Friday, September 30, 2016

The Ordinary of the Mass

No. 231 of the ongoing ITYWLTMT series series series of audio montages can be found in our archives at


The Mass (Latin: Missa), is a choral composition that sets portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music. Most Masses are settings of the liturgy in Latin, but some are written in spoken languages - in English for the Church of England for instance.

Masses can be a cappella, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many Masses, especially later ones, were never intended to be performed during the celebration of an actual mass – take, for example, Leonard Bernstein’s Mass which interweaves Latin (and common English) Mass text with “performance” sections.

We won’t spend time in discussing the liturgical text and its part in the Mass ritual. Suffice it to say that a distinction is made between texts that recur for every mass celebration (ordinarium, ordinary), and texts that are sung depending on the occasion (proprium, proper) – a good example being for the Requiem Mass.

A Missa tota ("full Mass") consists of a musical setting of the five sections of the ordinarium: Kyrie, Gloria, Credo, Sanctus/Benedictus and Agnus Dei.

The earliest musical settings of the Mass are Gregorian chant. The different portions of the Ordinary came into the liturgy at different times, with the Kyrie probably being first (perhaps as early as the 7th century) and the Credo being last (it did not become part of the Roman mass until 1014). In the early 14th century, composers began writing polyphonic versions of the sections of the Ordinary and the musical setting of the Ordinary of the Mass became the principal large-scale composition of the Renaissance. Claudio Monteverdi composed Masses in stile antico (“the old style”), the Missa in illo tempore was published in 1610 and it opens our trio of “mass examples”.

The 18th-century Viennese mass combines operatic elements from the cantata mass with a trend in the symphony and concerto to organize choral movements. Many of Mozart's masses are in missa brevis (brief mass, or short mass) form, as are some of Haydn's early ones.
As an example of the classical era, I retained one of Mozart’s most popular masses, which likely acquired the nickname "Coronation" at the Imperial court in Vienna in the early nineteenth century, after becoming the preferred music for royal and imperial coronations as well as services of Thanksgiving.

Pope St. Pius X (1835-1914) initiated many regulations reforming the liturgical music of the Mass in the early 20th century. He felt that some of the Masses composed by the famous post-Renaissance composers were too long and often more appropriate for a theatrical rather than a church setting. He advocated primarily Gregorian plainchant and polyphony. Stravinsky’s Mass exhibits the austere, Neoclassic, anti-Romantic aesthetic that characterizes his work from about 1923 to 1951 and also happens to be a fine example of a work that achieves Pius’ aims.

I think you will love this music too.

Wednesday, September 28, 2016

OTF - Schubert's Winterreise

This is my post from this week's Once or Twice a Fortnight.

Today’s topic is a “glorious pairing”. One of my first posts of my many blogging projects was an overview of Glenn Gould and Bach’s Goldberg Variations – a “glorious pairing” in its own right, that is to say an unavoidable association between a great artist and a great work he or she has made their own. As Gramophone’s James Jolly wrote in 2015, “[few] singers had such an intense relationship with a piece of music as the German baritone Dietrich Fischer-Dieskau had with Schubert’s Winterreise”.

Winterreise (Winter Journey) is a song cycle setting 24 poems by Wilhelm Müller to music. It is the second of Schubert's two great song cycles on Müller's poems (with Die schöne Müllerin, D. 795). Both were originally written for tenor voice but are frequently transposed to suit other vocal ranges – the precedent being established by Schubert himself, as he performed these cycles with his friend, the baritone singer Johann Michael Vogl during the mid-1820s. Vogl, a literary and philosophical man accomplished in the classics, came to regard Schubert's songs as 'truly divine inspirations, the utterance of a musical clairvoyance.' 

Fast-forward 150 years…

Music and poetry have a common domain, from which they draw inspiration and in which they operate: the landscape of the soul. Together, they have the power to lend intellectual form to what is sensed and felt, to transmute both into a language that no other art can express. The magic power that dwells in music and poetry has the ability ceaselessly to transform us.
(Dietrich Fischer-Dieskau)
According to the vintage recording site discogs, including re-editions, there are as many as 42 recordings available of DFD singing these 24 songs. Commercially, he recorded the work seven times (I read other places eight and even ten, but who’s counting…): in 1955, 1963 and 1972 with Gerald Moore, in 1966 with Jörg Demus later he partnered with, Daniel Barenboim, Alfred Brendel and in a final version in 1990 with Murray Perahia just after the baritone turned 65. There are, of course, numerous live recordings, performances not originally planned for release on disc: these include one from 1948 with Klaus Billing, a 1952 performance with Hermann Reutter and one the following year with Hertha Klust. 

