'They emphasise the daring unconventionality of Tchaikovsky's writing, while managing to tame its quasi-orchestral dimensions by employing the widest possible dynamic range with a partiuclarly appealing velvety sound in the quietest passages'
This week's free download is the third movement, Allegro moderato, of Tchaikovsky's String Sextet in D minor 'Souvenir de Florence', performed by Quatuor Danel with violist Vladimír Bukač and cellist Petr Prause. It was recorded on CPO and was awarded four stars for both performance and recording in the December issue of BBC Music Magazine.
DOWNLOAD INSTRUCTIONS:
If you'd like to enjoy our free weekly download simply log in or sign up to our website.
Once you've done that, return to this page and you'll be able to see a 'Download Now' button on the picture above – simply click on it to download your free track.
If you experience any technical problems please email support@classical-music.com. Please reference 'Classical Music Free Download', and include details of the system you are using and your location. If you are unsure of what details to include please take a screenshot of this page.
The Soul Train Cruise 2020 sets sail in January with acts including The Manhattans featuring Gerald Alston. We spoke with Gerald about classic hits from The Manhattans, his solo work, including covers of songs by The Eagles and Sam Cooke. … ►
Editor’s Note: Shining a light on the more prominent artists of the passing decade; we’ll be taking a look at the artists who made a monumental impact on the 2010s and landed several albums in our 200 Best Albums Of The 2010s list in a series of pieces through the end of 2019. Today we’re taking a look at Lana Del Rey with Morgan Enos, who landed four records in our Best 200 with ‘Born To Die’ the only female artist in the Top 10.
Hope is a Dangerous Thing: 10 Years of Lana Del Rey.
Lana Del Rey co-wrote her signature song, “Video Games,” about a mundane detail from her own life — watching her ex-boyfriend play video games after work. “I was reflecting on the sweetness of it but also something else I was longing for at the same time,” she told NMEin 2012. But when the video for the highly personal ballad reaped hundreds of millions of views, some viewers slammed her as inauthentic — a wound that Del Rey carried around for years.
“They said I looked really fake and posed, and stuff about my lips,” she told Dazedin 2011. “It just really hurt my feelings and it made me wish that I had never put it up. If they said I was a bad singer that would be one thing because I know it’s not true, but when they say, ‘Oh, look at her face, she looks so plastic…’ that, as a girl, hurts your feelings.”
Today, accusations of Del Rey being a phony — even an industry plant — come off as logically shaky at best, flat-out sexist at worst. The artist born Lizzy Grant received flak for changing her name, as if John Legend, Bruno Mars and Katy Perry didn’t do the same. “It’s the exact same person, babes. Just with a different name,” she told Dazed. “I could build a sonic world toward the way the name fell off my lips.”
And accusations that Del Rey’s career was funded by her father, Robert Grant, were bogus: while “Video Games” took over the world, she says they were barely in contact. “We never had more money than anyone we ever knew in town,” she told The Guardianin 2014. “I don’t think he was too sure what I had been up to.”
As for music honchos pulling the strings behind the scenes, Del Rey says that’s nonsense. “My managers were struggling to describe my music to labels,” she told Dazed, before they settled on marketing her as “gangsta Nancy Sinatra,” an image she’s still stuck with. But as Interscope executive VP of A&R Larry Jackson told Spin in 2012, “The only Svengali in this thing is Lana.”
With the 2010s wrapping up, now’s a good time to cast off these aspersions and consider Del Rey on her own terms. Here’s a rundown of her six studio albums to date.
Prior to adopting her stage name, Del Rey was Lizzy Grant, singing in a tentative contralto in a T-shirt and jeans. Her debut, Lana Del Ray A.K.A. Lizzy Grant (she would later respell her name as “Rey”) was pulled offline two months after its release. While Del Rey wasn’t quite herself yet, the albumlays the seeds for future greatness on torch songs like “Kill Kill” and “Oh Say Can You See,” although her baby-voiced trills on “Gramma” go to show that she was right to sing in a lower pitch from here on out.
Del Rey finally emerged fully formed on Born to Die, an album of late-night croons and Hollywood strings that was “already done before any of the [fame] shit hit the fan,” as she told Pitchfork in 2017. A hip-hop-leaning production team, including Kanye West collaborator Jeff Bhasker and Eminem producer Emile Haynie, does her sound a lot of favors; “Off to the Races,” “National Anthem” and “Summertime Sadness” sound tough and womanly, not girlish. And “Video Games” remains her apex, a bittersweet ballad that could have come along in any decade.
Instead of lapping up the attention around “Video Games,” Del Rey was miserable. She was being strung up by critics and even targeted by computer hackers. “I never felt any of the enjoyment,” Del Rey told The Guardianin 2014. “It was bad, all of it.” Striking back at the haters, Del Rey, in her words, “doubled down” with Ultraviolence, a dark album about money, greed and abuse. She even (controversially) channeled a Carole King and Gerry Goffin song about domestic violence in “Cruel World”: “Jim told me that he hit me and it felt like a kiss.” Striking back at the online negativity, Del Rey digs in her heels on Ultraviolence, even sarcastically declaring that she “f***ed her way up to the top.”
