#franz josef haydn

[mrbacf]

Joseph Haydn: Cello Concerto No. 1 in C major, Hob.VIIb:1 – Giovanni Sol...

[mikrokosmos]

The Gothic in Classical Music History (1760s-1920s)

Intro Back in high school I fell in love with two things; classical music, and Edgar Allan Poe. I’ve always loved Halloween, October, spooky things, ghost stories, horror and slasher movies, etc. And I always loved finding classical music that was also spooky, or dark, or evocative of the same eerie experience of a cold and foggy October day. Thinking about these memories made me want to put together a short list of Gothic Classical music.

But what do I mean? There is no true “Gothic music” as in a specific movement in classical history, because the traditional Gothic refers to literature. Not all art movements have corresponding trends in all mediums. Even so I thought it would be fun to say, if there was such a thing as Gothic music, what would that include?

18th Century

John Henry Fuseli - The Nightmare (1781)

Music of the 1760s-1790s, corresponding with the first wave of “Gothic Novels” in the English language. Some names in this era include Horace Walpole (The Castle of Otranto), Ann Radcliffe (The Mysteries of Udolpho, The Italian) and Charles Brockden Brown (Wieland). The closest we have to music of this same era would be in the Sturm und Drang style. Sturm und Drang (Storm and Stress) was used to describe music written in a minor key that was restless, agitated, intense, emotional, and more extreme than the typical expectations for restraint and lightness/clarity, music that aristocrats in powdered wigs and velvet and lace could relax with. Strong changes of emotion and more emphasis on subjectivity, reflected by sudden modulations and pulsing rhythms.

The most famous piece that I associate with Sturm und Drang is Wolfgang Amadeus Mozart’s “little” g minor Symphony no.25, K.183 (1773). It is famously used in the opening of Miloš Forman’s Amadeus (1984). It is a fun piece, and that opening movement is full of fire, and probably the young Mozart having fun (he wrote it at 17. If you ever want to lower your self esteem, look up what music Mozart wrote at your current age.). Another major work would be Joseph Haydn’s “Farewell” Symphony no.45 (1772), written in the very unusual for the time key of f# minor. And of course, even though he comes later, anything Ludwig van Beethoven published in a minor key has a lot of muscular passion to it, and his early/classical era of the 1790s is no joke. Check out the final movements of his Piano Trio no.3 in c minor and his Piano Sonata no.1 in f minor, or his most famous early sonata, the Pathetique.

But if the Sturm und Drang style and Gothic genre also emphasize the disturbed and the psychological, we can include programmatic works that do the same. Mozart’s opera Don Giovanni (1788) has an incredible moment in the finale. The sociopathic hedonist is confronted by the ghost of the man he murdered in the first act, who possesses a statue and confronts Don Giovanni with his sins. Don Giovanni doesn’t repent, so he is dragged into hell with a chorus of demons. Always a good reminder that Mozart wasn’t the eternal child who wrote pretty melodies.

19th Century

Caspar David Friedrich - The Abbey in the Oakwood (1810)

Music of the early 19th century corresponds better with Gothic fiction because Romanticism in art brought greater interest in the supernatural, in the subjective, in emotional reactions to the universe… major names in fiction include the poetry of Lord Byron (Darkness), Mary Shelley (Frankenstein, The Last Man), and Sir Walter Scott (The Bride of Lammermoor). Greater emphasis is put on the anxiety of the unknown, supernatural fears beyond our control.

Of all Franz Schubert’s songs, Erlk��nig (1815) best exemplifies the Gothic (and this is a bold claim because I only know about a fraction of Schubert’s extensive song output). In it, a father and son are riding on horseback. The son is sick with fever. As they ride, the son cries out that he can hear the Elf King calling out to him, some evil spirit or demon that wants to take the son’s life. The father tries to calm him down, but the Elf King gets closer and closer. By the time they reach home, the son has died. Was the Elf King real? Was the son hallucinating from fever? How literal should we take this text? The ambiguity of subjective experiences and how we interpret and understand reality is a major theme in Gothic fiction.

Many famous German operas lean into the supernatural and magical. In this period we get Carl Maria von Weber’s Der Freischütz (1821), considered to be the first Romantic opera. In it, our main character Max who needs to win a shooting contest so he can be allowed to marry his lover, Agathe. He is given a gun that can shoot magic bullets by another forrester Kaspar (who has his own plans). Kaspar tells Max to meet him in the “Wolf’s Glenn” in the woods at midnight for more magic bullets. In the Wolf’s Glenn, Kaspar calls for a spirit, the Black Huntsman Samiel, to help him curse the other characters, offering Max’s soul in exchange. Making deals with demons/the devil was another fascination in Romanticism.

Legends of a diabolical nature were springing around great musicians. At the end of the 1700s, Giuseppe Tartini wrote his most famous composition, the “Devil’s Trill” Violin Sonata in g minor which is full of virtuosic passages. Tartini claimed that the Devil appeared to him in a dream, and that he sold his soul in exchange for the Devil to be his servant. He handed the Devil his violin, and the Devil “…played with such great art and intelligence, as I had never even conceived in my boldest flights of fantasy. I felt enraptured, transported, enchanted: my breath failed me, and I awoke” Source

Similar stories came about with violinist Niccolò Paganini, who astonished the audiences of the early 19th century with his (for the time) otherworldly technique, dazzling them with scales and leaps and scratches the likes of which you can hear across his 24 Caprices for solo violin. A young Franz Liszt was at one of Paganini’s concerts and he was enthralled and inspired to become the “Paganini of the Piano”. He too would dazzle audiences with his percussive intensity, glittering arpeggios, and dreamy modulations to possess women with the spirits of hysteria and other dated misogynistic diseases. Cliche to say but before Bieber Fever, before Beatlemania, there was Lisztomania.

The sense of Faustian bargains comes through in the pieces Liszt wrote after Goethe’s Faust. The Faust Symphony (1857) includes a movement for Mephistopheles, the demon/ the Devil that bargains with Faust. The Mephistopheles movement has no original theme, but takes and corrupts the themes of Faust and his lover Gretchen into a mocking tone. Later on, Liszt was inspired to write a tone poem “The Dance in the Village Inn” or Mephisto Waltz no.1 (c.1862). He also wrote it for piano around the same time. The story has Mephistopheles taking Faust to a wedding in a village and playing the violin so madly, the partygoers are intoxicated by the music and go off dancing in the woods. Emotions taking over and making one act irrationally was another fascination in Gothic fiction.