Clearly there are many recordings of DFD singing Winterreise to choose from and in order to keep to the “spirit” of Public Domain sharing, I have uploaded a “Live” performance of DFD and Gerald Moore from a French Radio recording at the Pablo Casals Festival in Prades made on July 3rd 1955. 

In a quirky twist of fate, the performance venue suffered a momentary power failure during ‘Der Lindenbaum’, and the set ‘borrowed’ the track from the 1953 Berlin Radio recording made (in a noticeably different acoustic) with pianist Hertha Klust which I referred to earlier. As you might expect, this Winterreise has much in common with the 1955 EMI studio recording. 

According to reviewer Richard Wigmore, “[…]Fischer-Dieskau gives a performance unsurpassed in its abandon, its taunting bitterness and its massive, youthful anguish. No singer before him had ever probed the text as searchingly, or used such a vast palette of colours. True, there are moments of what some will hear as melodramatic over-emphasis. But more than in that 1955 studio recording, the startling extremes of expression – say, the hysterical anguish at the climax of ‘Der greise Kopf’ – here seem completely spontaneous. Gerald Moore is as always a perceptive partner, though the rather unfocused piano recording does his beautiful cantabile touch no favours. pNonetheless, this ] performance demands to be heard, and not just by F-D completists.”


Franz SCHUBERT (1797-1828)
Winterreise (Winter’s Journey), D. 911 [op. 89]
Cycle of 24 lieder based on poems by Wilhelm Müller 

No. 1 Gute Nacht: Fremd bin ich eingezogen

No. 2 Wetterfahne: Der Wind spielt mit der Wetter fahne
No. 3 Gefrorne Tränen: Gefrorne Tropfen fallen von meinen Wangen ab
No. 4 Estarrung: Ich such im Schnee vergebens nach ihrer Tritte Spur
No. 5 Der Lindenbaum: Am Brunnen vor dem Tore
No. 6 Wasserflut: Manche Trän' aus meinen Augen
No. 7 Auf dem Flusse: Der du solustig rauschtest
No. 8 Rückblick: Es brennt mir unter beiden Sohlen
No. 9 Irrlicht: In die tiefsten Felsen gründe lockte mich ein Irrlicht hin
No. 10 Rast: Nun merk ich erst, wie müd ich bin
No. 11 Frühlingstraum: Ich träumete von bunten Blumen

No. 12 Einsamkeit: Wie eine trübe Wolke durch heitre Lüfte geht
No. 13 Die Post: Von der Strasse her ein Posthorn klingt
No. 14 Der greise Kopf: Der Reif hat einen weissen Schein mir
No. 15 Die Krähe: Eine Krähe war mit mir
No. 16 Letzte Hoffnung: Hie und da ist an den Bäumen manches bunte Blatt zu sehn
No. 17 Im Dorfe: Es bellen die Hunde
No. 18 Der stürmische Morgen: Wie hat der Sturm zerrissen des Himmels graues Kleid
No. 19 Täuschung: Ein Lieht tanzt freundlich vor mir her
No. 20 Der Wegweiser: Was vermeid ich denn die Wege
No. 21 Das Wirtshaus: Auf einen Totenacker hat mich mein Weg gebracht
No. 22 Mut: Fliegt der Schnee mir ins Gesicht
No. 23 Die Nebensonnen: Drei Sonnen sah ich am Himmel stehn
No. 24 Der Leiermann: Drüben hinterm Dorfe steht ein Leiermann

Dietrich Fischer-Dieskau, baritone
Gerald Moore (1-23) and Hertha Klust (24), piano
Radio broadcast recordings, 1955 (1-23) and 1953 (24)
INA Mémoire Vive IMV058

Tuesday, September 20, 2016

The Kairos Quartet

This is my post from this week's Tuesday Blog.

