This recording is New Music Forum's Pick of the Month for December 2010.
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To purchase mp3 album click here: Shostakovich: Symphonies Nos 2 & 11
Thursday, December 30, 2010
New Release: Dmirti Shostakovich - Symphonies Nos. 2 & 11
On December 28, 2010 Harmonia Mundi released a new recording of Dmitri Shostakovich's Symphonies Nos. 2 and 11. Valery Gergiev leads the Mariinsky Orchestra on this recording. This is the sixth CD in Gergiev's Shostakovich cycle. However, this is only the second recording with the Mariinsky Orchestra. The other recording with this orchestra presents Symphonies Nos. 1 and 15.
This recording is New Music Forum's Pick of the Month for December 2010.
Click image to purchase CD from Amazon.com
To purchase mp3 album click here: Shostakovich: Symphonies Nos 2 & 11
This recording is New Music Forum's Pick of the Month for December 2010.
Click image to purchase CD from Amazon.com
To purchase mp3 album click here: Shostakovich: Symphonies Nos 2 & 11
Influential Pieces: Kaija Saariaho - Cendres - Part 2
Prior to hearing Kaija Saariaho's Cendres for the first time I was only familiar with about three of her orchestral works and some of her electro-acoustic compositions. Cendres was the first piece for acoustic chamber music of Saariaho's that I heard. This piece really captivated me. The instrumentation was, at the time, to me different: alto flute, cello and piano.
While the instrumentation seemed different, it is the way in which Saariaho uses the instruments that opened my eyes to the world of color and timbre. The piece opens with a harmonic trill in the cello. This technique creates a thin and airy sound that initiates the sound world that is to come. Another technique for string instruments that Saariaho uses in many of her compositions is the application and changing of bow pressure. Increasing the bow pressure creates a sound that is more noise than tone. Bow pressure can be applied to the point where all sense of pitch is lost. The inverse, less bow pressure, thins out the sound creating an eerie and airy tone.
The alto flute is also used in uncommon ways. Saariaho composes certain passages using breath tones. Breath tones are created by the flautist using the fingering needed to create the notated pitch, but air is blown through the instruments not producing the normal tone. In certain passages Saariaho will alternate between breath tones and normal tones. This creates an effect similar to that of the alternation of the harmonic and normal tone in the cello.
Another of Saariaho's favorite flute effects is the use of phonemes. Phonemes are an elementary part of speech that distinguishes one utterance from another. In the preface of the score Saariaho gives a list of the phonemes used in Cendres and the correct pronunciation. Saariaho explored this technique in some detail in Laconisme de L'aile (1982) for solo flute and electronics. In Cendres Saariaho used the phonemes as coloration which acts as another form of progression.
Another technique Saariaho used in this piece is quarter-tones. There are most easily heard in the alto flute and cello as glissandi. This pitch will be bent up or down a half-step in certain passages. It is with these glissandi that the quarter-tones will be most transparent. Saariaho will rarely use the quarter-tones as exact pitches in this piece as they can be difficult to play with accuracy.
While the instrumentation seemed different, it is the way in which Saariaho uses the instruments that opened my eyes to the world of color and timbre. The piece opens with a harmonic trill in the cello. This technique creates a thin and airy sound that initiates the sound world that is to come. Another technique for string instruments that Saariaho uses in many of her compositions is the application and changing of bow pressure. Increasing the bow pressure creates a sound that is more noise than tone. Bow pressure can be applied to the point where all sense of pitch is lost. The inverse, less bow pressure, thins out the sound creating an eerie and airy tone.
The alto flute is also used in uncommon ways. Saariaho composes certain passages using breath tones. Breath tones are created by the flautist using the fingering needed to create the notated pitch, but air is blown through the instruments not producing the normal tone. In certain passages Saariaho will alternate between breath tones and normal tones. This creates an effect similar to that of the alternation of the harmonic and normal tone in the cello.