Liszt would go on in his later years writing a few more Mephisto waltzes, with a lot of forward thinking harmonies and piano writing, unfortunately not as popular. Mephisto waltz no.2 (1881) has moments that make me think of Debussy, and the third (1883) has glittering and ethereal moments. But the best example of Liszt’s interest in the Gothic would be his earlier concert piece Totentanz (1949), or Dance of Death (Danse macabre). In it, the piano and orchestra play out variations on the Medieval chant Dies Irae, always reminding us of the inevitability of death. The variations depict skeletons dancing wildly all while the Mephistopheles at the piano unleashes his seductive tones.

The Dies Irae chant goes across our pop culture, with one famous iteration being a synthesized version of passages from Hector Berlioz’s Symphonie fantastique that Wendy Carlos wrote for Stanley Kubrick’s The Shining (1980) after Stephen King’s novel of the same name. And it was Berlioz’s symphony that enchanted audiences in 1830 with new, titanic sounds beyond what orchestra music had been before. In the story of the Symphonie fantastique, an artist has tried to overdose on opium after feeling rejected by unrequited love, but instead he has a vivid drug induced nightmare where he is sentenced to be beheaded via guillotine, which was still a traumatic living memory for the Parisian audience. He then sees himself among ghosts and monsters during a witches’ sabbath, the lovely woman’s beautiful theme is distorted into a grotesque mockery, the Dies Irae comes back among the cackling. It was a new degree of imagination expected from the audience. Later, Berlioz would depict demons in Pandæmonium (the Capital of Hell in Dante’s Inferno) at the end of his Damnation of Faust.

Through the mid to late 19th century we get authors of Gothic literature such as Edgar Allan Poe, Elizabeth Gaskell, Emily and Charlotte Brontë, Nathaniel Hawethorne, and Victor Hugo. We also get two more operas that have Gothic themes. First is Richard Wagner’s The Flying Dutchman (1843). In this opera, a ship on the North Sea collides with the Ghost Ship of the Flying Dutchman who is cursed to sail the seas forever, but is allowed to come ashore once every seven years and if he can find a wife, he will be freed. I’m sure you can guess how this opera ends. The overture is often played in concert for a condensed version of Wagnarian thunder and romance. The next important opera is Giuseppe Verdi’s Macbeth (1847), because Shakespeare was being revived and translated in different languages across Europe and Verdi loved his plays. In the opera, Macbeth comes across a chorus of witches that foretell his success and downfall. He is too ambitious and goaded by Lady Macbeth, plans to take the throne through deception and murder. Lady Macbeth is later haunted with phantom blood on her hands which only she can see. And Macbeth succumbs to his inevitable fate.

We also get two significantly “Gothic” pieces of orchestra music. They are both tone poems, which also reflects the concert goers’ tastes. The one that has always been a quintessential “Halloween classical” piece is Camille Saint-Saens’ Danse Macabre (1875), opening at the stroke of midnight (softly evoked by the harp), a violin shrieks out the tritone (the “Devil’s interval” which the Romantics thought meant was cursed by the superstitious Medievals, really it was an idiom for “hard to use in music”) and introduces ballroom music along with the clacking bones of skeletons dancing in the graveyard (evoked by the xylophone). The skeletons dance through the night until the rooster crows at dawn.

The other great Halloween concert piece is Modest Mussorgsky’s Night on Bald Mountain (1867) which depicts another witches sabbath, this time on St. John’s Night, a major holiday in Slavic Eastern Orthodox culture. Walt Disney’s Fantasia (1940) would help bring this poem to life with an animated phantasmagoria of ghouls and skeletal horses and other demons flying around the mountainous demon Chernoberg.

[Here I want to give a quick shoutout to Cesar Franck’s Le Chasseur maudit (The Accursed Huntsman), a tone poem about a Count who doesn’t go to church one Sunday, and instead rides around to whip peasants for his own amusement, so demons drag him to hell. Not nearly as famous a concert piece as the others mentioned in this list but it has colorful orchestration so you should check it out.]

The initial idea for Fantasia was for Disney to repopularize Mickey Mouse by writing him into an animated version of Paul Dukas’ The Sorcerer’s Apprentice. The original poem by Goethe was a classic that Paul Dukas set to music in 1897. In it, we hear the Sorcerer leave his Apprentice to clean the floors of his workshop. The Apprentice uses magic to bring a broom to life so it can do the chores for him. The Broom mindlessly pours buckets of water all over the floor, and the Apprentice isn’t good enough with magic to stop it. He chops it up into pieces with an ax, but they regenerate into several brooms which go back to marching water in. The Sorcerer returns to clean the mess and scolds his Apprentice. This charming tale has a darker and more diabolically fun tone in Dukas orchestra.

20th Century

Harry Clarke - Illustration for "Masque of the Red Death" (1919)

In the same exact year of Dukas’ tone poem, we get Bram Stoker’s Dracula. At this turn of the century other major names include Gaston Luroux (The Phantom of the Opera), Robert Lewis Stevenson (Dr. Jekyll and Mr. Hyde), Henry James (The Turn of the Screw), Oscar Wilde (The Picture of Dorian Gray). At this time, there are a few more pieces that continue trying to evoke Gothic subject matter. One comes from Gustav Mahler’s Symphony no.7 (1905), sometimes dubbed “Song of the Night”. Two of the symphonies five movements are titled “Nachtmusik” (night music), the first is more in line with Gothic anxiety and spookiness than the second which is more like a serenade. But the most Gothic movement is the Scherzo which sits in the middle of the symphony and is like a Viennese ballroom full of dancing corpses and skeletons as waltz music decays with them.

A surprising example (at least, because of how relatively obscure it is) comes from Claude Debussy with parts of an opera based on Poe’s The Fall of the House of Usher that he worked on between 1908-1917. Not too much a surprise on the one hand because French translations of Poe’s work became popular and influential. On the other hand Debussy is more known for evocative sound pictures, unique musical colors, and subtlety. Perhaps he was drawn to symbolist and psychosexual interpretations of The House of Usher, the same interests that preoccupied him with his only finished opera Pelleas et Melisande. Roger Orledge reconstructed the opera and tried to stay true to Debussy’s style, so what we do have is passable and as shadowy and vague as his other orchestral masterpieces.

Maybe the hardest work to recommend (but I do recommend regardless, give it a chance) is a Modernist song cycle for chamber ensemble. Arnold Schoenberg’s Pierrot Lunaire (1910) uses freely chromatic atonality to give a demented color of psychosis experienced by Pierrot, personified version of a stock character for old Commedia dell Arte plays, a clown who over time became the “sad clown”. Maybe a precursor to the demon from Stephen King’s It, or the demented clowns and jesters that laugh at the madness of the cosmos across Thomas Ligotti’s short stories.

This was only meant to be a small overview of works that could fit my own view of the Gothic in music. There are more examples I could include, so as a hint toward today, I’ll end with a piece that was written about a century ago, yet sounds as if it could have been written today. Henry Cowell’s The Banshee (1925) is a short piano piece, so if you can, at least listen to this one. Instead of playing with the keys like you’re “supposed to”, Cowell asks the performer to drag their fingers along the wires directly. This creates disturbing reverberations and scratching sounds that tingle the back of your neck, that feel like the otherworldly cry of a Banshee.

Happy Halloween.

[bobmccullochny]

History

March 31

March 31, 1933 - The Civilian Conservation Corps, the CCC, was founded. Unemployed men and youths were organized into quasi-military formations and worked outdoors in national parks and forests.

March 31, 1968 - President Lyndon Johnson made a surprise announcement that he would not seek re-election as a result of the Vietnam conflict.

March 31, 1991 - The Soviet Republic of Georgia, birthplace of Josef Stalin, voted to declare its independence from Soviet Russia, after similar votes by Lithuania, Estonia and Latvia. Following the vote in Georgia, Russian troops were dispatched from Moscow under a state of emergency.

Birthday - Franz Joseph Haydn (1732-1809) was born in Rohrau, Austria. Considered the father of the symphony and the string quartet, his works include 107 symphonies, 50 divertimenti, 84 string quartets, 58 piano sonatas, and 13 masses. Based in Vienna, Mozart was his friend and Beethoven was a pupil.

Birthday - Boxing champion Jack Johnson (1878-1946) was born in Galveston, Texas. He was the first African American to win the heavyweight boxing title.

[yourmusicquestions]

Sounding Together Recap #2: The High Classical period

Imagine a vast field, or perhaps a playground, where a bunch of small children are being allowed to play during recess. They have their pick of anything they might want to do, but there is one rule: they may not cross The Line. Most of the children play happily and contentedly well away from The Line, but as with any group of children, there are exceptions.

First, there’s Joe, who frolics and plays and makes everybody laugh--even the playground monitor--and moves closer and closer to The Line. Eventually, he’s playing right at the edge of it, and his rambunctiousness leads to the occasional step over the line, but for the most part, he stays behind it. Then, there’s Wolfgang, who sneaks off into the woods, explores for a bit, and eventually reappears on the other side of The Line, leading the playground monitor to haul him back over, all the while he insists, “But I never crossed The Line!” And finally, there’s Ludwig, who waits until the recess is nearly over, then goes up to The Line and starts playing so roughly that he ends up scuffing The Line away so you can’t even tell where it once was, but by then the playground monitor doesn’t really care anymore.

The Line between Classicism and Romanticism is difficult to draw. We like to think that Beethoven was the first Romantic composer, even though he, for the most part, kept at least one foot firmly in classical tradition. Sometimes, we like to imagine Mozart as a Romantic, though evidence suggests otherwise. It’s difficult, because the High Classical era--the last decades of the eighteenth century--were a time of change throughout the world. The Imperialist model that had led the world for so long was beginning to crumble, as first America and then France denounced their respective monarchies and began to champion rule by the people. And as with anything, political changes were reflected in the art being produced at that time.

The High Classical period of music was pretty much dominated by Haydn and Mozart. Beethoven was starting to make his mark, but he wouldn’t really arrive on the scene until the next century. Haydn and Mozart both wrote some of their greatest and most mature works during this time period, and it’s difficult to argue that this didn’t happen due to increased creative freedom. Haydn’s royal employers severely downsized their musicians, leading Haydn to seek creative fulfillment in tours of Paris and London. Mozart’s freedom was a bit more tempestuous, leaving his employers to work freelance at exactly the wrong time to be doing so.

Despite all this, the High Classical era is still a celebration of form and efficiency. No matter what Mozart and Haydn do to stretch the form, no matter what methods they might use to toe or get around The Line, they still never quite cross it. The symphonies of this time period reflect finding more and more that can done with the form, rather than abandoning it completely. And not for nothing, but that’s exactly what Beethoven would do in the following decade. None of these composers were seeking to change the face of music or kick start the Romantic era. They were looking to make a living. They were looking to entertain and delight. They were looking to serve the art and the form that they knew best. The Classical era, remember, is about pragmatism above all else, and as much as we like to assign Romantic foreshadowing to the music these composers wrote, we’re not there yet. Pragmatism and form are still the rule. Beethoven has yet to scuff up the line.

(PS--for any Schubert fans wondering where he fits into this analogy, he’s the kid who waits until Beethoven’s done scuffing the line, and then runs over to play with him.)

[churchofsatannews]

Vox Satanae - Episode 487: The Classical, Part I

Vox Satanae – Episode 487: The Classical, Part 1

Vox Satanae – Episode 487 – 139 Minutes – Week of August 31, 2020

The Classical – Part I

This week we hear works by Pietro Nardini, Antonio Soler, Christian Cannabich, Franz Joseph Haydn, Josef Mysliveček, Johann Friedrich Peter, Antonio Salieri, Wolfgang Amadeus Mozart, and Franz Wilhelm Tausch.

Stream Vox Satanae Episode 487.

Download Vox Satanae Episode 487.

[copiosis]

When Bernie Sanders Marries Ayn Rand

By Writer KJ McElrath

If there is a silver lining to the current coronavirus pandemic, it is that it has exposed fundamental weaknesses in the current capitalist free-market economic system that most of us have taken for granted our entire lives. People in low-wage service jobs, food-service workers, education support personnel, private tutors and instructors and others with jobs that frequently bring them into contact with the general public have been hit especially hard. Most of these workplaces –  restaurants, lounges, schools and even libraries –  are closed for the duration.

Today conservative leaders, who typically expect most people – including those they claim to represent – to fend for themselves, actually support massive financial aid programs...that's how bad it is. The Trump Administration's $2 trillion dollar stimulus package perplexes my imagination. That a conservative administration would offer such a thing boggles the mind.