A couple of years ago, I shared an all-Beethoven chamber music playlist in a Once Upon the Internetpost emanating from Central Washington University, whose faculty shared a lot of their tracks on the old MP3.COM. 

As I dug through more of my old downloads for more old Internet finds, I found a few more CWU tracks, and I plan to share some more of these in the coming months.

According to their website the Kairos Quartet, established in 1993, has been the quartet-in-residence at Central Washington University since 1998. “Kairos” is a Greek word for non-chronological time, those special moments when a child is at play or artists are absorbed in their work, when time seems suspended.

The members, all on faculty at the university, have extensive chamber music experience and have toured internationally. In addition to traditional concert performances, the Kairos Quartet is committed to educational outreach and to performing in unlikely venues in which they seek to break down the barriers between audience and performers.As is often the case with quartets, the composition f the group has undergone change through the years, but two members from the quartet in today's playlist are still part of the ensemble - violinist Carrie Rehkopf and cellist John Michel (who I believe are husband and wife).

As I said a few months ago in a post on "Amateur night", there can be blemishes in any live performance, especially when guests join an established group. However, the result is often satisfying, as it's about the concert experience.

Happy Listening!

Maurice RAVEL (1875-1937)
String quartet in F Major, MR 35

Franz SCHUBERT (1797 - 1828)
String quintet (2 violins, viola and 2 cellos) in C Major, D. 956 

Carrie Rehkopf & Marcia Kaufmann ,violins
Scott Hosfeld, viola
John Michel, cello
David Geber, cello (D. 956)

Downloaded from MP3.COM - 12 March 2002

Friday, September 16, 2016

Two 20th Century Choral Works

No. 230 of the ongoing ITYWLTMT series series series of audio montages can be found in our archives at


Our next few podcasts will explore vocal repertoire, and in particular works for large vocal esnsembles. The two works I chose this week are both from the 20th centiry, and embrace a pair of unique traditions.

I a recent Tuesday Blog, I discussed the annual tradition that is the Last Night of the Proms. This year's edition featured a work that was premiered by the founder of the Proms, SIr Henry Wood. Vaughan Williams wrote Serenade to Music   as a tribute to  Sir Henry to mark the fiftieth anniversary of his first concert.The solo parts were composed specifically for the voices of sixteen eminent British singers chosen by Wood and the composer for the premiere. In some parts of the work, the soloists sing together as a "choir," sometimes in as many as twelve parts; in others, each soloist is allotted a solo (some soloists get multiple solos).

Wood conducted the first performance at his jubilee concert at the Royal Albert Hall on 5 October 1938. Following Wood's tradition, the 2016 edition featured 16 hand-picked young singers.

The text is an adaptation of the discussion about music and the music of the spheres in Act V, Scene 1 of The Merchant of Venice by William Shakespeare. Vaughan Williams later arranged the piece into versions for chorus and orchestra and solo violin and orchestra.

Where RVW's Serenade is a contemplative ad serene work, the second selection is a rebel rousing choral juggernaut without compare: Carl Orff's scenic cantata Carmina Burana.

The full title of the piece is quite descriptive - Carmina Burana: Cantiones profanæ cantoribus et choris cantandæ comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magic images").

Carmina Burana - as is the case for any work that is sung is a cantata, though we typically reserve the term cantata to imply a specific meaning. In fact, it contrasts somewhat with an oratorio - an oratorio is like an opera, but it's a concert piece, without the acting and such, and its content is often sacred. A cantata is similar to an oratorio, but it is used directly as part of a church service. J.S. Bach wrote both sacred and secular cantatas, and in his use a cantata is merely a short oratorio.

Orff developed a dramatic concept he called "Theatrum Mundi" in which music, movement, and speech were inseparable. No disrespect untended to Papa Bach, Orff's cantata is "on steroids", and is viewed as much as a stage work as it is a piece of choral music.

The work sets 24 poems from the medieval collection (mostly in Latin verse, with a small amount of Middle High German and Old Provençal.) to music, structured into five major sections, containing 25 movements total. Orff indicates attacca markings between all the movements within each scene.

