Maurice Ravel

Lisa-Marie Mazzucco

Simone Dinnerstein's latest CD Broadway-Lafayette is named after the subway stop in New York City. But, as Dinnerstein explains in her most recent visit to Crossover, there is an ulterior motive at play in the title - the relationship of America and France, dating back to the American Revolution, when the Marquis de Lafayette helped American colonists send the British back across the Atlantic licking their wounds.  And there is yet another undercurrent in the theme of American and French relationships - that of the composers on the recording.

One popular work in the orchestral repertoire was written by a Russian composer and then orchestrated decades later by a Frenchman. As WRTI's Susan Lewis reports, this version had its first performance in October in Paris  in 1922. The music describes a stroll through the gallery - a promenade - with ten specific images brought to life.

Six of the drawings and watercolors that inspired Mussorgsky have survived.  The first performance of Pictures at an Exhibition as orchestrated by Ravel took place in Paris on October 19th in 1922.

Two French composers, who wrote and circulated in the same artistic circles, are still being explored and considered together today. Now, in advance of this week’s concert broadcast of The Philadelphia Orchestra on WRTI, Susan Lewis looks at two masterworks that conjure imagery – one on the land, and one on the sea.

Join WRTI in welcoming the Lancaster Symphony Orchestra to Encore! In this first broadcast it's a mostly French program, with a little Gershwin for good measure.  We'll hear Music Director Stephen Gunzenhauser conduct Roussel's Bacchus et Ariadne Ballet Suite, the Suite No. 2 from Maurice Ravel's masterful Daphnis et Chloe, and George Gershwin's An American in ParisThis Sunday, September 16th, 3 to 5 pm.

Some people are intimidated by the vastness of classical music. And while the prospect of more than 1,000 years of hits to consider may be daunting, just think instead of how many musical journeys of discovery can be made.

This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities.