religious or nature ritual, but it is also connected with some very fun traditions for children and for those young at heart. And Easter wouldn’t be Easter without some beautiful, popular, uplifting and joyful music. So here comes my personal playlist of the most fun classical songs and popular tunes for Easter. Let’s get started with the long-eared and short-tailed creature who delivers decorated eggs to well-behaved children on Easter Sunday. Yes, I am talking about the Easter Bunny. You won’t find him mentioned in the bible, but Peter Cottontail is definitely a hugely popular Easter tradition. 

Duke Ellington: Cotton Tail (Dee Dee Bridgewater)

Duke Ellington

Duke Ellington

The young Easter Bunny Peter Cottontail lives in April Valley together with his fellow Easter Bunnies. They make Easter candies, sew bonnets, and they decorate and deliver Easter eggs. But trouble starts brewing when Peter Cottontail, who is somewhat unreliable and gossipy, is supposed to be appointed Chief Easter Bunny. An evil rabbit named January Q. Irontail also wants the job, but his motivation is a little different. He wants to ruin Easter for children as revenge for a child roller-skating over his tail. Now he has to wear an artificial tail, and he is not a happy bunny. After much intrigue, scheming, and treachery, Irontail does become the new Chief Easter Bunny. He quickly passes various laws to make Easter a disaster. Eggs have to be painted brown and gray, candy sculptors become tarantulas and octopuses, and instead of Easter bonnets, he orders that Easter rubber boots be made. Of course, things do work out in the end, and Cottontail, all reformed and reliable becomes the official Chief Easter Bunny.

Peter Rabbit

Peter Rabbit

The animated television special of Peter Cottontail dates from 1971, but the character of Peter Rabbit has a long tradition in children’s literature. Beatrix Potter first introduced Peter Rabbit in 1902. It became a huge hit, and she wrote five more books on the subject. “Cottontail” also became the inspiration for the great American composer, pianist and jazz orchestra leader Duke Ellington. When he returned to the US after a successful tour of Europe in 1940, he composed the jazz standard “Cotton Tail.” For jazz aficionados the tune “foreshadows bebop in the rhythmic inflections and melody line.” Jon Hendrick wrote the lyrics accompanying the tune based on the familiar Peter Rabbit fairytale. Personally, I really love the scat tribute to Ella Fitzgerald performed by Dee Dee Bridgewater, as her voice skips and hops across the musical landscape.

Philip Henrik Johnsen: Church Music-Easter Sunday 1757 “Allegro”

Hinrich Philip Johnsen

Hinrich Philip Johnsen

Our next Easter selection takes us to a completely different time and place. The time is the mid-18th century, and the place is Stockholm in Sweden. There had been a bit of trouble deciding on the royal succession, and in the end Adolf Fredrik, Duke of Holstein-Gottorp was elected to the throne of Sweden. The Duke had to pick up his entire household for his move to Stockholm, and he brought his own musicians along. That included a young clavier player named Hinrich Philip Johnsen (1717-1779). He probably hailed from Germany, and he was regarded as a prominent contrapuntist and organ improviser. He composed some delightful and cheerful music for the Easter Sunday service in 1757. The reason we know that it was composed in 1757 is because the composer put the date in the title. The music is very cheerful indeed, and even though the composer is not a household name, it’s a really fun Classical Song for Easter. 

Nikolay Rimsky-Korsakov: Russian Easter Festival, Op. 36

Russian Easter Festival

Russian Easter Festival

Everybody has his or her favorite Easter traditions and memories. The Russian composer Nikolay Rimsky-Korsakov remembers the celebration of Easter “as a large gathering of people from every walk of life, with several popes conducting cathedral service… the old liturgical chants and nearby monastery bells ringing out.” In 1887/88 he decided to musically encode his childhood memories, growing up in Tikhvin, in Novgorod province. The orchestra was Rimsky-Korsakov’s instrument, and he composed a brilliant and wonderful score. As he wrote, “I want to reproduce the legendary and heathen aspect of the holiday, and the transition from the solemnity and mystery of the evening of Passion Saturday to the unbridled pagan-religious celebrations of Easter Sunday morning.” You can hear all the excitement of the crowds in that beautiful and fun Classical Song for Easter. 

Vally Weigl, wife of Karl Weigl

Vally Weigl, wife of Karl Weigl © Weigl Foundation

Karl Weigl: 6 Children Songs, No. 4 “To the Easter Bunny”

Karl Weigl was born in Vienna in February 1881. He showed some exceptional musical talent and his parents sent him for private lessons with Alexander Zemlinsky. From his very beginnings as a composer, it became clear that he had a passion for vocal music. His settings of “Six Children’s Songs” to poems by his second wife Vally date from between 1932-1944. They are written in English because Weigl and his family had to flee to the United States when Hitler annexed Austria in 1938. Weigl had a gift for melodic invention, “as well as simple onomatopoeic devices such as the hopping appoggiaturas in his “To the Easter Bunny.” It’s all about the Easter Bunny delivering his brightly-colored Easter eggs. What a fun and hopping Classical song for Easter. 