Another of Saariaho's favorite flute effects is the use of phonemes. Phonemes are an elementary part of speech that distinguishes one utterance from another. In the preface of the score Saariaho gives a list of the phonemes used in Cendres and the correct pronunciation. Saariaho explored this technique in some detail in Laconisme de L'aile (1982) for solo flute and electronics. In Cendres Saariaho used the phonemes as coloration which acts as another form of progression.
Another technique Saariaho used in this piece is quarter-tones. There are most easily heard in the alto flute and cello as glissandi. This pitch will be bent up or down a half-step in certain passages. It is with these glissandi that the quarter-tones will be most transparent. Saariaho will rarely use the quarter-tones as exact pitches in this piece as they can be difficult to play with accuracy.
Wednesday, December 29, 2010
Listening Journal: December 20-26, 2010
Olivier Messiaen - Couleurs de la Cite Celeste (1963) for solo piano, 3 clarinets, 3 xylophones and a brass orchestra with metal percussion instruments
Einojuhani Rautavaara - Isle of Bliss (1995) for orchestra
Frederic Chopin - Nocturnes: Live - July 21, 2010 - CD
Maria Joao Pires, piano
Nocturne, op. 9 nos. 1-3 (1832)
Nocturne, op. 15 nos. 1-3 (1833)
Nocturne, op. 27 nos. 1-2 (1835)
Nocturne, op. 62 nos. 1-2 (1846)
Nocturne, op. 71: Lento con gran espresione (1820)
Nocturne, op. 72 nos. 1-2 (1829)
Luciano Berio - Points on the Curve to Find... (1974) for piano and 22 instrumentalists
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To Purchase the mp3 album for a low cost click here:
Berio: Chemins II & Chemins IV; Points on the Curve to Find
Einojuhani Rautavaara - Isle of Bliss (1995) for orchestra
Frederic Chopin - Nocturnes: Live - July 21, 2010 - CD
Maria Joao Pires, piano
Nocturne, op. 9 nos. 1-3 (1832)
Nocturne, op. 15 nos. 1-3 (1833)
Nocturne, op. 27 nos. 1-2 (1835)
Nocturne, op. 62 nos. 1-2 (1846)
Nocturne, op. 71: Lento con gran espresione (1820)
Nocturne, op. 72 nos. 1-2 (1829)
Luciano Berio - Points on the Curve to Find... (1974) for piano and 22 instrumentalists
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To Purchase the mp3 album for a low cost click here:
Berio: Chemins II & Chemins IV; Points on the Curve to Find
Saturday, December 25, 2010
Merry Christmas
I would like to wish everyone a Merry Christmas! This is a special time for many of us as we are able to spend time with our family and friends. This is a time of year that I always cherish.
Happy Holidays and Merry Christmas!
Happy Holidays and Merry Christmas!
Monday, December 20, 2010
Review: Fantasia on Blu-ray
Rating: 10/10
I recently purchased the Fantasia and Fantasia 2000 combo pack on Blu-ray. I already own the Fantasia Anthology three-disc DVD set which contains Fantasia, Fantasia 2000 and Fantasia Legacy, which has all of the special features for both movies. Of course with these being a pair of my favorite movies I had to pick up the high-def version on Blu-ray.
Overall, the Blu-ray presentation of Fantasia is amazing. From the menus to the film you can tell that great care was taken in the re-mastering of this movie. The menu is full sound and and motion. When you move the cursor there is a different musical tone that is played in a scale like a toy piano. The picture is vivid and sharp. The colors pop and are more pristine than the DVD version. The sound on the Blu-ray is crisp and clear. It is great to hear Leopold Stokowski and the Philadelphia Orchestra in such clarity.
For the most part Fantasia is in the original, uncut version. The film even includes the intermission segment complete with the curtains closing and the title card projected. This was something that was cut out of some of the previous versions. However, it is still a "censored" movie , but I believe that it does not detract from the film at all. For those unaware, the segment featuring Beethoven's Symphony No. 6 "Pastorale" contains the censored scenes. This segment features the symphony set against a world of centaurs. The editors censored the scenes depicting a black centaur. Apparently the way in which it was drawn and acts is considered racist. I have seen the original clip and I understand how it can be considered racist. The Disney editors did a great job in censoring these scenes. The editors panned over and zoomed in on other aspects of the scene, cutting out the black centaur and its actions. These edits are flawlessly done. It is so seamless that you do not notice that something was cut out.
