Hope at the edge of the hereafter; two transcendental works featuring the clarinet in a prominent role. The first, Mozart's Clarinet Concerto, written in 1791, the year of the composer's death. Messiaen's Quartet for the End of Time followed. Messiaen penned the work in a WWII prison camp in the winter between 1940 and '41.
This edition of Afternoon Classical we explore the progeny of Mozart symphonic works, as contrasted by the infusion of Dvorak's romanticism in his 4th Symphony. We ask: how does the landscape exert influence into the work of the composer? Mozart's Linz symphony, composed while Mozart was out of Vienna shares resemblance to the composer's early works composed in Vienna.
This edition of Afternoon Classical features music by Antonin Dvorák, Gabriel Fauré and Joseph Haydn. This in addition to the Bach Hour, starting from 4:30 pm EDT through the conclusion of the program at 6p. Welcome and Enjoy the Show.
Last week we explored a peculiar question on the connection (if any) a performer has with an instrument. Some performers, according to an interview with Glenn Gould first, make a connection to the instrument presumably the piano, although Gould never stated this in the interview. The second type, he claims and cites Richter as a prime example of this bypasses the mechanical interaction with the instrument instead making what Gould phases as "a direct connect," with the music thus involving the listener with a more intuitive performance, drawing the audience into the score itself.