Monday and Friday: 5:30pm-6pm
A group of music critics guide you through some of the the most interesting new releases to keep you in touch with the latest fine music recordings.
Critic: Dennis Wu
“I just heard your wonderful Sinfonietta: hope this is the beginning of your American success,” wrote Arnold Schönberg to Zemlinsky. But Zemlinsky was already suffering from the effects of a stroke and died alone in New York just a few days later. In his Sinfonietta, Op. 24 (1934) he reused a short theme from the last of his Maeterlinck-Songs, Op. 13 (1913), “Wohin gehst Du?” (Where are you going?), a theme of “self-doubts” and “farewell” from a time when Zemlinsky was beginning to observe growing anti-Jewish sentiments in Vienna. The Maeterlinck-Songs were praised as “the center of his output” by Theodor Adorno, and transport the listener to a mystic world concerned with life, evanescence and death.
Critic: Dennis Wu
This is Vivaldi for the 21st century. At its heart, the album is a conversation between past and present, between classical composition and new discoveries, between composers over time spans. Danish composer Karl Aage Rasmussen (b. 1947) has always been keen on exploring our experience of time and movement. Building bridges between cultures and traditions, he here sheds new light on original compositions by Vivaldi and Respighi, written during his period as composer-in- residence for Danish National Baroque Orchestra Concerto Copenhagen. Karl Aage Rasmussen graduated from the Aarhus Academy of Music in 1971, where he was appointed Professor in Composition in 1988. Many of his works use pre-existing material woven into a dense musical montage. Words like ‘de-composing’ and ‘re-composing’ seem fit, and in later years, this interest has resulted in the arrangement and completion of music by Schumann and Schubert. Rasmussen was awarded the Carl Nielsen Prize in 1991 and the Wilhelm Hansen Composer Prize in 1997.