Classical Music News of the Week, June 25, 2022

ICE & The New School’s College of Performing Arts Present “Ensemble Evolution”

This summer, the International Contemporary Ensemble, in partnership with The New School’s College of Performing Arts, presents “Ensemble Evolution”--a hybrid summer intensive designed to foster a holistic understanding of the artist as a global citizen--from Saturday, June 25 to Saturday, July 2. Now in its sixth year, “Ensemble Evolution” brings together participants and faculty through music making, community building, and creative producing to explore and transform the ways that music is created and experienced. This summer, the weeklong intensive is offered both online and in-person at The New School’s Arnold Hall in New York City, and culminates in a large-scale online digital festival on Saturday, July 2 at 7:00pm ET featuring Ensemble Evolution participants alongside faculty members and special guests.

Now celebrating its 20th anniversary season, the Ensemble brings together a roster of renowned faculty and guest presenters for “Ensemble Evolution,” encompassing a wide range of musical expertise and creative artistry allowing for boundary-pushing collaborations with participants. “Ensemble Evolution” encourages its participants to take an increasing role in shaping their intensive experience alongside faculty and guest artists, from programming, to producing concerts, fostering an environment of community building that has become a hallmark of the program. Follow this link for the full list of this year’s faculty and guest presenters.

This year, “Ensemble Evolution” welcomes close to 50 participants joining the summer intensive from across the US, Australia, Germany, Mexico, Poland, and the UK, with a variety of artistic backgrounds including composer/performers, instrumentalists, improvisers, multimedia artists, and electronics/sound practitioners.

For complete information, visit

--Katlyn Morahan, Morahan Arts and Media

Young People’s Chorus Kicks Off an Exciting Summer
School Choruses Concert:
The air was filled with joyful voices. For the first time in three years, YPC’s School Choruses Program brought together more than 1,400 children from 15 different schools throughout New York City to perform at Lincoln's Center's Damrosch Park.

Under the guidance of Creative Director Elizabeth Núñez and led by YPC conductors in partnership with New York City Public Schools, YPC continues to elevate its nationally recognized music education and choral performance program featuring YPC's exclusive curriculum songbook.

Tribeca Film Festival:
YPC was honored to perform at the Tribeca Film Festival premiere of Halftime, a documentary honoring global superstar Jennifer Lopez as she reflects on her multifaceted career and life in the spotlight.

With JLo herself in the audience, the curtain came up as the credits were rolling to reveal a surprise performance featuring YPC together with Dancetown Miami. Their re-creation of a portion of JLo’s 2020 Super Bowl Halftime show delighted the audience and served as a fitting tribute to the award-winning artist.

Master Class with Anthony Roth Costanzo:
It was a once-in-a-lifetime opportunity for our choristers. The Young People’s Chorus of New York City, Founder/Artistic Director/MacArthur Fellow Francisco J. Núñez, Creative Director Elizabeth Núñez, and YPC Vocal Area Coordinator Sarah Knight presented an intimate Master Class featuring celebrated countertenor Anthony Roth Costanzo.

Learn more at

--Young People’s Chorus of New York City

Singer-songwriter Rachel Baiman at Festival Mozaic
July 9 at 8:00 PM
Americana songwriter and multi-instrumentalist Rachel Baiman has emerged as a fearless voice of the American female experience, heavily steeped in folk traditions, yet happily influenced by modern sounds.

Also appearing on the Late Night Series:
Emily Wells
Thursday, July 21 at 9 PM
Forging a bridge between pop and chamber music, composer, producer, and video artist Emily Wells builds songs from deliberate strata of vocals, synths, drums, piano, string, and wind instruments.

Kaitlyn Aurelia Smith
Thursday, July 28 at 9 PM
Kaitlyn Aurelia Smith composes bright, fluid soundscapes on a variety of synthesizers. Excited by the endless possibilities of electronic instruments, her music is filled with vivid, expressive melodies along with her warped, ethereal vocals.