Other governments around the world are following suit. For example, the U.K. government recently announced that it will pay 80 percent of worker salaries up to £2500 per month ($2900 USD) for 12 weeks, while offering tax breaks and interest-free business loans. Across the Channel, France is preparing to nationalize several industries while suspending tax, rent, and utility payments for small companies.

The problem is we, as a global, tightly interconnected economic society, now are in uncharted territory. Our economics can't handle much more of this and for two fundamental reasons:

One, our economics depends on endless growth and expansion. Coronavirus has stopped that dead in its tracks.

Two, our economics finances endless growth through debt cycles, which fall apart when debtors can't pay creditors. Debtors can't pay if they can't work.

If there was ever a time to think outside the box, it is now. Our immediate solution is for government to throw money  —  cash payments, low interest rates, subsidized loans or grants, etc at the problem. In the short term, this is indeed necessary as most of us have not slack in our finances to weather such storms.

But such actions treat the symptoms while ignoring the underlying disease. Biologically, coronavirus is most dangerous to those who have other health problems, such as compromised immune function. Economically, it appears to have a similar effect on unhealthy financial systems.

Socialism is not the answer

Would the type of socialism offered by once-presidential hopeful Bernie Sanders save us? For awhile, it could — but like government stimulus programs, it would be a stopgap solution. The problem here is that socialism can't spur innovations that benefit society.

Second, the idea that people should receive free anything — including housing, food, health care and education — is anathema to those who espouse unbridled, free market capitalism. Yet, lack of these basic survival needs, or even the threat of losing them, is at the root of virtually every problem society suffers today.

People can live without jet skis or the latest and greatest smart phones. They cannot live without food, clean water, shelter and medical care when needed. Without some degree of education, they cannot be productive members of society. Yet, our economies demand that all of these things be commodified and profit their providers.

Meanwhile, those very same providers must pay labor, cover raw materials costs, pay taxes, legal and other operational expenses.

To suggest that "necessities" should be “free” may rightfully evoke hard resistance from free market supporters, yet the stress from putting price tags on necessities creates crime, disease (mental and physical), environmental degradation and more — adding hugely to the cost of running society.

Perversely, money spent addressing these problems contributes to a nation’s Gross Domestic Product (GDP). Ergo, someone who contracts cancer living near a factory producing toxic waste actually contributes to GDP when they (or someone else) pays for their treatment. Law enforcement officers pursuing criminals become part of the GDP as well. Divorcing couples contribute to GDP through lawyer and court fee costs.

Is there a better way? Some visionaries believe so — and are working to bring it about.

A better way...

These visionaries recognize a major part of the problem is not capitalism, but rather the way the exchange of goods and services happen  — i.e., money, or currency. Whether it is tangible cash, an amount recorded in a bank ledger or other account, or invested in securities, money can be transferred easily. That is a definite advantage, but there are downsides; money can be lost, stolen, taxed away (directly and indirectly), devalued and manipulated, and withheld when someone is prevented from earning or receiving it — as is happening in today's coronavirus pandemic. The consequences can be devastating.

Barter comes to many people’s minds as an alternative, but there are reasons why money replaced trading livestock, handicrafts, produce, etc. Unless people have many different productive skills and abilities others need, or offer wide ranges of services, the barter system can't alleviate poverty and inequality. Barter also involves material things that can be lost, stolen or destroyed (and even taxed, as many have discovered).

Imagine an alternative:

a means of exchange representing actions benefiting society and the planet, that cannot possibly be stolen, taxed or otherwise transferred away from owners

a system guaranteeing everyone access to housing, food, medical services and education without incurring long-term debt servitude or worry about a paycheck

a system based on free market principles that encourage innovation

a system in which only actions benefitting people and/or the environment in some way are rewarded

Such innovations are already underway, and have been for some time. They are made possible by rapid technology advances. As more working people suddenly find themselves idle for the long term, some are finding interesting innovations that onced looked ridiculous, but today are not so.

Humanity: where great ideas come from

Dr. Albert Einstein reportedly said, “Imagination is more important than Knowledge.” In light of Dr. Abraham Maslow’s famous Hierarchy of Needs (a review and explanation for the uninitiated is available here), imagine what humans might achieve if they were liberated from the need to “earn a living,” but still expected and motivated to strive for more by simply making choices and acting in ways that serve the greater good.

We all see it happening now, with the popularity of “humanely raised” eggs, poultry and meat, recycling and repurposing, reducing one’s ecological footprint, roadside miniature lending libraries, community tool and vehicle share programs and more.

In Portland, Oregon, homeowners are being offered incentives to provide shelters for homeless people on their property. Some small businesses specialize in making new products from existing and/or previously used components. Entrepreneurial individuals are creating solutions for environmental problems.

Admittedly, so-called ��Utopian” societies have failed in the past. As floundering and corrupt as American capitalism has gotten over the past four decades, it has not yet become the total and abject failure that was the late U.S.S.R.’s Socialist Worker’s State.

That said, western capitalism is nonetheless a very large, unwieldy vessel sailing at a high rate of speed — one that needs to change its course fairly soon, if it is to survive.

As the Captain Edward Smith of the R.M.S. Titanic discovered too late, such sudden course changes are difficult at best.

Perhaps what needs to be changed is not so much the system itself, but rather the means of exchange. Such change must happen so nobody goes homeless, hungry, without medical and dental care, and everyone has access to education in any field. At the same time, the new system must encourage industry and innovation while respecting private property rights. Nothing would be confiscatory or redistributive, nor would taxes be assessed.

It sounds almost like “Bernie Sanders Meets Ayn Rand” or "Bernie Sanders and Ayn Rand have a baby". This has been one of the primary issues in recent elections: do we want or need the State to own and operate everything, distributing “to each according to their needs” while taxing “from each, according to their abilities”?

Or do we want to do away with government and regulation altogether, and allow individuals and organizations to become as wealthy and powerful as possible, regardless of any harm in done the process?

What if a society could have the best of both? What if one fed the other? What if, through Bernie-style socialist programs, more people were unleashed from having to have “jobs” simply to pay the bills in order to survive, and instead were free to pursue their passions, such as science, research, technology, engineering and invention as well culture, humanities and the arts? Can one imagine the new Renaissance that might come about?

Such a system has the potential of generating wealth and well-being in a private, free-market system beyond Rand’s wildest dreams.

You don’t have to look very far back to find examples. Would the world have had the genius of Leonardo da Vinci without the patronage of the Medicis? Would we have heard the music of Franz Josef Haydn without Prince Esterhazy?

Now, multiply those two examples by a few billion.

Passions can create our future

Would everyone throw themselves into their “passions”? No. Many may not even know what their passions are. For them, there are educational opportunities (which would bring their own rewards), or they may decide to sit on the beach all day — and as long as they do no harm, that’s fine. If they ever want something more, they’ll find ways to make the world a better place.

If not — at least they won’t go hungry and homeless. But really, earning that “something more” would not be difficult under such a system. In fact, it would be more difficult not to contribute in some way.

If the 1933 Harold Arlen — Yip Harburg song Paper Moon comes to mind, you’re not alone. Indeed, some skepticism is warranted. Nonetheless, two communities, one in California and the other in Oregon, tested out such a comprehensive economic system, with success. A devoted group in Portland continues exploring it over the last six years, and it has generated significant attention around the world.

This group’s website recently came online, where one can go to learn more about this alternative economic system in which there are no losers, and winners’ victories do not come at the expense of someone else. Under such a system, disparities of wealth will certainly still exist, but the kind of grinding poverty that causes hunger, disease, crime and other problems will not.

Meanwhile, the barriers to people who want to accumulate more will largely go away; there will be equal access to opportunity and tools to improve one’s material lot in life for those who choose to do so.

Greed will still exist, but in this new system it's harnessed and channeled into positive outcomes for everyone.

Now that so many of us are under lockdown or quarantine and are starting to clearly see problems existing in the current system, it is as good a time as ever to consider alternatives.

Learn more here.

[anthonyquigley]

Vienna, Austria https://goo.gl/maps/WcxFzZUsVf42 . http://bit.ly/2vlYbnW . Baroque streetscapes and imperial palaces set the stage for Vienna's artistic and musical masterpieces alongside its coffee-house culture and vibrant epicurean and design scenes. . Vienna's imperial grandeur is the legacy of the powerful Habsburg monarchy. Their home for more than six centuries, the Hofburg palace complex, incorporates the Burgkapelle (Imperial Chapel), where the Vienna Boys' Choir sings Sunday Mass, and the famed Spanish Riding School, where Lipizzaner stallions perform elegant equine ballet, along with a trove of museums, including in the chandeliered Kaiserappartements (Imperial Apartments). Other immense palaces include the baroque Schloss Belvedere and the Habsburgs' 1441-room summer residence, Schloss Schönbrunn, while 19th-century splendours such as the neo-Gothic Rathaus (City Hall) line the magnificent Ringstrasse encircling the Innere Stadt (inner city). Masterpiece-filled Museums . With a musical heritage that includes composers Wolfgang Amadeus Mozart, Josef Haydn, Ludwig van Beethoven, Franz Schubert, Johann Strauss (father and son), Johannes Brahms and Gustav Mahler, among countless others, Vienna is known as the City of Music. Its cache of incredible venues where you can catch performances today include the acoustically renowned Musikverein, used by the Vienna Philharmonic Orchestra, the gold-and-crystal main opera house, the Staatsoper, and the multistage Konzerthaus, as well as the dedicated home of the Vienna Boys' Choir, MuTh. Music comes to life through interactive exhibits at the captivating Haus der Musik museum. . #earthimages #earthimage #upintheair #abovetheclouds #satelliteimage #satelliteimages #EarthOverhead #overview #overvieweffect #vienna #austria #music #Neulerchenfeld #Konzerthaus #Hofburg http://bit.ly/2MMuFPu

[enzomartinelli]

Franz Josef Haydn 🎼🎹🇵🇹

Franz Josef Haydn 🎼🎹🇵🇹

Comemoração do 289º aniversário do nascimento de Haydn em 1732 Retrato de Haydn por Thomas Hardy, 1791 Franz Joseph Haydn, compositor austríaco do período clássico que nasceu em Rohrau a 31/3/1734 e celebra este ano os seus 289 anos. Haydn é aqui retratado pelo pintor Thomas Hardy no clímax de sua carreira, durante sua visita a Londres em 1791, quando o compositor tinha 59 anos. Suas…

[dando-la-nota-tormentito]

EUROPA EN AROMAS BARROCOS

 Fecha: 02-VIII-2020. Lugar: Claustro del Museo de San Telmo, en San Sebastián. Programa: Antonio Vivaldi (Trio en Do Mayor, RV 85 y Trio en Re Mayor, RV.93); François Couperin (Quatrième Concert Royal), Johann Sebastian Bach (Suite para laúd en Do Menor, BWV 997), Franz Josef Haydn (Cassatión en Do Mayor, HOB.III:6) y Gaspar Sanz (Canario, a guitarra barroca). Conjunto: Euskal Barrokensemble (Enrike Solinís, guitarra y laúd barrocos; Miren Zeberio (violín barroco), Alejandro Saúl Martínez (violone) y Daniel Oyarzabal (órgano positivo). Director artístico: Enrike Solinis.

Cuando el gran Jordi Savall califica a Enrike Solinis y a Euskal Barrokensemble, como plenos de talento y sensibilidad artística, admirándose ante las joyas musicales que interpretan y la emoción que causan con su trabajo, al colocar su arte en los arcanos de la cultura musical, razón habrá para ello, como en este caso se apreció en el trabajo ofrecido construido dentro del título “Concerto per liuto” (Concierto para laúd).

La realidad del evento estuvo en la permanente belleza ofrecida por los cuatro músicos intérpretes -siempre dentro de la antigua afinación de 411 hertzios para la nota LA-, donde la elegancia de Antonio Vivaldi, con su inconfundible fluir armónico véneto en los dos tríos interpretados, empezaron a manar aromas de perfumes que la Serenísima ya había dejado fluir desde la Chiesa de Santa Maria della Pietá, desde la que el cura pelirrojo iba realizando composición musical. Ninguna de las dos piezas estuvo fuera, tanto en las dinámicas, como en el mimo aplicado a la regulación amónica, del más puro concepto barroco italiano.

En la Quatrième Concert Royal, de Couperin, los músicos nos trasladaron a los aposentos privados versallescos del Luis XV en los que el monarca borbón disfrutaba de sus momentos de sosiego o intimidad. En verdad era auténtica música la cámara. En esta pieza se aprecia otro estilo más elaborado pero sin que dejaran de estar ajenas las ideas melódicas italianas.

En la Suite para Laúd en Do Menor de Bach el solitario trabajo de Solinís nos acercó a un compositor intimista que floreció en modo especial en su tercer movimiento -intenso efectista- de la Gigue-Double de compleja ejecución de la digitalización sobre los trastes, en los que arpegios adquieren una sonoridad de muy sensible expresión.

Sorprendió (mucho y bien) cómo Haydn, quien, por cierto, asistió el funeral de Vivaldi, compone un barroco sutil y sin ningún matiz de sinfonismo en la obra Cassation en Do Mayor, HOB.III:6 apreciándose como el sistema modal traspasa la música de esta época desde el norte italiano a la llanura vienesa.

Se gozó de un baroco de creación italiana, francesa, alemana y austriaca, por lo que Solinís puso el broche del concierto con la preciosidad -a modo de ‘propina’- que es la pieza Canario, compuesto por Gaspar Sanz, bautizado como Francisco Bartolomé Sanz Celma, bachiller en Teología por Salamanca, donde la técnica de este compositor para guitarra y, tuvo en las manos del Euskal Barrokensemble la presencia de las Españas de los siglos XVII y XVIII. Semejante regalo fue una muestra del profundo trabajo de investigación historicista que este grupo vasco realiza. Manuel Cabrera

[budapestbug]

Harvest days in Tokaj Tokaji is the name of the wines from the Tokaj wine region (also Tokaj-Hegyalja wine region or Tokaj-Hegyalja) in Hungary. This region is noted for its sweet wines - aszú - made from grapes affected by noble rot, a style of wine which has a long history in this region. The "nectar" coming from the grapes of Tokaj is also mentioned in the national anthem of Hungary. Aszús is the world-famous sweet, topaz-colored wine known throughout the English-speaking world as Tokay. The original meaning of the Hungarian word aszú was "dried", but the term aszú came to be associated with the type of wine made with botrytised (i.e. "nobly" rotten) grapes. In 1703, Francis Rákóczi II, Prince of Transylvania, gave King Louis XIV of France some Tokaji wine from his Tokaj estate as a gift. The Tokaji wine was served at the French Royal court at Versailles, where it became known as Tokay. Delighted with the precious beverage, Louis XIV of France offered a glass of Tokaji to Madame de Pompadour, referring to it as "Vinum Regum, Rex Vinorum" ("Wine of Kings, King of Wines"). This famous line is used to this day in the marketing of Tokaji wines. Emperor Franz Josef had a tradition of sending Queen Victoria Tokaji Aszú wine, as a gift, every year on her birthday, one bottle for every month she had lived, twelve for each year. On her eighty-first and final birthday (1900), this totaled an impressive 972 bottles. Tokaji wine has received accolades from numerous great writers and composers including Beethoven, Liszt, Schubert, Goethe, Heinrich Heine, Friedrich von Schiller, Bram Stoker, Johann Strauss II, and Voltaire. The composer Joseph Haydn's favorite wine was Tokaji. Besides Louis XIV, several other European monarchs are known to have been keen consumers of the wine. Louis XV and Frederick the Great tried to outdo one another when they treated guests such as Voltaire with Tokaji. Napoleon III, the last Emperor of the French, ordered 30–40 barrels of Tokaji at the French Royal Court every year. Pope Pius IV. (1499–1565) at the Council of Trient in 1562, exclaimed: Summum pontificem talia vina decent! (This is the type of wine that should be on the papal table). Gustav III, King of Sweden, loved Tokaji - it has been said he never had any other wine to drink. In Russia, customers included Peter the Great and Empress Elizabeth of Russia. A newspaper account of the 1933 wedding of Polish president Ignacy Mościcki notes that toasts were made with 250-year-old wines, and goes on to say "The wine, if good, could only have been Essence of Tokay, and the centuries-old friendship.

[mrbacf]

Haydn – The Creation (Die Schöpfung). Leonard Bernstein. Subtitles: DE...

[eyesonworldcultures]

Musical Salon

Review by Brenda Repland

The Merz Trio appeared on the state of the Loreto Theater at the Sheen Center in a salon of Chamber music and wine tasting.  The concert was a sensory experience with curated wine tasting paired with each of the movements in the program.  

Many pieces were accompanied by poetry readings as well.

The Merz Trio is composed of players hailed as “impressive” (New York Times), Merz Trio was formed in 2017 by pianist Lee Dionne, violinist Brigid Coleridge, and cellist Julia Yang. Merz Trio has quickly emerged as a unique and award-winning ensemble, garnering the First Prize at the 2019 Fischoff National Chamber Music Competition and the First Prize and Audience Prize at the 2018 Chesapeake International Chamber Music Competition.  The Trio is currently based out of New York City and is the Graduate Piano Trio in Residence at the New England Conservatory (2018-2020). The Trio engages in local education and community building and donates 10% of its earnings from select concerts to local charities.

Josef Haydn, Piano Trio No. 44 in E Major 

(Paired with Anna de Codorniu Cava Brut Rosé)

Alban Berg, “Traumgekrönt” from Sieben Früher Lieder (text by Rainer Maria Rilke) (Paired with Zolo Malbec)

Maurice Ravel, Trio in A Minor for piano, violin, and cello

(Paired with Zolo Sauvignon Blanc)

 (Paired with Bodegas Vegamar, Crianza – for the last two movements)

Franz Schubert, Notturno

(Paired with Zolo Signature White)

This was a sensually rich evening and a luxury to partake in a genre that has become far too seldom in America.

[bobmccullochny]

History

March 31, 1933 - The Civilian Conservation Corps, the CCC, was founded. Unemployed men and youths were organized into quasi-military formations and worked outdoors in national parks and forests.

March 31, 1968 - President Lyndon Johnson made a surprise announcement that he would not seek re-election as a result of the Vietnam conflict.

March 31, 1991 - The Soviet Republic of Georgia, birthplace of Josef Stalin, voted to declare its independence from Soviet Russia, after similar votes by Lithuania, Estonia and Latvia. Following the vote in Georgia, Russian troops were dispatched from Moscow under a state of emergency.

Birthday - Franz Joseph Haydn (1732-1809) was born in Rohrau, Austria. Considered the father of the symphony and the string quartet, his works include 107 symphonies, 50 divertimenti, 84 string quartets, 58 piano sonatas, and 13 masses. Based in Vienna, Mozart was his friend and Beethoven was a pupil.

Birthday - Boxing champion Jack Johnson (1878-1946) was born in Galveston, Texas. He was the first African American to win the heavyweight boxing title.

[yourmusicquestions]

Composer Highlight: Franz Josef Haydn

Close followers of the blog (of which I realize there aren’t many, but whatever) may have noticed a gap of over a year between my look at Haydn’s symphony #102 and symphony #103. There are all sorts of excuses I could give about real life getting in the way of this project, but the truth is that I just got burned out on Haydn. It’s easy enough to do. After all, at fifteen symphonies, there’s more Haydn on this list than any other composer, which makes sense for one of the most prolific symphony composers who ever lived.

Haydn so often gets overlooked, and one of the reasons why is the same reason I got burned out on him. His symphonies have a certain predictability to them, which is fine when you’re hearing six of them over the course of two years, but a little more difficult when you’re trying to listen to them in the course of two weeks. And it’s easy to overlook Haydn for this, especially when you consider the groundbreaking work of Mozart and Beethoven, the other two great classical composers. Haydn may have written a lot, and he helped people take the form of the symphony seriously, but he played it relatively safe, just throwing a few gimmicks into his works to keep things interesting. And as we’ve already talked about, he didn’t have a lot of drama in his life. By all accounts, he did his job, he did it well, and didn’t have a huge tragedy or drama associated with him like Beethoven’s deafness or Mozart’s early death.

And that, honestly, might be one of the big reasons I like Haydn so much. There’s this idea that’s often tossed around that great art requires great suffering, but I think composers like Haydn show us that’s not true. He surely had suffering and tragedy in his life--most people do at some point--but he doesn’t fit the narrative of the Tragically Misunderstood Artist (TM) that many composers--particularly as we get into the Romantic era--seem to. Haydn is very often inspired, not by tragedy or drama, but by joy and humor, and his music reflects that.

And I think there’s one important thing that Haydn had that neither Mozart nor Beethoven really did. There’s a reason why Haydn was able to gain as much experience as he was, and it’s also the reason why he didn’t push boundaries as much as Mozart and Beethoven did. Haydn had an incredible ability to relate to people. He very much had his finger on the pulse of what people wanted. He understood and related well with his musicians, his employers, and his audiences. We saw how he related with his musicians with the number of solos he handed out in Symphony #6; we saw how he related with his employers with the Farewell Symphony and how confident Haydn was that it would send the right message; and we saw how he related with his audiences in his twelve London symphonies, and how he was able to find the balance between predictable and understandable form and defying expectations and maintaining interest.

It was this understanding and interpersonal relationships that allowed Haydn to do what he did throughout his lengthy career. He was able to make people take the symphony seriously because he knew how to do it. He knew which buttons to push and which emotions to evoke to make people sit up and take notice of what he was doing. Mozart and Beethoven forced people’s attention, but Haydn persuaded. His symphonies might seem comparatively tame, but there’s no doubt that he was a talented musician who saw it as his purpose to entertain people. He wasn’t looking to change the face of music, just to do his job to the best of his ability.

And as we get into the era of Tragically Misunderstood Artists (TM), that sort of purity of purpose will be missed. Haydn’s work allowed artists like Mozart and Beethoven to do what they did. In fact, remember that question about how much influence the three classical composers had on music? One classmate put Haydn on the top of the list, arguing that he influenced the other two. And there’s something to be said for that argument. It’s easy to overlook Haydn, but he remains one of my favorite composers, even more so now that I’ve taken a closer look at him. As the song goes,

“Papa Haydn’s dead and gone,

But his memory lingers on.”

SURPRISE!

[todayclassical]

May 29 in Music History

1697 Death of Italian castrato Giovanni Grossi (Siface).

1730 Birth of composer William Jackson.

1753 FP of Haydn's Singspiel, Der Krumme Teufel in Vienna.

1754 FP of Arne's "Eliza" London.

1790 FP of Dalayrac's "La Soirée orageuse" Paris.

1791 Birth of composer Pietro Romani.

1821 FP of Mercadante's "Maria Stuarda regina di Scozia" in Bologna.

1836 Death of soprano Pauline Anna Milder-Hauptmann. 

1837 Birth of composer Luca Fumagalli.

1843 Birth of composer Emile Pessard.

1852 Birth of composer Jindrich Albestu Kaan.

1853 Birth of band music composer Francesco Fanciulli. 

1860 Birth of Spanish composer Isaac Albeniz in Camprodón, Spain. 

1868 Birth of French-English composer Frederic d'Erlanger. 1873 Birth of Estonian composer Rudolf Tobias.

1873 FP of Franz Liszt's oratorio Christus. 

1873 Birth of Estonian composer Rudolf Tobias.

1873 FP in America of Brahms's Serenade No. 1 in D, by the New York Symphony, Theodore Thomas conducting at Steinway Hall in NYC.

1874 Death of American baritone Emilio de Gogorza in Brooklyn. 

1876 Birth of German baritone Herman Weil.

1880 Death of Austrian theater director Maximilian Steiner.

1881 Birth of composer Frederik Septimus Kelly.

1883 Birth of composer William Beatton Moonie.

1890 Birth of composer Francis de Bourguignon.

1892 Birth of American tenor Mario Chamlee.

1897 Birth of American-German-Bohemian composer Eric Wolfgang Korngold.

1897 Birth of composer Ignace Lilien.

1898 Birth of French bass Humbert Tomatis in Nice. 

1901 FP of Paderewski's only opera Manru in Dresden.

1902 Birth of German mezzo-soprano Johanna Blatter in Ludwigshaven. 

1904 Birth of Hungarian baritone Alexander Sved in Budapest. 

1905 FP of Scriabin's Devine Poem Third Symphony under Arthur Nikisch, in Paris.

1905 Birth of composer Fela Sowande.

1906 Birth of composer Hans Joachim Schaeuble.

1910 Death of Russian composer Mily Balakirev at age 73 in St. Petersburg.

1912 Birth of Austrian bass Jaroslav Veverka in Vienna.

1912 Birth of German bass Fritz Ollendorff in Darmstedt. 

1912 Birth of Dutch baritone Theo Bayle in Holland, Laren Netherlands. 

1913 FP of Stravinsky's Rite of Spring at the Ballet Russe under Diaghilev, in Paris.

1914 FP of Alfredo Casella's May Night. Casella conducting, in Paris. 

1915 Birth of German conductor Karl Munchinger, in Stuttgart. 

1915 Birth of American conductor Igor Buketoff in Hartford, CT.

1919 FP of Savine's "Xenia" Zürich with Lillian Blauvelt.

1922 Birth of Greek-French composer Iannis Xenakis in Braila, Roumania.  1924 FP of Gretchaninov's Third Symphony, composer conducting, in Kiev.

1932 Birth of German bass Karl Ridderbusch in Recklinghausen. 

1933 Birth of German organist, conductor Helmut Rilling.

1935 Death of Czech composer Josef Suk at age 61, in Benesov.

1937 Birth of composer Peter Kolman.

1938 Death of Spanish tenor Miguel Fleta.

1947 Birth of Azerbaijani composer Franghiz Ali-Zadeh in Baku, Azerbaijan.

1948 Birth of Scottish soprano Linda Esther Gray in Greenock.

1948 Birth of English composer Michael Berkeley in London. 

1951 Death of Czech composer Josef Bohuslav Foerster.

1953 Birth of American composer Danny Elfman in Amarillo, TX.

1954 Birth of American composer Robert Beaser in Boston, MA.

1954 FP of Henry Cowell's Symphony No. 11 Seven Rituals. Louisville Symphony conducted by Robert Whitney, in Louisville, KY.

1960 Birth of American composer Jody Nagel in Franlin, PA.

1961 Death of Finnish composer Uuno Klami in Helsinki. 

1962 FP of Tippett's "King Priam"

1963 The first New York Philharmonic Promenade concerts.

1966 FP of Reutter's "Der Tod des Empedokles"

1969 Birth of Ukranian composer and guitarist Alexander Vynograd.

1970 FP of Einojuhani Rautavaara's Piano Concerto. 

1972 Death of American composer Margaret Ruthven Lang in Boston.

1972 Death of Algerian mezzo-soprano Emma Vecla. 

2005 Death of American composer George Rochberg.

[radioromania]

De la pupitrul London Philharmonic, Ralf Sochaczewsky dirijază la Sala Radio

(11 februarie 2019)

A fost dirijor-asistent al lui Vladimir Jurowski la pupitrul celebrei orchestre London Philharmonic, a dirijat operă la Teatrul Balşoi din Moscova şi este dirijor principal al Corului CantusDomus din Berlin. Dirijorul german Ralf Sochaczewsky este invitatul special al concertului prezentat miercuri, 13 februarie (ora 19:00) de Orchestra de Cameră Radio. Evenimentul de la Sala Radio se va derula cu participarea unuia dintre cei mai cunoscuţi pianişti români – Horia Mihail, solist al Orchestrelor şi Corurilor Radio România.

Programul serii de la Sala Radio reuneşte mari compozitori: Haydn - Concertul pentru pian în Sol major, Mozart - Simfonia nr. 38 - Praga şi două creaţii semnate de Josef Suk (1874 –1935): Serenada pentru orchestră de coarde şi Meditaţie asupra coralului Sf. Wenceslas pentru orchestră de coarde. Compozitor şi violonist ceh, Suk a făcut parte dintr-o apreciată familie de muzicieni din Cehia, mentorul său fiind marele compozitor ceh Antonín Dvořák.

Ralf Sochaczewsky a primit primele lecţii de dirijat în Berlin, oraşul său natal, la Universitatea de Muzica (UdK), şi ulterior a devenit student la Universitatea de muzică Hanns Eisler unde a frecventat cursul de dirijat-orchestră şi pe cel de dirijat-cor.

În stagiunea 2003-2004 a fost dirijor-asistent la diferite coruri radio din Olanda. De atunci a dirijat Corul de cameră Rias, Corul Radio Berlin, Corul Radio France, Corul Ernst Senff, Cappella Amsterdam şi Corul Filamonicii din Praga şi dirijează constant Capella Cracoviensis. Până în prezent Ralf Sochaczewsky a dirijat numeroase orchestre, precum: London Philharmonic, Konzerthaus Berlin, Orchestra Naţională Radio, Brandenburger Sinfoniker, Orchestra de Cameră a Filarmonicii din Minsk.

Ralf Sochaczewsky a dirijat şi operă, debutând la Teatrul Balşoi din Moscova, dirijând apoi la Opera Comică Berlin, Opera Naţională din Strasbourg şi Teatrul Naţional din Vilnius. Între 2008-2010 a fost dirijor-asistent al lui Vladimir Jurowski la pupitrul celebrei orchestre London Philharmonic, iar din 2011 la Berlin Philharmonic Orchestra şi Mahler Chamber Orchestra. În vara anului 2008 a fost dirijor-asistent la Festivalul de Operă de la Glyndebourne pentru producţia Despre dragoste şi alţi demoni de P. Eötvös şi în 2010 la producţia cu opera Rake’s Progress de I. Stavinski.

Pianistul Horia Mihail a debutat în oraşul său natal (Braşov) interpretând Concertul în Re major de Haydn la vârsta de 10 ani. După 14 ani de studii în România, Horia Mihail a urmat cursurile Universităţii din Illinois. După ce a fost o perioadă de trei ani lector universitar la Boston University, Horia Mihail a revenit la Braşov în toamna anului 2002 ca solist al Filarmonicii şi membru al deja cunoscutei formaţii Romanian Piano Trio, alături de violonistul Alexandru Tomescu şi violoncelistul Răzvan Suma, cu care a susţinut concerte de mare succes în ţară şi străinătate.

În aprilie 2011, artistul a susţinut un turneu naţional de recitaluri solo cu un program integral Franz Liszt intitulat Pianul călător – Pe urmele lui Franz Liszt, care a stat la baza unui CD live apărut la Editura Casa Radio, proiect pe care artistul l-a continuat prin turnee ulterioare sub titlul Pianul călător.

În afara scenelor din România, muzicianul a susţinut recitaluri şi concerte la Berlin, Praga, München, Paris, Lisabona, Londra, în Danemarca, Germania, Ungaria, Spania, dar şi în Argentina, Chile, Statele Unite, China, Malayesia sau Japonia.

Concertul poate fi ascultat în direct pe toate frecvenţele Radio România Cultural şi Radio România Muzical din ţară şi în streaming live pe Internet, pe www.radioromaniacultural.ro şi www.romania-muzical.ro.

Biletele la concertele Orchestrelor şi Corurilor Radio se pot achiziţiona online prin reţeaua www.bilete.ro, în oficiile Poştei Române, în magazinele Inmedio semnalizate bilete.ro şi la Casa de bilete a Sălii Radio.

Alte informaţii legate de Orchestrele şi Corurile Radio, pe www.orchestreradio.ro.

Serviciul  Comunicare  şi  Relaţii  Publice

Adăugat de Luciana Gingăraşu