Pivoting from both the hip-hop-accented Born to Die and the guitar-driven Ultraviolence, Honeymoon marks Del Rey’s relief from her sudden-fame hangover. “I was happy and not really feeling like the album needed to be too cathartic,” she told NME in 2015. “It felt like a good time to have fun with some elements of psychedelia and surrealism.” She also includes other authorial voices, reciting T.S. Eliot on “Burnt Norton (Interlude)” and covering “Don’t Let Me Be Misunderstood,” a song written for Nina Simone. While not a major departure from Born to Die or Ultraviolence, it shows her growing ability to curate 20th-century sounds and words for her own purposes.
Lust for Life’s first surprise is on the record sleeve: Del Rey isn’t brooding but beaming. “I love my records. I love them,” she told Pitchfork in 2017, clearly tired of beating herself up. “I have an internal framework that is the only thing I measure [them] by.” She’s got high-profile fans this time around, too: her fifth album is buoyed by guest appearances from Stevie Nicks, The Weeknd, Sean Ono Lennon and more. Featuring California love songs like “13 Beaches” and “Coachella – Woodstock in My Mind,” Lust for Life was another high point for Del Rey, even being nominated for Best Pop Vocal Album at the 2017 Grammy Awards.
“There’s not really any big bangers on it,” Del Rey told Bazaar in 2019 about her long-awaited album Norman Fucking Rockwell!. “It’s just day-in-the-life mood music.” Turns out she’s burying the lede: while she’s still California dreamin’ (“her cover of Sublime‘s “Doin’ Time””) and hopelessly infatuated (“Fuck It I Love You”), Rockwell carries greater conceptual weight, exploring the state of the world in 2019. Del Rey builds her vision of human nature brick by brick, excoriating a faux-artiste “man child” on the title track, quoting Robert Frost’s “nothing gold can stay” line on “Venice Bitch” and comparing herself to Sylvia Plath on “hope is a dangerous thing for a woman to have – but i have it.” Public opinion be damned, Del Rey delivered the next best American record.
Moo Is For Mozart: Notes From The Andermatt Music Festival, Part 1by Jens F. Laurson on November 10, 2019 in Concerts, ReviewsAndermatt is not the prettiest Swiss village. Certainly not the most famous or even otherwise particularly notable in a country positively littered with gorgeous little alpine towns straight out of a kitschy re-make of Heidi. It had been an important trade post along the
Marin Alsop dirigierte das Wien-modern-Eröffnungskonzert
Das Eröffnungskonzert von Wien Modern unter Marin Alsops bot erst die Pflicht, dann die Kür. Zu letzterer gehörte Berio’s Sinfonia (1968). Jón Leifs, Kultkomponist der hyperromantischen Moderne, versucht mit Hekla (1961) den Ausbruch des Isländischen Vulkans nachzustellen. Die Saaldienerinnen verteilten prophylaktisch Ohropax. Ein
The big Sunday night dramas just keep on coming and His Dark Materials is perhaps the BBC’s biggest yet.
Based on Philip Pullman’s original trilogy of books (Northern Lights, The Golden Compass and The Amber Spyglass), the BBC has spared no expense in bringing the author’s incredible vision to the screen.
The first episode, which aired a couple of weeks ago, saw a mysterious man (Lord Asriel) wading through a flooded Oxford clutching a small baby. Swimming behind him was a snow leopard…
This is no ordinary world, as all humans have an animal counterpart (or Daemon) bearing the human’s soul.
As the story progresses, we see the baby grown into a young girl (Lyra), who longs to be an explorer in the north like Asriel.
Her wish comes true, though at a price, as she finds herself engulfed in a dangerous adventure that will unlock secrets about her very existence and the true nature of the world (worlds?) around her.
The expansive original music for the series has been composed by Lorne Balfe, a Grammy-winning, BAFTA and Emmy-nominated composer who cut his teeth working with Hans Zimmer in Los Angeles.
Born in Scotland, which he still calls home and where he set up his own state of the art music studio (in Inverness), Balfe won a scholarship to Edinburgh’s Fettes College aged just 15. He originally had aspirations to be a percussionist and then set his heart of becoming a film composer.
Chancing his arm, he wrote to the Media Ventures studio in LA (now known as Remote Control) and offered his services for free. He soon found himself knee-deep in Hollywood music-making and very quickly became Hans Zimmer’s assistant.
Learning his craft at the coalface with Zimmer and other composers based at the studio, Balfe contributed music and arrangements to some big movie titles, including The Dark Knight (for which he shared a Grammy).
2010 saw a big break, co-composing the score (with Zimmer) for the DreamWorks animated feature, Megamind.
From there he never looked back and has since written music for the likes of Home (2015), Terminator Genisys (2015), The Lego Batman Movie (2017) and Mission: Impossible – Fallout (2018) for the big screen.
On the small screen his tunes have graced the likes of ITV’s Marcella and Netflix’s smash-hit The Crown (co-composed with Rupert Gregson-Williams) and Genius.
He has written for games, too, with his music appearing in big hitters like the Assassin’s Creed, Crysis and Call of Duty franchises.
He has been well prepared then for His Dark Materials, which finds him creating intriguing soundworlds for the multi-layered story unfolding before our eyes.
Special synthetic effects merge with ethereal choir and large orchestral forces. The latter comes courtesy of the BBC National Orchestra of Wales, which recorded the score at its base in Cardiff – incidentally, where much of the series was filmed.
His Dark Materials continues on BBC One on Sunday evenings at 20:00 (GMT) and on BBC iPlayer. A selection of Lorne Balfe’s music for the series is now available to stream and download.