For complete information, visit

--Festival Mozaic

The Sphinx Organization Announces 2022-23 Season Events
The Sphinx Organization’s 25th anniversary celebrations will continue throughout the 2022-23 concert season with tours and appearances by three of its professional performing ensembles comprised of Black and Latinx artists: Sphinx Virtuosi, the Sphinx Symphony Orchestra, and EXIGENCE, Sphinx’s vocal ensemble. All Sphinx concert programs will feature works by historically excluded Black and Latinx composers alongside contemporary composers including new works and arrangements by Valerie Coleman, Michael R. Dudley, Xavier Foley, Carolina Heredia, Ricardo Herz, Jessie Montgomery, Rubén Rengel, and Carlos Simon.

Sphinx Competition first place laureates from 2012-2022 will appear as soloists and in recital with professional performing arts organizations throughout the country as part of their competition prize packages. Additionally, keystone Sphinx events SphinxConnect and the 26th Annual Sphinx Competition are expected to be held in-person in Detroit in January 2023 following two years of virtual events, enabling the broader Sphinx community to celebrate the anniversary together.

Read all about the Sphinx Organization and their events at

--Jennifer Scott, Shuman Associates

TENET Vocal Artists Announces 2022-2023 Season
The innovative and acclaimed early music ensemble TENET Vocal Artists today announces their 2022-2023 season featuring a deep dive into beloved masterworks and rarely-heard gems from across Europe and the Americas.

Opening the season on Sunday, September 18, 2022 at 4:00pm is a performance of J.S. Bach’s beloved devotional motets. Held at Holy Trinity Lutheran Church (3 West 65th Street, NYC), the ensemble will perform one voice on a part with strings and winds doubling the voices. The program will be led from the chamber organ by Jeffrey Grossman and features ensemble members sopranos Jolle Greenleaf and Molly Quinn, countertenors Clifton Massey and Timothy Parsons, tenors James Reese and Aaron Sheehan, basses Charles Wesley Evans and Jonathan Woody, violinists Nicholas di Eugenio and Beth Wenstrom, violist Jessica Troy, cellist Ana Kim, oboists David Dickey, Priscilla Herreid, and Margaret Owens, and bassoonist Stephanie Corwin. The performance will be filmed and available to view as a virtual concert from September 22, 2022 to December 22, 2022.

For a complete schedule of TENET’s concerts and events, visit

--Katlyn Morahan, Morahan Arts and Media

Miller Theatre Announces a Full, Premiere-Filled 2022-23 Season
The ever-adventurous Miller Theatre presents a full season of in-person programming for the first time since before the pandemic. Executive Director Melissa Smey, lauded for the integrity of her curating, has produced an invigorating season of “immersive, cutting-edge work that sets the bar high” (The New Yorker) through four classic Miller series: Composer Portraits, Early Music, Bach, and Jazz.

"There are few series as satisfying as the Miller Theatre’s signature dives into one composer," states The New York Times about Composer Portraits. This season’s lineup features five distinct voices from around the world, whose music deserves to be heard more in the city. The ensembles--all blue-chip new-music champions that call Miller home, a place where they can put on ambitious dream concerts--have close ties to the composers they delve into. JACK Quartet premieres a new work by Australian ecologically minded composer Liza Lim, and JACK together with Yarn/Wire will premiere a work by the Norwegian genre-pushing composer Øyvind Torvund; Ensemble Signal showcases two massive works by Italian composer Luca Francesconi; International Contemporary Ensemble plays the music of visceral composer and ondes Martenot player Suzanne Farrin and visionary flutist and composer Nicole Mitchell.

For details on the complete season, visit

--Aleba Gartner, Aleba & Co.

Los Angeles Master Chorale to Host BIG SING in Grand Park
The Los Angeles Master Chorale’s popular sing-along event, Big Sing, returns for Big Sing 2022: With A Little Help From Our Friends on Saturday, July 23 at 6 p.m. at The Music Center’s Grand Park. Free and open to the public, Angelenos are invited to come and sing alongside members of the Master Chorale, led by Grant Gershon, Kiki & David Gindler Artistic Director, and Jenny Wong, Associate Conductor. Guest conductors include Alexander Blake, founder and director of Tonality, and Los Angeles Master Chorale members David Castillo, Charlie Kim, Sharmila G. Lash, Kristen Toedtman.

Repertoire will include popular favorites such as The Beatles’ “With A Little Help From My Friends,” Ben E. King’s “Stand By Me,” Quirino Mendoza y Cortés’ “Cielito Lindo,” John Rosamond Johnson’s “Lift Every Voice and Sing,” Alan Menken’s “A Whole New World,” and more.

“Big Sing is a beautiful opportunity for all of us to connect through the joy of singing together,” said Los Angeles Master Chorale Artistic Director Grant Gershon. “Communal singing strengthens our feelings of togetherness and uplifts our spirits. No experience is necessary: all voices are welcome!”

As a prelude to the musical activities, people are encouraged to come early to enjoy some of the city’s food trucks and lunch on the lawn. Food will be available for purchase and complimentary water will be provided to participants. Also, a commemorative song booklet will be available for free on the day of the event.

For more information, visit

--Lisa Bellamore, Los Angeles Master Chorale

ABS Festival Spotlight
The galant styles of High Baroque and Rococo music join hands in the mature works by Bach and Rameau.

Friday July 29 2022, 7:00 p.m., Herbst Theatre, San Francisco

Handel: Concerto Grosso in G Major
Rameau: Suite from Dardanus
Vivaldi: Concerto for 2 Violins in A Minor
Bach: Missa in A Major

Bethanne Walker, flute; Elizabeth Blumenstock, violin; Tekla Cunningham, violin; Maya Kherani, soprano; Sarah Coit, mezzo-soprano; Matthew Hill, tenor; Mischa Bouvier, bass-baritone; Jeffrey Thomas, conductor.

For details, visit

--American Bach Soloists

SOLI's Spring Recap and Summer Highlights
Summer brings a new performance highlight to the SOLI calendar.

Through more than just concerts, SOLI musicians have been bringing new music alive this Spring with an album release, a composer residency, and a trip or two! Check out our recap for a recent interview, and info on SOLI’s upcoming performance on July 27.

SOLI to perform at famed music festival in July.
With humble origins over sixty years ago, the Wall Street Journal calls the Grand Teton Music Festival “one of the best places to hear classical music in the summer.”

SOLI releases new album with Acis Productions.
SOLI’s Stephanie Key and composer Scott Ordway discuss the group’s latest album, The Clearing and the Forest, released on April 14 by Acis Productions.

SOLI premieres Armando Bayolo’s Holbein Dances.
Puerto-Rican American composer Armando Bayolo was on hand for SOLI’s premiere of Holbein Dances and shared his insights and perspective with local university students.

SOLI contributes to dance improv in Lake Tahoe.
SOLI members Stephanie Key and David Mollenauer joined the advanced students of the Lake Tahoe Dance Collective for an evening of live dance and music.

For complete information, visit

--SOLI Chamber Ensemble

Time for Three: Letters for the Future (CD review)

Puts: Contact; Higdon: Concerto 4-3. Time for Three (Charles Yang, violin; Nick Kendall, violin; Ranaan Meyer, double bass), Xian Zhang, The Philadelphia Orchestra. Deutsche Grammophon B0035748-02.

By Karl W. Nehring

This album came to me as a combination of the known (composer Jennifer Higdon and The Philadelphia Orchestra) and the unknown (composer Kevin Puts, conductor Xian Zhang, and the performers known collectively as Time for Three). Having never heard anything by Jennifer Higdon (b. 1962) that I didn’t like, and having great admiration for the venerable Philadelphia Orchestra, I felt reasonably confident that this release was going to be worth listening to, although I really did have no idea what kinds of sounds might emanate from my speakers the first time I hit the play button on the remote.