My favorite segment of Fantasia is Stravinsky's Rite of Spring. I find the concept of the evolution of species to be fitting. The way in which the "story" progresses with the music is spot on. This for me is one of the reasons why Fantasia is so successful.
The only drawback to this Blu-ray set is the lack of special features. The Disney Studios have included some new special features, but left off the unfinished segments like Debussy's Claire de Lune or Sibelius's Swan of Tuonela. These pieces were sketched or storyboarded, but never finished. These were included as special feautres on the three-disc DVD set Fantasia Anthology that I have had for years, so I will not be getting rid of these anytime soon.
In spite of the lack of these special features, the Blu-ray version of Fantasia is well worth owning. The picture is crisp, the colors are vivid and the sound is clear. This is the way in which Walt Disney meant for this film to be experienced.
Click image to purchase Blu-ray from Amazon.com
I recently purchased the Fantasia and Fantasia 2000 combo pack on Blu-ray. I already own the Fantasia Anthology three-disc DVD set which contains Fantasia, Fantasia 2000 and Fantasia Legacy, which has all of the special features for both movies. Of course with these being a pair of my favorite movies I had to pick up the high-def version on Blu-ray.
Overall, the Blu-ray presentation of Fantasia is amazing. From the menus to the film you can tell that great care was taken in the re-mastering of this movie. The menu is full sound and and motion. When you move the cursor there is a different musical tone that is played in a scale like a toy piano. The picture is vivid and sharp. The colors pop and are more pristine than the DVD version. The sound on the Blu-ray is crisp and clear. It is great to hear Leopold Stokowski and the Philadelphia Orchestra in such clarity.
For the most part Fantasia is in the original, uncut version. The film even includes the intermission segment complete with the curtains closing and the title card projected. This was something that was cut out of some of the previous versions. However, it is still a "censored" movie , but I believe that it does not detract from the film at all. For those unaware, the segment featuring Beethoven's Symphony No. 6 "Pastorale" contains the censored scenes. This segment features the symphony set against a world of centaurs. The editors censored the scenes depicting a black centaur. Apparently the way in which it was drawn and acts is considered racist. I have seen the original clip and I understand how it can be considered racist. The Disney editors did a great job in censoring these scenes. The editors panned over and zoomed in on other aspects of the scene, cutting out the black centaur and its actions. These edits are flawlessly done. It is so seamless that you do not notice that something was cut out.
My favorite segment of Fantasia is Stravinsky's Rite of Spring. I find the concept of the evolution of species to be fitting. The way in which the "story" progresses with the music is spot on. This for me is one of the reasons why Fantasia is so successful.
The only drawback to this Blu-ray set is the lack of special features. The Disney Studios have included some new special features, but left off the unfinished segments like Debussy's Claire de Lune or Sibelius's Swan of Tuonela. These pieces were sketched or storyboarded, but never finished. These were included as special feautres on the three-disc DVD set Fantasia Anthology that I have had for years, so I will not be getting rid of these anytime soon.
In spite of the lack of these special features, the Blu-ray version of Fantasia is well worth owning. The picture is crisp, the colors are vivid and the sound is clear. This is the way in which Walt Disney meant for this film to be experienced.