The selection covers a wide range of topics, as familiar in the 13th century as they are today: the fickleness of fortune and wealth, the ephemeral nature of life, the joy of the return of Spring, and the pleasures and perils of drinking, gluttony, gambling and lust.

I think you will love this music too!


Sunday, September 11, 2016

Project 366 - The Concerto

To mark the fifth anniversary of ITYWLTMT, we are undertaking a long-term project that will introduce - and re-introduce - musical selections in the context of a larger thematic arc I am calling "A Journey of Musical Discovery". Read more here.

In this second of two installments dedicated to orchestral repertoire, we turn to the concerto. In modern-day parlance, a concerto is a piece of music that – in a manner not too dissimilar to the “duo sonata”, features a soloist being accompanied by an orchestra.

Solo Vs Grosso

The solo instrument featured in concerti can be any instrument, though they are typically the piano, violin (or another string instrument) or a wind instrument (flute, oboe, or even a trumpet or saxophone). There are no limitations in that regard. The soloist and ensemble are related to each other by alternation, competition, and combination.

This form of concerto, which we will call here the solo concerto, sometimes involves a few players as “soloists” – that is, say, two pianos, or piano and violin, or (in the case of Beethoven’s triple concerto) a piano trio. Although less frequent in the classical or romantic periods, the use of a group of players accompanied by the orchestra is actually aligned with a form popular in the baroque and early classical periods, the concerto grosso in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno).

The first major composer to use the term concerto grosso was Arcangelo Corelli. After Corelli's death, a collection of twelve of his concerti grossi was published; not long after, composers such as Francesco Geminiani, Pietro Locatelli and Giuseppe Torelli wrote concertos in the style of Corelli. He also had a strong influence on Antonio Vivaldi, though Vivaldi is best known today for about 350 concerti for solo instrument and strings, of which 230 are for violin, the others being for bassoon, cello, oboe, flute, viola d'amore, recorder, lute, or mandolin.

Corelli's concertino group was invariably two violins and a cello, with a string section as ripieno group. Both were accompanied by a basso continuo with some combination of harpsichord, organ, lute or theorbo. Handel wrote several collections of concerti grossi, and several of the Brandenburg Concertos by J. S. Bach also loosely follow the concerto grosso form.

The concerto grosso form was superseded by the solo concerto and the sinfonia concertante in the late eighteenth century, and new examples of the form did not appear for more than a century. In the twentieth century, the concerto grosso has been used by composers such as Igor Stravinsky, Ernest Bloch, Ralph Vaughan Williams, and Bela Bartok.

The concerto template

Like the sonata and symphony, the concerto is typically made up of several – typically three, but sometimes four - contrasting movements integrated tonally and often thematically. The individual movements are usually based on certain recognized designs, including sonata form, variations, and rondo form. In most cases, the three movements of a concerto fall into this scheme: FAST-SLOW-FAST. This setup, which has been around for centuries works especially well in a concerto, enabling the soloists to show off their amazing technique in the first and last movements and to bring the listener into a more intimate, soulful world in the middle.

Moreover, the solo concerto provides or at least invites an improvised cadenza near the end of a movement—an extended, free flourish that may go on for as long as several minutes.

The term “concertino” is sometimes used as the diminutive term for concerto - a short concerto freer in form. It normally takes the form of a one-movement musical composition for solo instrument and orchestra, though some concertinos are written in several movements played without a pause.

Who’s the Boss?

In an infamous “disclaimer” prior to a concerto performance, Leonard Bernstein offered an interesting observation:

[What of the age old question]: "In a concerto, who is the boss; the soloist or the conductor?" The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve a unified performance.

The problem isn’t very different than the situation we have in a duo sonata. Inherent in the concerto’s interrelationship of soloist and orchestra is the dialogue, the partnership – and at times the confrontation – between the soloist and the orchestra.. This dialogue influences the very nature of the solo part by almost forcing the soloist into a virtuoso’s role so that he can compete on an equal footing with his adversary, the orchestra. The dialogue, furthermore, influences not only the construction of individual musical phrases but also the musical textures chosen. In addition, it affects the ways of developing musical material (e.g., themes, rhythms) according to the logic of musical form, and even the broader blocking off of sections within forms, as in the concerto’s repeated exposition, with its sections for full orchestra (tutti) and soloist.

In a typical subscription concert, the concerto is sometimes the most important piece on the program, if only because it brings on stage a special guest. More often than not, the invited soloist is a familiar "star virtuoso", or even sometimes a promising talent. Without fail, however, the concerto is the opportunity for the audience to experience the closest thing to a musical summit, as we have here - at least - two great musicians, the soloist and conductor.

Exploring the concerto repertoire - Some Listener Guides

Listener Guide #35 - "Concertos without Soloist". Here are a number of concerti for orchestra by Vivaldi, Corelli, Stravinsky and Bartok. (ITYWLTMT Podcast #190 - 20 March 2015)

Listener Guide #36 - "Concertinos" -  A montage of “concertinos”, short concertos in one continuous movement or several short sections that feature the clarinet, violin and piano among others. (ITYWLTMT Montage # 228 - 19 Aug 2016)

Listener Guide #37 - "Schumann & Grieg". Piano music from Schumann and Grieg, with Radu Lupu playing their A minor piano concertos. (ITYWLTMT Podcast # 37 - January 6, 2012)

Listener Guide #38 - "Mendelssohn & Bruch". The two great German violin concerti, performed in this vintage recording by Josef Suk (Vinyl's Revenge #5 - 13 Jan 2015)

Listener Guide #39 - "Tchaikovsky Concertos". Some selections from my vinyl collection of Tchaikovsky's first piano concerto and the violin concerto. (ITYWLTMT Podcast # 134 - 6 December 2013)

Listener Guide #40 - "Beethoven & Korngold". A pairing of the Korngold and Beethoven’s violin concertos in D. (ITYWLTMT Podcast #155 - 9 May 2014)

Listener Guide #41 - "Suoni la tromba" - A podcast featuring the trumpet in concerti and other orchestral favourites. It includes a cover-to-cover performance of Wynton Marsalis' Grammy winning album of classical trumpet concertos. (ITYWLTMT Podcast # 229 - 02 Sep, 2016).

Tuesday, September 6, 2016

Last Night of the Proms (2004)

This is my post from this week's Tuesday Blog.

A yearly tradition, this coming Saturday will be the Last Night at the Proms. I thought it would be appropriate to recycle an old broadcast to illustrate and discuss this special concert and its unique format.

The BBC Proms, or The Henry Wood Promenade Concerts presented by the BBC, is an eight-week summer season of daily orchestral classical music concerts and other events held annually, predominantly in the Royal Albert Hall in central London, England. 

Founded in 1895, each season currently consists of more than 70 concerts in the Albert Hall, a series of chamber concerts at Cadogan Hall, additional Proms in the Park events across the United Kingdom on the last night, and associated educational and children's events. It is without question the United Kingdom's biggest annual music festival.

Prom is short for promenade concert, a term which originally referred to outdoor concerts in London's pleasure gardens, where the audience was free to stroll around while the orchestra was playing. This "tradition" has been copied everywhere around the world, and every major orchestra today has "Pops" series though nothing compares quite with the symbolism and oozing nationalism of the seminal event of the festival, the "Last Night" concert.

Indeed, many people's perception of the Proms is taken from the Last Night, although this concert is very different from the others. Broadcast nationally on BBC Television, the concert typically has a more "accessible classics" first part followed by a series of British patriotic pieces in the second half of the concert. 

This sequence established in 1954 includes Edward Elgar's "Pomp & Circumstance March No. 1" (to part of which "Land of Hope and Glory" is sung) and Henry Wood's "Fantasia on British Sea Songs", followed by Thomas Arne's "Rule, Britannia!". The concert concludes with Hubert Parry's "Jerusalem" (a setting of a poem by William Blake), and the British national anthem. 

The video I chose today happens to be one of the few "complete" broadcasts I could find on YouTube, and happens to be Leonard Slatkin's farewell concert with the BBC Symphony.


PART 1 [Stats at 3:00]

Antonín DVOŘÁK (1841-1904)
Karneval, koncertní ouvertura (Carnival Overture), op. 92 [B. 169]1911

Richard STRAUSS (1864-1949)
Horn Concerto No. 1 in E flat major, op. 11 [TrV 117]
David Pyatt, horn

Ralph VAUGHAN WILLIAMS (1872-1958)
5 Mystical Songs, for baritone, chorus ad lib and orchestra (1911)
Thomas Allen, baritone

Samuel BARBER (1910-1981)
Toccata Festiva, for organ and orchestra, op. 36
Simon Preston, organ

PART 2 [Starts at 1:12:00]

Sir Peter Maxwell DAVIES (1934-2016)
Ojai Festival Overture, for orchestra, J. 240 

Giacomo PUCCINI (1858-1924)
Coro a bocca chiusa (Humming Chorus) from Madama Butterfly (1904)

Showtune Medley featuring Thomas Allen, baritone:

Richard RODGERS (1902-1979)
"Oh, what a beautiful morning" from Oklahoma! (1943, arr. Robert Russell Bennett)

Cole PORTER (1891-1964)
"Where is the life that late I led?" from Kiss Me Kate (1948)

Sir Arthur SULLIVAN (1842-1900)
- "I've got a little list" , rom The Mikado (1884-85) - additional lyrics by Kit Hesketh-Harvey

John Philip SOUSA (1854-1932)
March 'The Liberty Bell' (1893)

Sir Edward ELGAR (1857-1934)
Pomp and Circumstance March No. 1 in D major ('Land of Hope and Glory'), op. 39, no. 1

Sir Henry J. WOOD (1869-1944)
Fantasia on British Sea Songs (1905, with additional Songs arranged by Stephen Jackson)

Sir Charles Hubert Hastings PARRY (1848-1918)
Jerusalem ('And did those feet in ancient time', 1910)

National Anthem (arr. Henry Wood)

BBC Singers 
BBC Symphony Chorus 
BBC Symphony Orchestra 
Leonard Slatkin, conductor

Royal Albert Hall
Saturday 11 Sep 2004 
Alan Titchmarsh, presenter

Friday, September 2, 2016

Suoni la tromba

No. 229 of the ongoing ITYWLTMT series series series of audio montages can be found in our archives at

This weeks’ Blog and Podcast showcases the solo trumpet in great concertos and a few other orchestral works where it takes a central role. The works span the baroque, classical and early romantic periods.

A pair of trumpet masters make the cut this week. Wynton Marsalis is a force to be reckoned with – not only as a trumpeter, but also as an all-around musical artist who has set a high standard in jazz, fusion and the classics. At age eight, Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by banjoist Danny Barker, and at 14, he performed with the New Orleans Philharmonic. During high school, Marsalis performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with a local funk band, the Creators. He moved to New—York City in 1979 to attend the Julliard School, so we have here a classically-trained, jazz infused individual with stupendous comtrol of his instrument. His discography is mostly made up of jazz titles where he performs  in small and large ensembles – but he has a handful of classical albums to his credit. A significant portion of our montage is taken by a cover-to-cover audition ofg Wynton Marsalis’ “debut” classical; album of 1983 with Raymond Leppard and the National Philharmonic Orchestra. Here’s a quote taken from Marsalis’ website, which I whole-heartedly concur with:

For mountain climbers, the Himalayas; for classical trumpet players, the Haydn, Hummel, and L. Mozart trumpet concertos. The young Marsalis tackles the climb with virtuosic technique and clarion tone. Wynton’s 1983 Grammys for this recording and THINK OF ONE…made him the first and only artist to win classical and jazz Grammy Awards in the same year. This recording also marks the beginning of Wynton’s collaborations with the distinguished conductor Raymond Leppard, here leading the National Philharmonic Orchestra.
The Fasch concerto for trumpet and two oboes I retained was featured on one of the Erato label’s most popular baroque titles, the infamous “Pachelbel Canon” disc of the Jean-François Paillard Chamber Orchestra. That disc’s first track, a signature piece for the orchestra and the album, is best remembered on that release, but the other works it overshadowed included this gem, performed by another “Superstar” of the trumpet, France’s Maurice André, one of the most recognized and adulated classical trumpeters of the 20th century, who was known to have climbed a few Himalayan trumpet summits himself…

Short works by Mendelssohn, Jeremiah Clarke and Leroy Anderson, along with another late-Baroque/early-Classical trumpet concerto by Franz Xaver Richter complete this week’s montage.

I Think You Will Love This Music Too.