Much to my surprise, the first few notes of Contact by American composer Kevin Puts (b. 1972) were not instrumental, but vocal. Puts, who won a Pulitzer Prize in 2017 for his first opera, Silent Night, explains in the liner notes that “Contact, a concerto in four movements, begins with Time for Three singing a wordless refrain. The piece’s four movements – ‘The Call,’ ‘Codes, ‘Contact,’ and ‘Convivium’ – tell a story that I hope transcends abstract musical expression. Could the refrain at the opening of the concerto be a message from Earth, sent into space? Could the Morse-code-like rhythms of the scherzo suggest radio transmissions, wave signals, etc.? The word ‘contact’ has gained new resonance during these years of isolation, and it is my hope that our concerto will be heard as an expression of earning for this fundamental human need.” As I listened to the piece over multiple sessions, I discovered that the concerto gives the musicians of Time for Three plenty of opportunity to display their musicianship, whether it be fancy fiddling as in the energetic first movement or the middle Eastern sounding melodies of the final movement, where Time for Three also add to the mood with some more wordless singing during the final minute. The orchestra provides solid support throughout, especially so in the third movement, Contact, a haunting and mysterious slow movement, the longest of the four, wherein the Philadelphia woodwinds and brass provide washes of color that enhance the splendor of the sound. The seamless transition to the energy of the final movement is simply remarkable, while the ending of the concerto demonstrates that Puts apparently knows how to end a composition just right – neither making it suddenly become overly dramatic nor letting it simply die out. Yep, just right.

Fellow American composer Jennifer Higdon is also a Pulitzer Prize winner, having been awarded that honor in 2010 for her Violin Concerto, the same year she was awarded a Grammy for her Percussion Concerto. She has since gone on to collect two more Grammy awards, in 2018 for her Viola Concerto and in 2020 for her Harp Concerto. (Hmmm, I seem to detect a pattern here. It looks as though a concerto from Ms. Higdon might be a pretty safe bet…) As I mentioned above, I have listened to a number of releases of her music, and always enjoyed them. As our own John Puccio noted of her music in his review of one of her earlier compositions, “ Unlike so many late twentieth-century composers, Ms. Higdon believes in writing real tunes, melodies, rather than simply inventing new soundscapes.”

Of her approach to her new Concerto 4-3, Higdon writes, “I knew the Time for Three Guys before we had the chance to work together; we crossed paths at Curtis, where I taught, and I often heard them jamming in Rittenhouse Square. When I got the call from the Philadelphia Orchestra to write them a concerto, I was thrilled and knew exactly what to compose: a work that would show off the joy that they express in their music. Concerto 4-3 is a three-movement concerto with an optional cadenza between the first and second movements. Each movement title refers to rivers that run through the Smoky Mountains: ‘The Shallows,’ ‘Little River,’ and ‘Roaring Smokies.’ The concerto embraces a traditionally classical approach with elements of bluegrass being incorporated into the fabric of the piece. All occurring within a tonal, 21st Century American style.” Although I hardly expect to hear Tim White introducing Time for Three on “Song of the Mountains” anytime soon to play this concerto, you really can hear little threads of bluegrass that are woven into the piece here and there. What you can really hear, though, is energy and enthusiasm, both in the playing and even in the music itself, which at times truly does seem to evoke the whirling and swirling and bubbling motion of rivers as their waters wend their way determinedly downstream. There are also passages of great tenderness, such as the vocalization near the end of the first movement that leads into the lyrical instrumental passages with which the second movement begins.

Engineer Adam Abeshouse has done an excellent job of balancing the sound so that the solo instruments stand out but never seem larger than life. Throughout both concertos your ears are most likely first to be captured by the sound of the two violins, but as you listen more, you may well begin also to appreciate the contributions of the double bass – at times being plucked, sounding like a jazz bass, at other times being bowed, producing more of a singing quality, and more often than not making a significant contribution to the music even though notes from the double bass do not have the penetrating power that those from the violins possess. From the opening measures of the Puts through the closing measures of the Higdon, Letters for the Future is an engaging release that demonstrates that serious, high-quality, contemporary classical music can be highly entertaining, accessible, and enjoyable.