Click image to purchase Blu-ray from Amazon.com
Listening Journal: December 13-19, 2010
Kaija Saariaho - Preludi-Tunnustus-Postludi (1980) for soprano and piano
Arnold Schoenberg - Piano Piece, op. 33A (1928)
Arnold Schoenberg - Piano Piece, op. 33B (1931)
Harrison Birtwistle - The Triumph of Time (1972) for orchestra
Iannis Xenakis - Akrata (1965) for eight winds and eight brass
Iannis Xenakis - À la Mémoire de Witold Lutoslawski (1994) for two trumpets and two horns
Kaija Saariaho - Oi Kuu (1990) for flute and cello
Arditti String Quartet - From Scandinavia - CD
Magnus Lindberg - Clarinet Quintet (1992) with Kari Kriikku, clarinet
Bent Sorensen - Angels' Music (1988)
Kaija Saariaho - Nymphea (1987)
Jukka Tiensuu - Arsenic and Old Lace (1990) with Jukka Tiensuu, harpsichord
Witold Lutoslawski - Orchestral Works Volume 1 - CD
Funeral Music for strings (1958)
Chain II: Dialogue for Violin and Orchestra (1985)
Interlude (1989) for strings
Partita for Violin and Orchestra (1988)
Symphony No. 4 (1992)
Click image to purchase from Amazon.com
Arnold Schoenberg - Piano Piece, op. 33A (1928)
Arnold Schoenberg - Piano Piece, op. 33B (1931)
Harrison Birtwistle - The Triumph of Time (1972) for orchestra
Iannis Xenakis - Akrata (1965) for eight winds and eight brass
Iannis Xenakis - À la Mémoire de Witold Lutoslawski (1994) for two trumpets and two horns
Kaija Saariaho - Oi Kuu (1990) for flute and cello
Arditti String Quartet - From Scandinavia - CD
Magnus Lindberg - Clarinet Quintet (1992) with Kari Kriikku, clarinet
Bent Sorensen - Angels' Music (1988)
Kaija Saariaho - Nymphea (1987)
Jukka Tiensuu - Arsenic and Old Lace (1990) with Jukka Tiensuu, harpsichord
Witold Lutoslawski - Orchestral Works Volume 1 - CD
Funeral Music for strings (1958)
Chain II: Dialogue for Violin and Orchestra (1985)
Interlude (1989) for strings
Partita for Violin and Orchestra (1988)
Symphony No. 4 (1992)
Click image to purchase from Amazon.com
Friday, December 17, 2010
Happy Birthday to my wife
Today is my wife's birthday. I want to wish her a happy birthday. Everyday and every year we spend together is a good one. I love you Melissa.
Wednesday, December 15, 2010
Influential Pieces: Kaija Saariaho - Cendres - Part 1
Kaija Saariaho's Cendres for alto flute, cello and piano is for me one of the most influential pieces of chamber music. Composed in 1998 Cendres was commissioned for the Wolpe Trio. The word cendres is French for ashes. The basis of the musical material was derived from Saariaho's double concerto ...a la fumée (1990) for alto flute, cello and orchestra. The title Cendres is appropriate as the English translation of "a la fumée" is "into smoke." ...a la fumée is part of the music diptych paired with Du Cristal (1990) for orchestra. The whole translation of the title of the diptych is "From crystal into smoke."
Saariaho has noted that in composing Cendres special attention was paid to the balance of two extremes of musical performance. Tension was created and controlled throughout by the instruments coming close in terms of range, rhythm, dynamics, articulation and tone color and by allowing each instrument to express the musical ideas in their own idiomatic way. Saariaho believes that it is in these extremes where one can find infinite possibilities to create more or less homogenic musical structures.
The instrumentation of Cendres allows Saariaho the ability to explore the area between the two extremes. Each instrument in the ensemble produces tones in different ways. In addition these instruments have a couple of different ways in which it can produce notes. This gives Saariaho a larger palette from which she can compose. At the same time these instruments can blend together to make more homogenic combinations. In the liner notes for this piece Saariaho stated, "awareness of this variety was the rope on which I was balancing when working on the piece." Saariaho was able to brilliantly navigate this rope.
Saariaho has noted that in composing Cendres special attention was paid to the balance of two extremes of musical performance. Tension was created and controlled throughout by the instruments coming close in terms of range, rhythm, dynamics, articulation and tone color and by allowing each instrument to express the musical ideas in their own idiomatic way. Saariaho believes that it is in these extremes where one can find infinite possibilities to create more or less homogenic musical structures.
