The venerable bassist Charlie Haden is a jazz legend. He started as a singer on his family's country radio show when he was just 2 years old. After losing his voice to polio as a teenager, he found a new voice by picking up the bass. This week, Charlie Haden was inducted into the NEA 2012 class of Jazz Masters. His new album, Coming Home is a collaboration with the late pianist Hank Jones - a recording of 14 spirituals, hymns, and folk songs.
The Hungarian Fine Arts Commission told Bartok in 1911 that his opera, the only one he would ever write, was no good, not suitable for the stage. With only two singers and no set changes, Bluebeard's Castle just wasn't operatic. He'd later tinker with it some, but the immediate effect of the rejection was that, for four years, he almost completely stopped writing music. Now recognized as one of the greatest composers of the 20th century, Bela Bartok--just entering the height of his powers--went into a composing blackout.
WRTI presents the Vienna Philharmonic's annual concert with the Vienna Boys Choir, recorded earlier in the day, featuring the lively and nostalgic music from the vast repertoire of the Johann Strauss family and their contemporaries.
This popular annual tradition is heard in over 50 countries as the Philharmonic sends the world a New Year's greeting in the spirit of hope, friendship, and peace. The 2012 concert is led by the Latvian conductor Mariss Jansons.
Join Maureen Malloy as she brings you the 100 songs that made the biggest splash on our weekly, listener-generated WRTI Hot 11 Countdown during 2011. Take a trip back through the year to hear the tunes you voted for and listened for every Monday night. The complete list of the Jazz Hot 11 Top 100 Jazz Tunes of 2011 will be available for you to view on Friday, December 30th - check back!
Gustav Mahler famously remarked that the symphony "must be like the world - it must embrace everything." This explains those disjunct themes delightfully butting against each other in his symphonies. What is often forgotten is that he said this to disagree with Jean Sibelius, who told Mahler that every part of a symphony must have a logical, ruthless interconnection with every other part. Not the world, replies Sibelius: a symphony is like the earth.