Classical Music News of the Week, February 10, 2013

Music Institute Showcases In-House Talent March 23 in “Opus 10 Faculty Extravaganza” Concert

The Music Institute of Chicago, celebrating 10 years of performances at Nichols Concert Hall, presents the impassioned virtuosity and artistry of members of its strings, piano, and voice faculty in “Opus 10 Faculty Extravaganza” Saturday, March 23 at 7:30 p.m. at Nichols Concert Hall, 1490 Chicago Avenue, Evanston, Illinois.

In keeping with the 10th anniversary theme, Music Institute piano faculty, including Inah Chiu, Alexander Djordjevic, Elaine Felder, Matthew Hagle, Brenda Huang, Grace Juang, Katherine Lee, Sung Hoon Mo, and Ligia Takei perform the 12 Etudes of Frederic Chopin, Op. 10, which contains such well-known and beloved pieces as the Black Keys Etude (Op. 10, No. 5) and the Revolutionary Etude (Op. 10, No. 12). Additional Music Institute faculty members, including Claire Aebersold and Ralph Neiweem, Susan Charles, Daniel Golden, Sang Mee Lee, Barbara Ann Martin, and Michael O’Mara, perform ten individual dance pieces by Johannes Brahms, including arrangements for klezmer ensemble, vocal duet, violin and piano, and piano for four hands.

Music Institute of Chicago faculty:
The Music Institute’s outstanding and caring faculty makes it unique among music schools. Comprising warm, engaging, experienced, and dedicated educators and performers, the nearly 200 faculty members hold degrees from some of the world’s finest schools of music. Each has a passion for community music education and a track record as an outstanding studio, classroom, or ensemble teacher. Many Music Institute faculty members perform regionally, nationally, and internationally and are featured as guest master class clinicians, panelists, and adjudicators.

Music Institute of Chicago:
The Music Institute of Chicago believes that music has the power to sustain and nourish the human spirit; therefore, our mission is to provide the foundation for lifelong engagement with music. Founded in 1931, the Music Institute has grown to become one of the three largest and most respected community music schools in the nation. Offering musical excellence built on the strength of its distinguished faculty, commitment to quality, and breadth of programs and services, the Music Institute is a member of the National Guild of Community Schools of the Arts and accredited by the National Association of Schools of Music. Each year, the Music Institute’s teachers and arts therapists reach more than 10,000 students and clients of all ages and experience levels at campuses in Evanston, Winnetka, Highland Park, Lincolnshire, Lake Forest and Downers Grove, as well as through its longstanding partnership with the Chicago Public Schools. The Music Institute offers lessons, classes, and programs in four distinct areas: the Community School, Academy, Institute for Therapy through the Arts, and Nichols Concert Hall.

The “Opus 10 Faculty Extravaganza” takes place Saturday, March 23 at 7:30 p.m. at Nichols Concert Hall, 1490 Chicago Avenue, Evanston, Il. Tickets are $30 for adults, $20 for seniors, and $10 for students, available online or 847.905.1500 ext. 108. All programming is subject to change.

--Jill Chukerman, JAC Communications

Former Oregon Symphony Conductor James DePreist Dies
Beloved former Oregon Symphony director James DePreist died Friday morning, according to the Juillard School. At the time of his death, DePreist was Director Emeritus of Conducting and Orchestral Studies at The Juilliard School and Laureate Music Director of the Oregon Symphony.

According to his Juillard biography "he appeared with every major North American orchestra, and internationally,  he has conducted in Amsterdam, Berlin, Budapest, Copenhagen, Helsinki, Manchester, Melbourne, Montreal, Munich, Prague, Rome, Rotterdam, Seoul, Stockholm, Stuttgart, Sydney, Tel Aviv, Tokyo, Toronto and Vienna." His varied recorded repertoire includes a celebrated Shostakovich series with the Helsinki Philharmonic and fifteen recordings with the Oregon Symphony, which have helped establish that orchestra as one of America's finest," the biography reads.

Born in 1936 in Philadelphia, he studied at the Philadelphia Conservatory of Music and earned a Master's degree from the University of Pennsylvania. Portland audiences could not help but notice his frail walk, caused by gettig polio while on a tour in Thailand in 1962. He was the nephew of contralto Marian Anderson, according to his biography. In 2005 the President of the United States presented DePreist with the National Medal of Arts, the nation's highest honor for artistic excellence.

While a superstar in the classical world, his most famous composition may be the theme from "The Cosby Show," a collaboration with good friend Bill Cosby. He was appointed to the Oregon Symphony conductor job in 1980. Shortly, the symphony was raised to "major" orchestra status, according to the symphony biography. DePreist also oversaw the move of the symphony from Civic Auditorium to the new Arlene Schnitzer Concet Hall, allowing musicians to practice for the first time in the venue in which they played. Sterling recordings followed along with a surge in classical interest fans in Portland.

--Michael Rollins, KGWNews

Rising Star Soprano Susanna Phillips Makes Her Cal Performances Debut Sunday, February 24 at 3 p.m. in Hertz Hall, Berkeley, CA
The vocally “beguiling” (The New York Times) soprano Susanna Phillips comes to Hertz Hall on Sunday, February 24 at 3:00 p.m. for  her Cal Performances recital debut with pianist Myra Huang. Recipient of the 2010 Metropolitan Opera Beverly Sills Artist Award, Phillips demonstrates her “rare stylistic fluency, canny pathos and dynamic finesse” (Financial Times, London) with a program of vocal works by Franz Schubert, Ernest Chausson, Alban Berg, Olivier Messiaen, Enrique Granados and Gordon Myers. This selection, which includes little known works such as Myer’s selections from Do You Sing Mr. Twain? and Messiaen’s Poèmes pour Mi, Book II, as well as favorites like Schubert’s Ave Maria! Jungfrau mild!, shows that this versatile artist is not afraid to delve into the heart of English, French and German singing traditions. This recital occurs just weeks after Phillips’s Carnegie Hall debut with the same program.

Born in Birmingham, Alabama, Susanna Phillips first rose to prominence in 2005 after winning four international vocal competitions—Operalia, the Metropolitan Opera National Council Auditions, the MacAllister Awards and the George London Foundation Awards Competition. She then went on to garner top honors at the Marilyn Horne Foundation Competition, the American Opera Society Competition and the Musicians Club of Women in Chicago.

In 2011, Phillips released her first solo album, Paysages, under the Bridge Records label. The all French album consists of works by Debussy, Fauré and Messiaen, and features Myra Huang as accompanist. Phillips’ performance on the album was hailed as “sumptuous and elegant” (San Francisco Chronicle).

The 2012-2013 season marks Phillips’ fifth year at the Metropolitan Opera, where she is to play the role of Donna Anna in Don Giovanni, and later the role of Stella in Andre Previn’s operatic adaptation of A Streetcar Named Desire singing opposite opera superstar Renée Fleming. During this season, Phillips is set to return to the Santa Fe Opera as the Countess in La nozze di Figaro and will perform concerts with the Oratorio Society of New York, St. Louis Symphony, and Alabama Symphony. She has also performed in concert with the Chicago and Baltimore symphony orchestras, Royal Stockholm Philharmonic, Santa Fe and Santa Barbara symphonies.

Pianist Myra Huang, considered “among the top accompanists of her generation” (Opera News), has performed frequently with Phillips and with tenor Nicholas Phan. She received her Bachelor’s degree from the Juilliard School under the tutelage of Martin Canin, her Master’s degree from the Manhattan School of Music under Warren Jones and has also studied at the Houston Grand Opera Studio. She performs often with the Marilyn Horne Foundation at Carnegie Hall as well as at the Palau de les Arts in Valencia, Spain. Each year, Huang works with Plácido Domingo for his Operalia competition and she has also worked at the Palau de les Arts with artistic directors Lorin Maazel and Zubin Mehta.

Ticket information:
Tickets for Susanna Phillips on February 24 at 3:00 p.m. in Hertz Hall are $46.00, and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at; and at the door.  Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets.  For more information about discounts, go to or call (510) 642-9988.

Funded by the Koret Foundation, this performance is part of Cal Performances' 2012/13 Koret Recital Series, which brings world-class artists to our community.

Sunday, February 24 at 3:00 p.m.
Hertz Hall, UC Berkeley Campus
Bancroft Way at College Ave., Berkeley

Koret Recital Series
Susanna Phillips, soprano
Myra Huang, piano

Schubert: Ellens Gesang
Chausson: Le colibri, Op. 54, No. 2; Les papillons, Op. 2, No. 3; Oraison, Op. 21, No.5; Le temps des lilas                                                                     
Berg: Seven Early Songs
Messiaen: Poèmes pour Mi, Book II
Granados: El Majo Discreto; El Mirar de la Maja; Gracia Mia; Elegia Eterna
Myers: Selections from Do You Sing, Mr. Twain?

Tickets: $46.00, subject to change, available through the Cal Performances Ticket Office at Zellerbach Hall; at (510) 642-9988 to charge by phone; at; and at the door.

--Joe Yang, Cal Performances

Music Institute Celebrates Evanstan 150 with Day of Family Music, March 16
Music Institute welcomes families for Peter and the Wolf, performances, Instrument Petting Zoo.

The Music Institute of Chicago joins the local celebration of Evanston’s 150th anniversary and the national celebration of “Music in Our Schools Month” with a day of music for all ages Saturday, March 16 at Nichols Concert Hall, 1490 Chicago Avenue, Evanston, Illinois.

The day begins at 9 a.m. with an open house in the Nichols Concert Hall lobby. Kids can enjoy playing a variety of instruments at the Music Institute Instrument Petting Zoo, parents can talk with faculty and staff, and everyone can take advantage of special discounts on lessons and classes.

At 10 a.m., Sergei Prokofiev’s musical tale Peter and the Wolf entertains and educates families by representing each character with an instrument or instrumental family. James Setapen conducts a Music Institute faculty orchestra featuring members of ensemble-in-residence Quintet Attacca.

Between 2 and 6 p.m., in tribute to Evanston’s 150th anniversary, the Music Institute offers a series of free public performances involving generations of Evanston music makers who participate in Music Institute programs, its Arts Link school partnerships and additional local programs:

    2–3:30 p.m.: Joining the Music Institute in celebrating Music in Our Schools Month is Evanston’s Nichols Middle School Advanced Jazz Band and Director Cary Jacobs, receiving the Music Institute’s third annual Excellence in Middle School Music Award for exemplary music ensembles and programs in the Chicago area, which helps ensure music will continue to flourish in our schools. This award recognizes the hard work and dedication of Jacobs and his students with a monetary award for the band program and student scholarships for private study or jazz camp at the Music Institute. At this concert, the Evanston students perform with the Music Institute’s New Horizons Band and jam with jazz faculty member Victor Garcia and Jazz Studies Director Audrey Morrison.

    4–4:45 p.m.: Students from Arts Link partners Lincoln and Walker Elementary Schools who participate in the Music Institute’s Brass for Beginners program perform, followed by Music Institute advanced trumpet ensembles.

    5–6 p.m.: Evanston Escola de Samba, which offers classes at the Music Institute, leads an interactive presentation of music and dance.

Quintet Attacca:
Founded in 1999, Quintet Attacca is one of Chicago’s most dynamic chamber music ensembles, dedicated to bringing the unique sound of the wind quintet to all types of audiences. Grand Prize Winner of the 2002 Fischoff National Chamber Music Competition, the quintet has spent the past four years in residence as the Outreach Ensemble for the Chicago Chamber Musicians, in addition to being in residence at the Music Institute. Quintet Attacca is one of only two wind quintets in the 35-year history of the Fischoff Competition to receive the Grand Prize. In that same year, the quintet was invited to be a finalist for Chamber Music Society Two at Lincoln Center. Quintet Attacca delights in bringing music education to all ages and abilities and prides itself on its imaginative and engaging outreach programs.

Arts Link:
Arts Link is the Music Institute of Chicago’s distinctive outreach program, serving more than 6,500 students in Chicago and suburban schools annually. Arts Link programs, created and taught by experienced educators who have advanced degrees in the arts as well as significant classroom teaching experience, focus on skill development in each of the arts modalities—music, drama, dance/movement, and visual art—while providing opportunities for collaborative learning and social development. The programs cultivate connections between the arts and other subjects, such as science, language arts, and social sciences, through activities that integrate the arts with traditional subject areas. Music Institute ensembles-in-residence collaborate with the Arts Link program to provide exceptional concerts and classroom experiences to students in the public schools.

The Music Institute of Chicago’s day of music for families takes place Saturday, March 16 at Nichols Concert Hall, 1490 Chicago Avenue, Evanston, Illinois. Tickets are $10 per family (up to six family members) for Peter and the Wolf, available online or 847.905.1500 ext. 108. All other events are free. For more information visit

--Jill Chukerman, JAC Communications

Cal Performances and San Francisco Opera Present the World Premiere of ‘The Secret Garden’ by Nolan Gasser and Carey Harrison on March 1-10 in Zellerbach Hall, Berkeley, CA
A full array of Education and Community events will be given including interactive family workshops to introduce children to opera and Artist and Sightlines talks.

Cal Performances and San Francisco Opera present the world premiere of composer Nolan Gasser and librettist Carey Harrison’s The Secret Garden, a new opera based on the beloved children’s novel by Frances Hodgson Burnett. Opening Friday, March 1 at Zellerbach Hall with four subsequent performances through March 10, this new opera will be conducted by Sara Jobin, directed by Jose Maria Condemi and will feature scenic visual designs by Naomie Kremer. Soprano Sarah Shafer stars as Mary Lennox, alongside tenor Scott Joiner as Dickon Sowerby, 14-year-old tenor Michael Kepler Meo as Colin Craven, bass-baritone Philippe Sly as Archibald Craven and mezzo-soprano Laura Krumm as Martha Sowerby. Maestra Jobin will lead a chamber ensemble comprised of members of the San Francisco Opera Orchestra. “The Secret Garden has been an ideal operatic vehicle – a timeless tale of triumph over tragedy, and a paean to the value of friendship and the healing power of nature,” commented composer Nolan Gasser. “It is especially inspiring to create an opera geared for the entire family, and to play a role in our vital need to grow the operatic audience.”