The instrumentation of Cendres allows Saariaho the ability to explore the area between the two extremes. Each instrument in the ensemble produces tones in different ways. In addition these instruments have a couple of different ways in which it can produce notes. This gives Saariaho a larger palette from which she can compose. At the same time these instruments can blend together to make more homogenic combinations. In the liner notes for this piece Saariaho stated, "awareness of this variety was the rope on which I was balancing when working on the piece." Saariaho was able to brilliantly navigate this rope.
Tuesday, December 14, 2010
Listening Journal: December 6-12, 2010
Iannis Xenakis - Échange (1989) for bass clarinet and ensemble
Salvatore Sciarrino - La Bocca, I Piedi, Il Suono (1997) for saxophone quartet
Pascal Dusapin - Go (1992) for orchestra
Pascal Dusapin - Time Zones (1993) for string quartet
Dmitri Shostakovich - Cello Concerto No. 1 in E-flat Major, op. 107 (1959)
Dmitri Shostakovich - Cello Concerto No. 2 in G major, op. 126 (1966)
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Salvatore Sciarrino - La Bocca, I Piedi, Il Suono (1997) for saxophone quartet
Pascal Dusapin - Go (1992) for orchestra
Pascal Dusapin - Time Zones (1993) for string quartet
Dmitri Shostakovich - Cello Concerto No. 1 in E-flat Major, op. 107 (1959)
Dmitri Shostakovich - Cello Concerto No. 2 in G major, op. 126 (1966)
Click image to purchase CD from Amazon.com
Influential Pieces
Every now and then I think about what composers influence my music. There are pieces by these composers that I turn to time and time again. Some of these pieces directly impact my compositional style. Others are just great pieces to which I enjoy listening. I thought that it would be a good idea to share these pieces and write about why they are influential pieces.
I believe that doing this will give me a better understanding of this music. Also this could not only help me to better develop my compositional voice, but to better understand my musical output. In addition these write ups will help me in my research of color music.
This week I will make the first posting in this series. The first piece to be presented will be Kaija Saariaho's Cendres for alto flute, cello and piano.
I believe that doing this will give me a better understanding of this music. Also this could not only help me to better develop my compositional voice, but to better understand my musical output. In addition these write ups will help me in my research of color music.
This week I will make the first posting in this series. The first piece to be presented will be Kaija Saariaho's Cendres for alto flute, cello and piano.
Monday, December 13, 2010
"A" section sketch done
This weekend I completed the sketch of the A section for Time in Memoriam. I started off by working on the sections that needed to be filled out. Then I spent some time focusing on adding dynamics and some expressions to the parts.
There was one section that needs quite a bit of work. I had composed a flute melody that leads into an oboe and alto sax melody. This section was designed to act as a transition into the B section. As I continued to work on this section I realized that this music calls for more development. Rather than cutting this section short to retain the transitional nature or allowing the music to be developed at this time, I decided to move these sixteen measures to after the B section. This will give me the opportunity to develop these melodies and motives as I want. Also, after thinking about it more I feel as if this melody will work well coming out of the fast section.
There are still a couple of minor things I need to revise before the A section is finalized. Right now my plan of action is to continue on into the B section. I can make most of these minor revisions later. I have some clear ideas for the B section that I am excited to work on. More details about this will follow.
There was one section that needs quite a bit of work. I had composed a flute melody that leads into an oboe and alto sax melody. This section was designed to act as a transition into the B section. As I continued to work on this section I realized that this music calls for more development. Rather than cutting this section short to retain the transitional nature or allowing the music to be developed at this time, I decided to move these sixteen measures to after the B section. This will give me the opportunity to develop these melodies and motives as I want. Also, after thinking about it more I feel as if this melody will work well coming out of the fast section.
There are still a couple of minor things I need to revise before the A section is finalized. Right now my plan of action is to continue on into the B section. I can make most of these minor revisions later. I have some clear ideas for the B section that I am excited to work on. More details about this will follow.