Irving Berlin: Easter Parade

Easter Parade

Easter Parade

Easter Parades are said to date back to the early days of Christianity. But they really got going in New York City in the mid-1800s. It was an entirely social event. After the upper crust of society attended Easter services at various churches alongside Fifth Avenue, they strolled outside to show off their new spring outfits and hats. They soon attracted ordinary onlookers wanting to see what the rich and famous were up to, and the tradition of the Easter parade was born. It was highly popular during the mid-20th century, and it even inspired the very popular film “Easter Parade” in 1948. Starring Fred Astaire and Judy Garland, the music was composed by Irving Berlin. Plenty of popular tunes for Easter in that hit production.

Irving Berlin: Easter Parade (MGM Studio Orchestra; Johnny Green, cond.; Roger Edens, piano; Betty Rome, vocals; Blanche Arnaud, vocals; Camilla Holliday, vocals; Fred Astaire, vocals; Gene Curtsinger, vocals; Loolie Jane Norman, soprano; Misses Doxie, vocals; Mel-Tones, vocals; Judy Garland, vocals; Peter Lawford, vocals; Ann Miller, vocals; Dick Beavers, vocals; Clinton Sundberg, vocals; The Lyttle Sisters, choir; Eadie Griffith, piano; Rack Goodwin, piano; MGM Studio Chorus, choir)

Bonnie and Clyde

Bonnie and Clyde

Thomas Newman: The Highwaymen, “Easter Morning”

Talking about films, in 2019 Kevin Costner and Woody Harrelson starred in the period crime drama “The Highwaymen”. Essentially, it’s the famed story of the notorious outlaws Bonnie and Clyde, and includes a haunting track detailing some sad events on “Easter Morning.”

 


Andrew Lloyd Webber: Jesus Christ Superstar, “I don’t know how to love him”

Jesus Christ Superstar

Jesus Christ Superstar © Pamela Raith

Andrew Lloyd Webber is called “the most commercially successful composer in history.” Several of his musicals have run for more than a decade in the West End and on Broadway, and surely you know such hit songs as “The Music of the Night” from The Phantom of the Opera, “Don’t Cry for Me Argentina” from Evita, and “Memory” from Cats. One of his earlier and rather controversial projects was the 1970 rock opera “Jesus Christ Superstar.” The story is loosely based on the accounts of the last week of Jesus’ life, and it focuses on the personal psychology of the characters. Audiences were rather shocked by the controversial portrayals of Mary Magdalene, and her unrequited love for Jesus. “I Don’t Know How to Love Him” presents her personal confusion in understanding her attraction to Jesus. This gorgeous tune became hugely popular, and it stormed the pop hit charts. 

Sergei Rachmaninoff: “Fantaisie tableaux,” Suite No. 1, Op. 5, No. 4 “Pâques (Easter)”

Rachmaninoff, 1901

Rachmaninoff, 1901

As a boy, Sergei Rachmaninoff was frequently taking to Russian Orthodox Church services by his grandmother. He was absolutely enchanted by the rituals, and the sounds of church bells and liturgical chants never left him. His Suite No. 1 for two pianos dates from the summer of 1893, and as he explained, “it consists of a series of musical pictures.” Maybe, these musical pictures are based on poetic excerpts, and the work is dedicated to Tchaikovsky. The final tone picture is called Pâques (Easter), and it takes us back to Rachmaninoff’s childhood and the beautiful ringing of bells. For me personally, it is one of the most fun Classical songs for Easter. Easter celebrations and traditions vary widely across the world. No matter how you celebrate Easter or the coming of Spring, there is plenty of fantastic music for that special occasion. What are some of your musical Easter favourites?

Thursday, April 6, 2023

Frederic Chopin - Romance


Frederic Chopin Piano Concerto No. 1 in E minor, Op.11: II - Romanza - Slovak Symphony Orchestra Awesome Piano Music for your soul :)

Why Listen to Rachmaninoff?