Daniel Barenboim: Encores (CD review)

Music of Albeniz, Chopin, Debussy, Liszt, Schubert, and Schumann. Daniel Barenboim, piano. DG 486 0932.

By John J. Puccio

By now, Daniel Barenboim’s name is undoubtedly familiar to almost every classical music fan far and wide. He came to my attention in the late 1960’s when I was becoming ever more serious about listening to and collecting classical music. He was among a handful of pianists whom I admired, among them Maurizo Pollini, Van Cliburn, Vladimir Ashkenazy, and Martha Argerich, which was pretty heady company.

Barenboim (b. 1942) is, of course, both a pianist and a conductor; a citizen of Argentina, Israel, Spain, and Palestine; the current Music Director of the Berlin State Opera and the Staatskapelle Berlin; and the former conductor of the Chicago Symphony Orchestra, the Orchestre de Paris, and La Scala. With his numerous recordings as both a pianist and conductor, it’s no wonder his name is so well known.

For the present solo piano album, he offers us a bit of respite from the hectic world in which we all live, some “encores” as he calls them. They are charming, well-known piano miniatures from some of the most well-known composers of the classical world, pieces he has often used as encores in his stage recitals. Here’s a rundown of the program:

Schubert: Impromptu in G flat
Schubert: Moment musical in F minor
Schumann: Traumerei
Schumann: Fantasiestucke, Op. 12
Schumann: Aufschwung. Warum? Traumes Wirren
Liszt: Consolation No. 3 in D flat
Chopin: Nocturne in F sharp major
Chopin: 3 Etudes, Op. 25, Nos. 1, 2 and 7
Chopin: 3 Etudes, Op. 10, Nos. 4, 6 and 8
Debussy: Clair de lune
Albeniz: Tango from Espana

As Barenboim remarks, these miniatures may be brief, but they are long on significance. They are packed with emotion, feeling, and atmosphere. The first two of the selections are from Franz Schubert, who practically invented the use of “songs without words.” It’s good to see that Barenboim hasn’t lost his touch when it comes to projecting a comfortably relaxed interpretation. This is especially true, too, of Robert Schumann’s lovely Traumerei (“Dreaming,” the seventh of Schumann’s thirteen Scenes from Childhood). Barenboim maintains the music’s serenity without giving in to sentimentality.

And so it goes with all of the selections. Each displays Barenboim’s subtlety and grace, his assured manner, and sensitive technique. Liszt’s Consolation No. 3 evokes a stillness and comfort; Chopin’s Nocturne No. 3 a dreamy ease; the Etudes a sweet, gentle purity contrasted with a lively spirit. Debussy’s Clair de lune comes in the penultimate spot, fitting for a major little masterpiece.  Needless to say,  Barenboim plays it with all due respect, a glowing, towering little gem. Then the pianist ends the show with one of my favorite tangos, No. 2 from Espana. It provides a fitting conclusion to an album of refinement, eloquence, and intellect.

Producer Friedemann Engelbrecht and engineer Julian Schwenkner recorded the music at Pierre Boulez Saal, Berlin in April 2020 and Teldex Studio Berlin in 2017. DG always do a good job recording piano music, and this is no exception. The piano tone is warmer and mellower than usual, but it’s still realistic, reminiscent of a piano playing in a large room, with plenty of rich resonance. Transparency is fine, and the instrument appears to be rather closely miked, so that adds to the detailing.


Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura’s hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
The reader will find Classical Candor's Mission Statement, Staff Profiles, and contact information ( toward the bottom of each page.

William (Bill) Heck, Contributing Writer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet DAC/preamp/crossover, Tandberg 2016A and Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa