- 09/03 Shocks, silence and explosions
- 09/01 The Post-Modern Ear
- 08/31 London Philharmonic Orchestra finance director facing jail
- 08/29 DSO players OK strike
- 08/27 Orchestra wages show vitality and volatility
- 08/27 How music festivals are singing the changes
- 08/26 Japan's maestro Ozawa makes a fragile comeback
- 08/26 Mud and Mozart
- 08/26 $5M gift allows Wagner operas to come to town
- 08/25 Opera Lover Targets Young Patrons
- 08/25 The fierce music of Estonia, Latvia
- 08/15 Tackling a fill-in role...
- 08/15 Are conductors really necessary?
- 08/14 Rolando Villazon should learn from the classical heroes
- 08/12 Taking high culture to the mass market
- 08/12 Boot Camp for Belters
- 08/11 Sweet Sounds Of Truce In Aspen
- 08/10 US orchestras surviving the recession ( Flash Audio )
- 08/07 Conductor Vassily Sinaisky named Bolshoi musical director
- 08/06 At a Chicago Orchestra, Diversity Is on the Program
- 08/05 Visionary transformed the classical music landscape
- 08/05 Children’s Programming at Bayreuth: Wagner, of Course, and They Love It
- 08/02 Classical Music an Effective Antidepressant
- 08/02 Paging Peter Gelb
- 08/02 L.A. Phil encourages donations via texting
- 07/28 A movement that's more than a blip on orchestral landscape
- 07/25 Cloistered nuns cinch record deal
- 07/22 Opera Star to Try Some Musical-Theater Gunplay
WCPE Home Page
Antonin Dvorak (September 8, 1841- May 1, 1904)
Antonin Dvorak began training as a violinist as a pre-adolescent and received training as an organist in his youth, with his parents encouraging him each step of the way. During this time, he learned composition by studying the scores of Mozart, Beethoven, Schubert, and others, leading him to write a prodigious numbers of works of varying quality.
By the mid-1870's, Dvorak began taking the folk songs of his native Czechoslovakia and turning those melodies into classical music, a genre for which he became famous. He then came to the attention of Johannes Brahms who persuaded his publisher to print the compositions of Dvorak. However, the politics of the period in Austria & Germany prevented the playing of music of Czech composers. Dvorak was then invited to Britain, where the crowds were enthralled with his music.
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Arvo Pärt (b. 1935)
Arvo Pärt was born just a few months after my birth in 1935, so I have always felt a sort of kinship with him. He is an Estonian composer who developed a style of music he refers to as tintinnabuli – in other words, music based on the tones and overtones of bells. The first composition of his that “blew me away” was his 1982 Passio Domini Nostri Jesu Christi secundum Joannem for soloists, vocal ensemble, choir and instrumental ensemble; usually called simply Passio.
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