A dive into the life and music of one of the great late-Romantic pianist composers, Sergei Rachmaninoff. Music included (Listening List): Piano Concerto no. 2 - First Movement Lilacs Op. 21 no. 5 Six moments musicaux - no. 5 Grieg's Piano Concerto - First Movement Piano Concerto no. 1 - First Movement Tchaikovsky's String Quartet no. 1 - Scherzo Six moments musicaux - no. 1 Prelude in C-sharp minor Isle of the Dead Op. 29 Piano Concerto no. 2 - Second Movement Symphony no. 1 - First Movement Piano Concerto no. 2 - Third Movement Nocturne no. 2 in F Major All-Night Vigil Op. 37 - 2. Blagoslovi, dushe moya, Gospoda Symphony no. 2 - Adagio Symphonic Dances - Finale Rhapsody on a theme of Paganini - 18th Variation 0:00 - Introduction 2:00 - Early Life 4:11 - Prelude in C# Minor 5:23 - Death as a Motif 6:23 - Piano Concertos 7:50 - The 2nd Piano Concerto 10:13 - Best Known Works 10:45 - WW1 and the All-Night Vigil 12:12 - Late Work: The Symphonic Dances 12:55 - Finale

Monday, April 3, 2023

Johann Nepomuk Hummel - Piano Concerto No. 2 in A minor, Op. 85 (1816)


Johann Nepomuk Hummel (14 November 1778 – 17 October 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. Please support my channel: https://ko-fi.com/bartjebartmans Piano Concerto No.2 in A minor, Op. 85 (1816) 1. Allegro moderato (0:00) 2. Larghetto (15:28) 3. Rondo - Allegro moderato (19:52) Stephen Hough and the English Chamber Orchestra conducted by Bryden Thomson Description by Robert Cummings [-] Even into the twenty first century, Hummel's music is being assessed and reassessed, always with the view that his genius has been consistently underrated. His piano concertos are among his greatest accomplishments, and he might have excelled in the symphony too, had he not taken to heart so seriously his rivalry with Beethoven. Hummel's Second and Third piano concertos are undoubtedly his most popular, though even they have enjoyed paltry few recordings and relatively meager representation in the concert halls. The A minor Second is cast in three movements: a lengthy Allegro moderato is followed by a very brief Larghetto and a substantial Rondo (Allegro moderato). The first movement opens with a long orchestral introduction wherein the striking main theme is immediately presented by the strings, a theme whose character is both restless and heroic, looking back toward the darker side of Mozart as well as to the contemporary grandiosity of Beethoven. An alternate melody follows, a jovial, proud creation introduced by the flute. When the piano enters, it gives a lighter treatment to the thematic material that is lighter in touch, but not in emotional expressivity. Hummel's development is full of deft elaborations and brilliant piano writing. His orchestration will recall Beethoven's throughout this movement, but his music has an individuality and great beauty, even if his contrapuntal skills fall a bit short of his great rival's. The short second movement Larghetto serves as a kind of pleasant interlude between the two larger outer panels. The theme here is delicate and graceful in its Classical sweetness, its music having an almost mesmerizing serenity making one wish it would linger beyond its lovely five minutes. The Rondo finale follows without pause, the piano introducing a somewhat exotic rhythmic theme that gradually picks up momentum and richer textures. The music is striking here, the melody instantly sticking in the mind, so much so as to make the alternate material initially sound less interesting by contrast. The more subdued music that alternates with this theme is revealed upon second and third hearing, however, to be just as finely imagined as the opening theme. In the end, this concerto must be assessed as standing on about the same plateau as Beethoven's first two piano concertos.

Legendary Cuban songwriter, composer and pianist gained world fame

Cuban-born, Ernesto Lecuona is the dominant musical force to have come out of the island nation, and without question one of the major contributors to the emergence of Latin music as a power in the world marketplace. Often called 'the Gershwin of Cuba,' he was friendly with George Gershwin and with the composer Maurice Ravel, who once called Lecuona's immortal "Malaguena," "more melodic and beautiful than my own "Bolero." Lecuona was friendly with many of the most influential composers and musical personalities of his moment in time, and his style and use of forms have influenced all Latin music, even the salsa of today.


Ernesto Lecuona was born in Guanabacoa, Cuba, across the bay from Havana, on August 6, 1895, but for an unexplained reason he actually observed his birthday as August 7, 1896. His musical talent was already discernible at age three. Following initial piano studies with his sister, Ernestina, he continued at the Conservatorio Peyrellade with Antonio Saaverda and the famed Joaquin Nin. At 17 he graduated from the National Conservatory of Havana with a gold medal in performance.


He had become a prodigious pianist indeed and his talents were soon on view for the first time outside Cuba when he appeared at Aeolian Hall, New York City in 1916. While his ties to his native Cuba were always strong, this initial performance in New York paved the way for an increasing presence in the United States, both as concert pianist and as composer, which eventually led to his permanent move to Florida in 1960, following the rise to power of the Communist leader, Fidel Castro in 1959.


Lecuona produced a veritable torrent of music during his 70 years, including a number of major pop songs, such as the well-remembered, "Malaguena" the bright and rhythmic, "Siboney," with which one can almost hear the clicking accompaniment of castanets "Always in My Heart" and "Andalucia," better remembered for its Americanized version, “The Breeze and I," which became in the late '30s a popular recording hit by the Jimmy Dorsey Orchestra.