Thursday, December 9, 2010
Addendum to Listening Journal: November 29-December 6, 2010
I started to sit down to write a review of the Blu-ray version of Fantasia and I realized that I did not include the pieces from this movie in my Listening Journal. Normally I would not include movie music, but Fantasia is no ordinary movie. Where as most movie music contains snippets and themes, Fantasia includes entire movements or pieces.
Aside from Fantasia and Fantasia 2000 I think another exception I would make for including movie music in the Listening Journal would be for a movie like Psycho. In Psycho the music plays as much a dramatic role as the actors.
Fantasia - Blu-ray movie
The Philadelphia Orchestra, Leopold Stokowski, conductor
Johann Sebastian Bach - Toccata and Fugue in D minor BWV 565 (1707) arranged for orchestra
Peter Ilyich Tchaikovsky - The Nutcracker Suite, op. 71a (1892) for orchestra
Paul Dukas - The Sorcerer's Apprentice (1897) for orchestra
Igor Stravinsky - The Rite of Spring (1913) for orchestra
Ludwig van Beethoven - Symphony No. 6 in F major, op. 68 "Pastorale" (1808)
Amilcare Ponchielli - La Gioconda: Dance of the Hours (1880) for orchestra
Modest Mussorgsky - Night on Bald Mountain (1886) for orchestra
Franz Schubert - Ave Maria (1825) for chorus and orchestra
Click image to purchase from Amazon.com. Blu-ray (left) DVD (right)
Aside from Fantasia and Fantasia 2000 I think another exception I would make for including movie music in the Listening Journal would be for a movie like Psycho. In Psycho the music plays as much a dramatic role as the actors.
Fantasia - Blu-ray movie
The Philadelphia Orchestra, Leopold Stokowski, conductor
Johann Sebastian Bach - Toccata and Fugue in D minor BWV 565 (1707) arranged for orchestra
Peter Ilyich Tchaikovsky - The Nutcracker Suite, op. 71a (1892) for orchestra
Paul Dukas - The Sorcerer's Apprentice (1897) for orchestra
Igor Stravinsky - The Rite of Spring (1913) for orchestra
Ludwig van Beethoven - Symphony No. 6 in F major, op. 68 "Pastorale" (1808)
Amilcare Ponchielli - La Gioconda: Dance of the Hours (1880) for orchestra
Modest Mussorgsky - Night on Bald Mountain (1886) for orchestra
Franz Schubert - Ave Maria (1825) for chorus and orchestra
Click image to purchase from Amazon.com. Blu-ray (left) DVD (right)
Wednesday, December 8, 2010
Listening Journal: November 29-December 5, 2010
Einojuhani Rautavaara - Symphony No. 5 (1985)
Pascal Dusapin - Exeo (2002) for orchestra
Pascal Dusapin - Laps (1987) for flute and contrabass
Ludwig van Beethoven - Piano Sonata No. 14 in C minor, op. 27 no. 2 "Moonlight" (1801)
PDQ Bach - Music You Can't Get Out of Your Head - CD
"Howdy" Symphony in D major
Perückenstück (Hair Piece)
Suite from "The Civilian Barber"
Click image to purchase CD from Amazon.com
Pascal Dusapin - Exeo (2002) for orchestra
Pascal Dusapin - Laps (1987) for flute and contrabass
Ludwig van Beethoven - Piano Sonata No. 14 in C minor, op. 27 no. 2 "Moonlight" (1801)
PDQ Bach - Music You Can't Get Out of Your Head - CD
"Howdy" Symphony in D major
Perückenstück (Hair Piece)
Suite from "The Civilian Barber"
Click image to purchase CD from Amazon.com
New Blog: Color Music
Last week I started a new blog. This blog will focus on a certain area of interest of mine: color music. I began doing research on this topic about five years ago when I was working towards a Ph. D in Music Composition at the University of Oregon.
I have found that there are two primary areas of color music. The first is synaesthesia, the ability to see color in relation to sound and/or music. The second is timbre. Using various combinations of instruments and effects to add color to the music.
