{"title":"NEW AND NOW STREAMING","description":null,"products":[{"product_id":"carter-elliott-string-quartet-no-3","title":"Carter, Elliott: Chamber Music - Composers String Quartet, Members of the Dorian Wind Quintet","description":"\u003cdiv\u003eElliot Carter was born on December 11, 1908. While in high school he met Charles Ives, whose music and ideas greatly impressed him. After graduating from Harvard he went to Paris to study with Nadia Boulanger for three years. Although the works he wrote after returning to the States reflect Mlle Boulanger's influence, the impact of lves's music, and that of Cowell, Varese, Ruggles, and Ruth Crawford, can be heard in the music of the late 1940s. With the String Quartet no. 1 of 1951, Carter arrived at his distinctive personal idiom characterized by tempo modulation, the counterpoint of sharply contrasted ideas, and large-scale formal designs of great originality. He has won the Pulitzer Prize for Music twice and has also received the Gold Medal of the American Institute of Arts and Letters and the Von Siemens Musikpreis.\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003eCarter has made many profoundly original discoveries in rhythm, harmony, and form, but perhaps his most important achievement has been the renewal of instrumental virtuosity in his works. His music expands the challenges made of performers, but rewards performers by making their virtuosity the very center of the musical expression. In his efforts to rekindle the fires of live  performance  Carter  has  moved very much against the main currents of the century, for performers and composers have become increasingly estranged. After 1920 performers clung tenaciously to the fixed canon of the \"standard repertory.\" Composers retaliated by replacing live performers with mechanical ones, or by reducing live performance to mechanical tasks of precision or repetition that would be better achieved mechanically, or, finally, by demanding that performers become composers and improvise pieces from a minimal number of directions. Meanwhile the technical level of performance has increased, but instrumentalists have mostly applied their skills to the same old challenges. As Carter noted 25 years ago, the orchestral works of Mahler, Strauss, and Ravel have remained the standard of virtuosity -- a statement that remains true.\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/div\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48950030172468,"sku":"199806065761","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/ChamberMusicbyElliottCartermhsv2.jpg?v=1773326168"},{"product_id":"janacek-the-two-string-quartets","title":"Janáček: The Two String Quartets - The New World String Quartet","description":"\u003cp\u003eLeos Janacek was a man born too soon. Success did not come to him until late in life; the majority of his best music was written after his 60th year. As a young man, his musical studies were hampered by a constant lack of funds. He had no money to buy study scores or attend concerts, or even for a practice piano. Even in matters of the heart, Janacek had to wait long to find his soul mate. At age 27, he married a young piano pupil, Zdenka Schulzova, but the union soured almost immediately and remained stormy for the rest of their lives. Janacek's true love would not even be born until 11 years after his wedding. His musical instinct, too, was ahead of his time. Much of his earlier music met with little success, partly because Janacek tried to force his 20th-century sensibilities into 19th-century molds.\u003c\/p\u003e\n\u003cp\u003eAll that began to change in 1915 when, after years of struggle and behind-the-scenes machinations on his behalf, his opera Jenufa was finally accepted by the Prague National Opera. The premiere was a success and Janacek, now in his 60s, was encouraged to begin the creative outpouring which would last the rest of his life and result in his best music, including the two String Quartets. But while his new and rapidly expanding success provided the outlet for his music to be heard, the fuel for this astonishing creative explosion came from an altogether different source: Janacek fell in love. \u003c\/p\u003e\n\u003cp\u003eString Quartet No. 1 \u003cbr\u003e(after Tolstoy's The Kreutzer Sonata), 1923 \u003cbr\u003e[1] First Movement: Adagio: Con moto \u003cbr\u003e[2] Second Movement: Con moto \u003cbr\u003e[3] Third Movement: Con moto \u003cbr\u003e[4] Fourth Movement: Con moto \u003c\/p\u003e\n\u003cp\u003eString Quartet No. 2 (\"Intimate Letters\"), 1928\u003cbr\u003e[5] First Movement: Andante\u003cbr\u003e[6] Second Movement: Adagio \u003cbr\u003e[7] Third Movement: Moderato \u003cbr\u003e[8] Fourth Movement: Allegro\u003c\/p\u003e\n\u003cp\u003eThe New World String Quartet \u003cbr\u003eCurtis Macomber, Vahn Armstrong, Violins \u003cbr\u003eRobert Dan, Viola; \u003cbr\u003eRoss Harbaugh, Cello\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48966587384116,"sku":"199806151174","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/janaceksqcoverredo.jpg?v=1773324855"},{"product_id":"masterpieces-of-20th-century-piano-music-schoenberg-berg-stravinsky","title":"Masterpieces of 20th Century Piano Music (Schoenberg, Webern, Berg, Stravinsky)","description":"","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49037754630452,"sku":"820200230515","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/20thcenturypianomusicMHS3660.jpg?v=1784651145"},{"product_id":"hindemith-ludus-tonalis-jane-carlson","title":"Hindemith: Ludus Tonalis - Jane Carlson","description":"\u003cp\u003eIn a period of extreme specialization like ours, Paul Hindemith may be regarded as one of the last examples of the universal artist. He is composer, conductor, performing artist, teacher, theorist, and, particularly in his opera “Die Harmonie der Welt,\" philosopher.\u003c\/p\u003e\n\u003cp\u003eHe is one of those happy composers who can work fast and under all circumstances, which at once explains the tremendous spate of works of every kind which he has managed to produce in spite of his extremely busy and crowded life.\u003c\/p\u003e\n\u003cp\u003eHis skillful technique of composition is based on a minute knowledge of the possibilities of each instrument, a knowledge which he gained from experience. It has been said, with a good deal of truth, that, if he had to, Hindemith would be capable of performing every one of his own compositions.\u003c\/p\u003e\n\u003cp\u003ePraeludium  \u003c\/p\u003e\n\u003cp\u003eFuga Prima In C Major  \u003cbr\u003eInterludium, Moderato    \u003cbr\u003eFuga Secunda In G Major    \u003cbr\u003eInterludium, Pastorale    \u003cbr\u003eFuga Tertia In F Major  \u003c\/p\u003e\n\u003cp\u003eInterludium, Scherzando    \u003cbr\u003eFuga Quarta In A Major    \u003c\/p\u003e\n\u003cp\u003eInterludium, Vivace    \u003cbr\u003eFuga Quinta In E Major    \u003cbr\u003eInterludium, Moderato    \u003cbr\u003eFuga Sexta In E Flat Major    \u003cbr\u003eInterludium, Marcia    \u003cbr\u003eFuga Septima In A Flat Major    \u003cbr\u003eInterludium, Molto    \u003cbr\u003eFuga Octava In D Major    \u003cbr\u003eInterludium, Allegro Molto    \u003cbr\u003eFuga Nona In B Flat Major    \u003cbr\u003e Interludium, Molto Tranquillo    \u003cbr\u003eFuga Decima In D Flat Major    \u003cbr\u003eInterludium, Allegro Pesante    \u003cbr\u003eFuga Undecima In B Major (Canon)    \u003cbr\u003eInterludium, Valse    \u003cbr\u003eFuga Duodecima In F Sharp Major    \u003cbr\u003ePostludium\u003c\/p\u003e","brand":"MUSICAL HERITAGE SOCIETY","offers":[{"title":"Default Title","offer_id":49076792721716,"sku":null,"price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/hindemithludustonalis.jpg?v=1775231540"},{"product_id":"american-masterpieces-for-flute-paula-robison-timothy-hester","title":"American Masterpieces for Flute - Paula Robison, Timothy Hester","description":"\u003cp\u003eCopland: Duo, For Flute And Piano\u003c\/p\u003e\n\u003cp\u003eI. Flowing        05:48\u003cbr\u003eII. Poetic, somewhat mournful        05:06\u003cbr\u003eIII. Lively, with bounce        03:24\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBarber: Mélodies Passagères, Op. 27\u003c\/p\u003e\n\u003cp\u003eI. Puisque tout passe        01:27\u003cbr\u003eII. Un cygne        02:26\u003cbr\u003eIII. Tombeau dans un parc        02:13\u003cbr\u003eIV. Le clocher chante        01:25\u003cbr\u003eV. Départ        01:57\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eBarber: Canzone, Op. 38        04:04\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRoy Harris: Lyric Study for Flute and Piano        03:13\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eRobert Beaser: Variations for Flute and Piano\u003c\/p\u003e\n\u003cp\u003eI. Theme and Variations        09:25\u003cbr\u003eII. Nocturne        09:51\u003cbr\u003eIII. 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