While we honor the late Ernesto Lecuona for his wonderful collection of memorable and tuneful songs, his talents in music-making were literally all over the map. In addition to more than 400 songs, he also created 176 piano pieces, 53 theater works (zarzuelas, operettas, theatrical revues and an opera), 31 orchestral scores, 6 pieces for piano and orchestra, 3 violin works, a trio, 5 ballets, 11 film scores and many incidental arrangements.


Lecuona's work stretched considerably beyond the printed score sheet. He was the co-founder of the Havana Symphony Orchestra, the Lecuona Cuban Boys Band and La Orquesta de la Habana. During the '30s and '40s, he was hired to create a number of motion picture scores for MGM, Warner Bros. and 20th Century Fox, and his score for the 1942 Warner Bros. film Always in My Heart was nominated for an Academy Award. At one time he also served as honorary cultural attaché to the Cuban embassy in Washington. He also gave successful performances in Carnegie Hall.


Lecuona, who had moved permanently to Tampa, Florida in 1960, died three years later of a heart attack while on a trip to Santa Cruz de Tenerife in the Canary Islands. He is buried in the Gate of Heaven Cemetery in Hawthorne, NY.

Ernesto Lecuona - La Comparsa, Malagueña - Diāna Zandberga (piano)


Ernesto Lecuona (1896-1963) La Comparsa 00:00 Malagueña 01:23 Performed by Diāna Zandberga (piano) Online concert CONFESSION / ATZĪŠANĀS Riga, Great Hall of Jāzeps Vītols Latvian Academy of Music November 24, 2020.

NEVER LET ME GO (2010) - Rachel Portman - Soundtrack Score Suite


Few films are more irritating than those that use a completely unexplained and unsubstantiated science fiction premise to pursue a narrowly focused dramatic narrative. Mark Romanek's 2010 arthouse film Never Let Me Go, based on the acclaimed Kazuo Ishiguru novel, is a tearjerker no doubt, slowly and solemnly following the doomed lives of a trio of youngsters grown from test tubes for the single purpose of serving as organ donors. There exists in society a sub-class of such youth that are harvested and eventually (and prematurely) put to death as part of a widely accepted organ replacement program that devalues the people being used within it. Complications arise when the most progressive school raising these laboratory children yields three people in a troubled love triangle, forcing society to deal with the possibility (surprise, surprise!) that these youths actually can love and have souls. In its limited initial release, Never Let Me Go was praised for tackling this premise, but many critics admitted that it's a bit too heavily introspective for its own good. The blinding problem with this otherwise compelling story is the total disregard of any addressing of the larger civil rights issues that would never allow such a public practice to exist in today's world. It's one thing to postulate that society will have degraded enough by Bladerunner to accept replicated people with an artificially limited lifespan, but for Never Let Me Go to suggest that an entire class of essentially slaves to the rest of humanity (and ones as attractive as Kiera Knightley, Carey Mulligan, and Andrew Garfield, for that matter) would be generally accepted in the 1960's and beyond is ludicrous. Regardless of America's degrading social mores, the country still has too much empathy to allow an entire class of children, whether grown in tubes or not, to be brainwashed and harvested in such a morbid fashion. Too many questions abound to make Never Let Me Go a viable film, but for those who can suspend logic for a few hours, it's powerfully acted melodrama made complete (no pun intended for those familiar with the concept) by Rachel Portman's equally depressing score. Once considered the mainstream queen of romantic music, replacing both John Barry and Georges Delerue for a short time in the 1990's, Portman has limited her composing schedule in the 2000's as she raises her family. Her musical output in recent years has been reduced to predictable assignments of her choice, usually dealing with deeply developed female characters in a dramatic setting. In this regard, nothing about what she writes for Never Let Me Go should surprise anyone. Since her work for Infamous in 2006, Portman's next five scores have all resided snugly in her stylistic comfort zone, none really as much so as Never Let Me Go. There is nothing new to be heard here, and it could be argued quite effectively that the film's dulling sense of gloom, largely maintained by extremely slow pacing, is only exacerbated by Portman's contribution. The ensemble is the composer's usual, beginning with strings and layering piano, harp, flute, clarinet, and oboe. Satisfying additions are solo violin and cello, obviously addressing societal alienation. The tone of the score is always harmonic and rooted in respective beauty, only touching upon grim atmosphere in a few cues late. The structures are repetitive and simplistic. Three themes exist, led by Portman's usual, lovely string idea similar in its flow to so many of her past efforts but still attractive none the less. The first two themes are the selling point of the score on album, and they occupy the first six cues almost exclusively. This dozen or so minutes of early material makes for an extremely and undemanding Portman listening experience, during which the highlights are the various solos. The clarinet and oboe performances in "To the Cottages" and especially "Madame is Coming" are classic Portman.