The purpose of the Color Music blog is to present my findings from my research and to help organize my thoughts on the subject. A secondary purpose is to possibly stimulate discussion that will help further my research. In this blog I will clearly define color music. I will also discuss the history of color music, present musical examples and their composers.
The concept of color music is not an original one. I do not take credit for creating the term or genre. My purpose is to create a definition of the term and identify the components that go into creating color music. I am also going to develop a listening list that will help to further define the genre.
I invite you over to check out the blog and feel free to contribute comments, questions or suggestions for composers and pieces to consider. The website is colormusicandsound.blogspot.com or you can just click the Color Music Blog link on the left.
I have found that there are two primary areas of color music. The first is synaesthesia, the ability to see color in relation to sound and/or music. The second is timbre. Using various combinations of instruments and effects to add color to the music.
The purpose of the Color Music blog is to present my findings from my research and to help organize my thoughts on the subject. A secondary purpose is to possibly stimulate discussion that will help further my research. In this blog I will clearly define color music. I will also discuss the history of color music, present musical examples and their composers.
The concept of color music is not an original one. I do not take credit for creating the term or genre. My purpose is to create a definition of the term and identify the components that go into creating color music. I am also going to develop a listening list that will help to further define the genre.
I invite you over to check out the blog and feel free to contribute comments, questions or suggestions for composers and pieces to consider. The website is colormusicandsound.blogspot.com or you can just click the Color Music Blog link on the left.
Monday, December 6, 2010
The new face of the CD store
It used to be that you could walk into any Borders, Barnes and Noble or any store that sells music CDs and be able to choose from a decent selection of classical music. Of course it would be hard to find many of the contemporary composers, but the important ones would have some representation. Currently, my local Borders only has a smattering of CDs in general and most are the newest releases by rock, pop or country artists. Those stores that still have a music section will have a small selection of classical music. Most are either popular recordings that everyone has like Beethoven's Ninth Symphony or Bach's Well Tempered Clavier. If there are contemporary CDs you are likely to only find Stravinsky's Rite of Spring or Messiaen's Quartet for the End of Time. Do not get me wrong these are great pieces, but I have these recordings. I am looking for something new.
It seems that the only way in which I can get the CDs I want is to order them online. The internet is a great and powerful tool. I love it because I can usually find recordings I want. At the same time this is exactly the problem. I can get what I want. It is a lot harder to randomly find new things to listen to at an online store. Sure most sites will give additional recommendations or will have a section that lists "other items purchased by customers who bought this CD," but these recommendations only go so far. I love going into a "brick and mortar" store and just browsing through the racks. It is a lot like treasure hunting. I would often pick up a CD I was not looking for because it interests me. I do not do this as often when ordering online because I can not see the entire selection.
So why am I going off on this tangent? Well for the past two months I have been trying to locate, at a store, a particular recording that I figured would have been easy to find. The CD is Hilary Hahn's latest recording featuring the Jennifer Higdon and Tchaikovsky Violin Concertos. Hilary is a popular violinist and I can find most of her other recordings in town, but apparently not this one. I will end up ordering this recording in the next day or two, but I would have liked to have gone somewhere to pick it up.
It seems that the only way in which I can get the CDs I want is to order them online. The internet is a great and powerful tool. I love it because I can usually find recordings I want. At the same time this is exactly the problem. I can get what I want. It is a lot harder to randomly find new things to listen to at an online store. Sure most sites will give additional recommendations or will have a section that lists "other items purchased by customers who bought this CD," but these recommendations only go so far. I love going into a "brick and mortar" store and just browsing through the racks. It is a lot like treasure hunting. I would often pick up a CD I was not looking for because it interests me. I do not do this as often when ordering online because I can not see the entire selection.
So why am I going off on this tangent? Well for the past two months I have been trying to locate, at a store, a particular recording that I figured would have been easy to find. The CD is Hilary Hahn's latest recording featuring the Jennifer Higdon and Tchaikovsky Violin Concertos. Hilary is a popular violinist and I can find most of her other recordings in town, but apparently not this one. I will end up ordering this recording in the next day or two, but I would have liked to have gone somewhere to pick it up.
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