Commissioned by San Francisco Opera, this new opera, is created for the entire family. It tells the tale of Mary Lennox, a pampered but lonely young girl. Following the sudden death of her parents, she is sent to live with her uncle, where she finds herself in a bleak and unfamiliar land. Unexpected friendships blossom between Mary and her maid’s brother and her sickly cousin Colin Craven when they discover the hidden wonder of an abandoned secret garden. Together they make the garden—and each other—thrive, leading both young and old on a path of healing and understanding. Complete casting information can be found at

Education and Community Events
A pre-performance Artist Talk will take place before the first performance on March 1 in Zellerbach Hall at 6:00 p.m. Composer Nolan Gasser and director José Maria Condemi will discuss the process of creating a new opera. This event is free and open to the public.

Cal Performances and the San Francisco Opera also join forces to present interactive workshops based on the themes, story, characters and music of The Secret Garden. These events will introduce youngsters and their families to opera through dynamic and engaging activities and will be held on March 2 and 9 prior to performances. Exploration Workshop: Inside the Secret Garden! will be led by San Francisco Opera’s Stage Manager Rachel Henneberry. The workshops take place at 3:30–4:30 p.m. and 5:00–6:00 p.m. on Saturday March 2 and Saturday March 9 at the Toll Room, Alumni House on campus at UC Berkeley. Snacks will be served after each workshop. These events are recommended for children ages 6 and older. Children should be accompanied by a parent or guardian. For more information, please visit

A Sightlines talk with the creators will be given on Sunday, March 10 at 1:00 p.m. with the artists in a location to be announced. This event is free to event ticket holders and designed to enrich the experience of concertgoers.

--Joe Yang, Cal Performances

Hear clips of the first recording of Lalla Roukh by Félicien David
Ryan Brown, conductor, Opera Lafayette

Opera Lafayette continues its exploration and rediscovery of the repertoire of the Paris Opéra Comique, venturing into the 19th century to present the modern premiere of Félicien David’s important musical landmark of the orientalist movement, based on the poem by the Irish poet Thomas Moore. David’s lush and inventive score, which frames a story set on the road from Delhi to Samarkand, was considered his masterpiece. It held the Paris stage for twenty years after its debut in 1862, where it shared the stage with an opera by Monsigny. Opera Lafayette’s production features a collaboration with Kalanidhi Dance, which will bring a ravishing visual element to the ballets that accompany this opera’s captivating melodies and elaborate ensembles.

For sound clips and more information on Opera Lafayette’s production, click here:

--Schwalbe and Partners, Inc.

Music Institute of Chicago Presents the Evanston Escola de Samba Carnaval Celebration
Day/Date/Time: Saturday, February 16, 10 a.m.
Location: Nichols Concert Hall, 1490 Chicago Ave., Evanston, Illinois
Admission: $10 adults, $5 children, maximum $30 per family at the door
Information: or 847.905.1500 ext. 108

In conjunction with Mardi Gras, the Music Institute of Chicago presents the Evanston Escola de Samba’s Carnaval Celebration for families, featuring art projects, music, mini-lessons, and more.

Founded in 2003, the Evanston Escola de Samba’s (EEDS) mission is to bring the spirit of samba to the Chicagoland area through education and performance of Brazilian music and dance. The idea for EEDS was inspired by the samba schools of Rio de Janeiro, which gather large groups of percussionists, dancers, and singers from all backgrounds to parade during the Brazilian Carnaval each year. Advanced students serve as assistants and section leaders at classes, residencies, and workshops, creating a unique mentoring system that promotes the development of leadership and communication skills, a sense of personal responsibility, and self-esteem. Students need not have prior musical training, and EEDS provides high-quality instruments.

EEDS offers classes at the Music Institute, free to under-served and at-risk youth and at family-friendly rates to the general population, which offer students opportunities to participate in public performances. Options include:

Samba Dance for Kids (12 and younger)
Level 1 Samba Dance for adults/young adults (no experience necessary)
Level 2 Samba Dance (must have Brazilian or Latin dance experience)
Level 1 Brazilian percussion (eight and older)
Level 2 Brazilian Percussion (must have Brazilian or Afro-Latin drumming experience)

For more information visit

--Jill Chukerman, Music Institute of Chicago

1 comment:

  1. NICE BLOG!! I would really like to come back again right here for likewise good articles or blog posts. Thanks for sharing a nice information. KEEP BLOGGING...
    Colleges in India


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.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical 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 simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I 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 an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, 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.
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.

William (Bill) Heck, Contributing Reviewer

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 First Symphony. 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 that 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. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

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

Readers with polite, courteous, helpful letters may send them to

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa