Podcasts about apple classical

[@ 2 min] We go Inside the Huddle with Ricky Ian Gordon. The prolific American composer of operas such as "A Coffin in Egypt," "The Grapes of Wrath," and "Orpheus and Euridice" has another credit to add: author! Ricky will share anecdotes from his new memoir, Seeing Through: A Chronicle of Sex, Drugs, and Opera. [@ 35 min] And then…a field report from an advanced screening of Maria Callas biopic from the New York Film Festival. Will it be opera gloved thumbs down or opera gloved thumbs up? [@ 40 min] Dresden's rolling in cash, Berlin's broke, and Apple Classical has taken another tiny step towards world domination… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

In Folge 218 sprechen die ApfelNerds über Apples Sparansage bei den TV+-Produktionen, die Apple Classical Top 100, die iPhones 15 verkaufen sich wohl nicht so gut, ein gelecktes Dokument zeigt Cellebrites Unfähigkeit aktuelle iPhones zu knacken, es gibt neue Glasfaser-Tarife bei der Telekom, wir sprechen über Hörer-Feedback von Dominik zum Thema "Anmelden mit Apple", Sascha spricht über seine Erfahrungen mit der VisionPro, die RCC-Mainboards kommen doch nicht in die iPhones 16, Apple verhandelt wohl um neue Hollywood-Lizenzen, alle iPhones 17 bekommen wohl LTPO-Displays mit 120 Hz ProMotion, es gibt Fortschritt beim iPhone Fold und ein paar Updates.

USB C Peripherals, is Vision Pro a Mac killer; Girls state coming to Apple TV+; Its the year of Taylor Swift; will iPhone 16 add optical zoom to tetraprizm; Apple modems in Macs…Maybe; New Apple TV device on the horizon; iMessage to support RCS, Duh; Apple Classical now native on iPad; Apple Spatial video viewer for iPhone is coming from many places; Apple and Goldman Sachs want a divorce; Rumor has it that there will be multiple version of second gen Apple Vision device; Qi2 is now supported for iPhone 13 and greater; iPhone SE4 is expected in 2024; iPad line is confusing, expect changes soon.Conversations on technology and tech adjacent subjects with two and sometime three generations of tech nerds. New shows on (mostly)

The latest In Touch With iOS with Dave he is joined by guest, Jeff Gamet, and Ben Roethig. Jeff gives us his experience buying an iPhone at T-Mobile store or Apple Store and we know which is better. Apple is adding RCS support in iMessage finally. We talk about what is left using the lightning port. Apple announced the 2023 App Store award finalists. iPhone 15 is 54% faster than the iPhone 14 on 5G. Apple Classical is now on iPad but where is it on the Mac. Plus much more.  The show notes are at InTouchwithiOS.com 
Direct Link to Audio  Links to our Show Give us a review on Apple Podcasts! CLICK HERE we would really appreciate it! Click this link Buy me a Coffee to support the show we would really appreciate it. intouchwithios.com/coffee  Another way to support the show is to become a Patreon member patreon.com/intouchwithios Website: In Touch With iOS YouTube Channel In Touch with iOS Magazine on Flipboard Facebook Page Mastadon Twitter Instagram Spoutible News Update from last week: Microsoft pulls OneDrive update that would quiz you before letting you quit Six Months of Free Apple Music Available to PlayStation 5 Owners  Apple Music Classical Comes to iPad First Qi2 Wireless Chargers Coming Soon  Google will begin deleting millions of inactive Gmail and Drive accounts in December Six Months of Free Apple Music Available to PlayStation 5 Owners  iPhone 14 Users Get Free Emergency SOS via Satellite for Another Year  North suburban Chicago family sues Volkswagen for holding up search for kidnapped toddler Apple Releases New Firmware for USB-C Apple Pencil  TikTok Launches Support for Adding Songs to Apple Music Library  Topics Beta this week. iOS 17.2 beta 3 Apple Seeds Third Betas of iOS 17.2 and iPadOS 17.2 to Developers  Apple Seeds Third Public Beta of iOS 17.2 With Journal App and More Apple Seeds Third Beta of watchOS 10.2 to Developers Apple Seeds Third Beta of tvOS 17.2 to Developers  watchOS 10.2 Beta Reintroduces Option to Change Apple Watch Faces With a Swipe  YouTuber Explains How to Watch Spatial Videos From iPhone 15 Pro on VR Headsets Breaking News we discuss the game changing RCS supporting iMessage. Google wants EU regulators to force Apple to open up iMessage Apple announces that RCS support is coming to iPhone next year - 9to5Mac Apple to Adopt RCS Messaging Standard for Better Interoperability With Android Devices  Wow iPhone 15 has fast download speeds.  iPhone 15 Models Have Up to 54% Better 5G Download Speeds Than iPhone 14 Models We review some of the 2023 Apple App Store Award  finalists Apple Announces 2023 App Store Award Finalists  We are always asked where the best place to buy any Apple product is, especially iPhone. Jeff shared his experience with a carrier vs Apple Store.  We wondered what is left using the lightning port. All the Hardware Apple Still Sells With a Lightning Port Announcements Macstock 7 2023 Digital Pass is now available. Relive the conference as you can Purchase a virtual pass to see the talks that many of our regular guests and contributors did including Dave, Brittany, Chuck, and Jeff. https://macstockconferenceandexpo.com  Our Host Dave Ginsburg is an IT professional supporting Mac, iOS and Windows users and shares his wealth of knowledge of iPhone, iPad, Apple Watch, Apple TV and related technologies. Visit the YouTube channel https://youtube.com/intouchwithios follow him on Mastadon @daveg65,  Twitter @daveg65.and the show @intouchwithios   Our Regular Contributors Jeff Gamet is a podcaster, technology blogger, artist, and author. Previously, he was The Mac Observer's managing editor, and Smile's TextExpander Evangelist. You can find him on Mastadon @jgamet as well as Twitter and Instagram as @jgamet  His YouTube channel https://youtube.com/jgamet Ben Roethig Former Associate Editor of GeekBeat.TV and host of the Tech Hangout and Deconstruct with Patrice  Mac user since the mid 90s. Tech support specialist. Twitter @benroethig  Website: https://roethigtech.blogspot.com

Contact your host with questions, suggestions, or requests about sponsoring the AppleInsider Daily:charles_martin@appleinsider.com (00:00) - 01 - Intro (00:13) - 02 - Non-Google RCS coming next year (01:48) - 03 - Apple looking at graphene? (02:19) - 04 - Connected Cards rolls out fully in UK (03:02) - 05 - iPad gets even Classical-ier (03:41) - 06 - Committee queries TV+ cancellation (04:38) - 07 - China state dinner needed a Cook (05:19) - 08 - OTN: RIP Comixology (05:45) - 09 - Play (Apple Music) Station (06:37) - 10 - Outro Links from the showRCS messaging is coming to iPhone in 2024Apple's flavor of RCS won't support Google's end-to-end encryption extensionYou're still going to be bullied for being a green bubble, even with RCSiPhone 16 to use graphene heat sink to solve overheating issuesApple UK launches Wallet's Connected Cards featureApple Music Classical finally comes to the iPadUS demands to know if Apple cancelled Jon Stewart over ChinaApple's Tim Cook was among Chinese President Xi's dinner guestsComixology officially shelved in December as inferior Kindle service takes overEligible Apple Music subscribers get up to six months free on PlayStation 5Subscribe to the AppleInsider podcast on: Apple Podcasts Overcast Pocket Casts Spotify Subscribe to the HomeKit Insider podcast on:•  Apple Podcasts•  Overcast•  Pocket Casts•  Spotify

HR Recordings releases The Weary Blues, an exciting new recording of songs resulting from a long and wonderful collaboration between American composer Drew Hemenger and soprano Adrienne Danrich. This first collaborative recording features a set of songs written for Adrienne based on Harlem Renaissance poet Langston Hughes, along with a gripping and sometimes harrowing song cycle, “Which Way Home?” on poems of Pulitzer Prize-winning American poet, Anne Sexton. The artists explore a contrast of styles demanded by the diverse texts.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Henry Purcell's “fantasias” are regarded as some of the finest and most intricately wrought examples of the fantasia, due to their profound embrace of counterpoint and great command of the polyphonic techniques of the time. Composed in the summer of 1680 – a time when the fantasia was already considered old-fashioned and had been replaced by the sonata –, Purcell's “fantazias” turned out to be the very last ensemble fantasias to be published in England. As John Holloway notes in his detailed liner text contextualizing the three- and four-part works, “it is tempting in retrospect to see their brilliant distillation of the very best of Byrd, Lawes, Jenkins and Locke as a personal farewell to a kind of music, which in Purcell's own chamber music would soon be superseded by sonatas”.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

The elemental power of ancient folk music was the life force that drove the compositions of Veljo Tormis (1930-2017). As the great Estonian composer famously said, “I do not use folk song. It is folk song that uses me.” This sentiment is echoed in definitive performances by the Estonian Philharmonic Choir and the Tallinn Chamber Orchestra under the direction of Tõnu Kaljuste, for decades one of Tormis's closest musical associates. Four orchestral cycles celebrate the changing seasons: Autumn Landscapes, Winter Patterns, Spring Sketches, Summer Motifs. And three pieces – Worry Breaks The Spirit, Hamlet's Songs and Herding Calls - feature new arrangements by Tõnu Kaljuste, continuing and commemorating Tormis's work.Track Listing:1 The Tower Bell in My Village2 Worry Breaks the Spirit3 Melancholy Songs - I. The Singer's Childhood4 II. Maidens' Sorrow5 III. Orphan's Lament6 Reminiscentia - Autumn Landscapes - I. It is Late Summer7 II. Clouds Racing Across the Sky8 III. Pale Light9 IV. Painfully Red Leaves10 V. Wind Along the Heath11 VI. Cold Autumn Night12 VII. Sad Purple Heather13 Reminiscentia - Winter Patterns - I. Winter Morning14 II. Cold15 III. Blizzard16 IV. Northern Lights17 Reminiscentia - Spring Sketches - I. Spring Wind18 II. Buds Leafing Out19 III. Evening Sky20 IV. Under the Bird Cherry Tree21 V. Yellow Flame22 VI. In Late Spring23 Reminiscentia - Summer Motifs - I. Dry Weather24 II. Thunderstorm25 III. Summer Night26 Reminiscentia - Three I Had These Words of Beauty27 Hamlet's Songs I28 Herding Calls - Childhood MemoriesHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

The Philadelphia Orchestra and its Music and Artistic Director Yannick Nézet-Séguin continue their pioneering project to revive neglected music by Black American composers. Their latest recording, set for digital release by Deutsche Grammophon out today, captures Florence Price's Symphony No. 4 and William Dawson's Negro Folk Symphony. Listeners have the chance to sample movements from both works ahead of the album's full release, with the “Juba” from Price's Fourth Symphony and “O, Le' Me Shine, Shine Like a Morning Star!” from the Negro Folk Symphony also out now.Track Listing:1 Price: Symphony No. 4 in D Minor: I. Tempo moderato 15:542 II. Andante cantabile 07:183 III. Juba. Allegro 05:244 IV. Scherzo. Allegro 05:165 Dawson: Negro Folk Symphony: I. The Bond of Africa (Live) 12:576 II. Hope in the Night 13:397 III. O, Le' Me Shine, Shine Like a Morning Star!Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Following his 2020 studio album, “Mozart,” this new recording features a repertoire by Rachmaninoff, the composer whose works played a pivotal role in Yekwon Sunwoo's Van Cliburn victory. The release also coincides with the 150th anniversary of Rachmaninoff's birth. Yekwon Sunwoo curated the album to include pieces that best represent the composer's brilliance.TracklistSergei Rachmaninoff (1873-1943)1 – 23 Variations on a Theme of Corelli, Op. 42Fritz Kreisler (1875-1962)24 Liebesleid (Arr. Rachmaninoff for Piano)Sergei Rachmaninoff25 Prelude in C-Sharp Minor, Op. 3 No. 226 Cello Sonata in G Minor, Op. 19: III. Andante (Transcr. Volodos for Piano) 27 Prelude in G Minor, Op. 23 No. 5 28 – 37 Variations on a Theme of Chopin, Op. 22Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Tan Dun's Buddha Passion is a captivating tale of wonder, truth, and gentle but irresistible transformation. The monumental work involving massed choirs, a large orchestra, six percussionists, and an array of soloists including indigenous singers, traditional Chinese instruments, and a dancing pipa player, is the first such ‘Passion' on a Buddhist rather than Christian narrative.Track Listing:1 Chant2 Little Prince3 Mantra4 Under the Bodhi Tree5 Equality6 Deer of Nine Colors7 Gratitude8 Betrayal9 Trees Wish to Be Still, yet the Wind Doesn't Let Go10 Karma11 Apsaras12 Father and Three Daughters13 My Dear Father14 Sacrifice15 Mantra of Nine16 A Body is a Bodhi Tree17 Is it the Wind or a Banner Moving, or is it My Soul18 Zen Dream19 A Solar Eclipse20 Silk Road An Invisible Road21 Home Lies so Far Away22 Love is Destined to Part23 Heart Sutra24 In No Time, I Shall Enter Nirvana25 All Creatures in the Universe26 The Other Side27 Buddha Was Man, Man Will Be Buddha28 One Last Question29 NirvanaHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).Please note: the broadcasting of this episode does not mean that CMD approves of Idol worship.Only with obedience to Jesus Christ can you enter into salvation.

A Prayer to the Dynamo was written in response to a commission from the Winnipeg Symphony Orchestra. It received its first, and so far only performance at the orchestra's New Music Festival on 3 February 2012. As noted by the festival's curator, composer Matthew Patton, it represented a turning-point in Jóhannsson's career, having been written without any of the narrative constraints involved in composing for film. “He never wrote a piece for orchestra this big, this long, and with this much freedom.” This recording will turn a much-deserved spotlight on to a work Patton has described as a “lost symphony” and introduce it to audiences worldwide. Track Listing:1 Suite from The Theory of Everything I_ A Model of the Universe2 II_ Domestic Pressures3 III_ The Origins of Time4 IV_ Forces of Attraction5 V_ Cambridge, 19636 A Prayer to the Dynamo Part 17 A Prayer to the Dynamo Part 28 A Prayer to the Dynamo Part 39 A Prayer to the Dynamo Part 410 Suite from Sicario I_ Target11 II_ Desert Music12 III_ MelancholiaHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

For this album, James Newton Howard created eight suites that are piano-centric and include new and original material. Pianist Jean-Yves Thibaudet performs throughout the recording. Violinist Hilary Hahn recreates her contributions to the soundtrack recording of the score for The Village, and cellist Maya Beiser reprises her performance of “An Event” from The Happening soundtrack. Gavin Greenaway conducts the orchestra and chorus in Howard's new arrangements.TRACKLIST:1. Signs: The Cornfield2. Signs: After You Were Born3. Signs: Hand of Fate4. The Village: Morning5. The Village: Noah Visits6. The Village: Ivy Saves Lucius7. The Sixth Sense: Lonely Boy8. The Sixth Sense: Ghost in the House9. The Sixth Sense: Acceptance10. Lady in the Water: Prologue11. Lady in the Water: Charades12. Lady in the Water: Story13. Lady in the Water: Return to the Blue World14. Unbreakable: Survivor15. Unbreakable: Destiny16. The Last Airbender17. The Happening: An Event18. The Happening: Harbinger19. The Happening: Aftermath20. After Earth21. Flow Like Water [piano solo version, from The Last Airbender]Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Hélène Grimaud explores the rich universe of German Romanticism For Clara couples Robert Schumann's Kreisleriana Op. 16 with Brahms's Intermezzi Op. 117 and Lieder und Gesänge Op. 32, featuring baritone Konstantin KrimmelTrack Listing:1 Schumann: Kreisleriana Op. 16 : No. 1 Äusserst Bewegt2 No. 2 Sehr Innig Und Nicht Zu Rasch3 No. 3 Sehr Aufgeregt4 No. 4 Sehr Langsam5 No. 5 Sehr Lebhaft6 No. 6 Sehr Langsam7 No. 7 Sehr Rasch8 No. 8 Schnell Und Spielend9 Brahms: 3 Intermezzi Op. 117 : No. 1 Andante Moderato10 No. 2 Andante Non Troppo E Con Molto Espressione11 No. 3 Andante Con Moto12 Schumann: 9 Lieder Und Gesänge Op. 32 : No. 1 Wie Rafft Ich Mich Auf in Der Nacht13 No. 2 Nicht Mehr Zu Dir Zu Gehen14 No. 3 Ich Schleich Umher15 No. 4 Derstrom Der Neben Mir Verrauschte16 No. 5 Wehe So Willst Du Mich Wieder17 No. 6 Du Sprichst Dass Ich Mich Täuschte18 No. 7 Bitteres Zu Sagen Denkst Du19 No. 8 So Stehn Wir Ich Und Meine Weide20 No. 9 Wie Bist Du, Vmeine KöniginHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

“This is how I want to make music!” That was Avi Avital's reaction when he first saw Il Giardino Armonico and Giovanni Antonini play live in Jerusalem. Now famed worldwide for his own charismatic and passionate performances, the mandolinist is delighted to be joined by this exciting period-instrument ensemble and its conductor and co-founder on his latest album, entitled simply, Concertos. Together they perform three original concertos for mandolin – by Barbella, Paisiello, and Hummel – and Avital's own adaptations of concertos by J.S. Bach and Vivaldi. Antonini is the recorder soloist in the Bach, while the latest technology allows Avital to play all four parts in the Vivaldi. Concertos is set for release by Deutsche Grammophon on 17 November. The Vivaldi concerto and the Andantino of the Barbella are available to stream or download now, while excerpts from the Paisiello and Hummel works will be released on 29 September and 27 October respectively.Track Listing:1 Concerto in B Minor, RV 580 / I. Allegro2 II. Largo3 III. AllegroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

When cellist Ofra Harnoy entered London's venerable Abbey Road Studios in 1996 to record Edward Elgar's Cello Concerto in E Minor, Op. 85, she never imagined she would have to wait 27 years for the recording's release – at last, set for release on September 15 via Sony Classical and available for preorder now.The new album also includes a reissue of Harnoy's recording of the Cello Concerto in D Minor by the French composer Edouard Lalo, made in 1995 with the late Antonio de Almeida conducting the Bournemouth Symphony Orchestra.Track Listing:1 Elgar: Cello Concerto in E Minor, Op. 85 / I. Adagio – Moderato2 II. Lento - Allegro molto3 III. Adagio4 IV. Allegro - Moderato - Allegro, ma non-troppo - Poco più lento – Adagio5 Lalo: Cello Concerto in D Minor / I. Prelude. Lento - Allegro maestoso6 II. Intermezzo. Andantino con moto - Allegro presto7 III. Introduction. Andante - Allegro vivaceHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Ronald Stevenson (1928–2015) is best remembered for his huge output of music for the piano, an instrument he played with a rare understanding of tonal color. It was thus entirely within character that he responded enthusiastically to the opportunity to explore the musical possibilities of the accordion, most impressively in a ‘Dance Poem' of some scale. Stevenson was also an inveterate transcriber, producing hundreds of piano versions of pieces written for other forces. Neil Sutcliffe here returns the compliment, transcribing one of Stevenson's own piano works and five of his songs for accordion, pulling the classical world and Scottish traditional music a little closer together.TracksThe Harlot's House: Dance Poem after Oscar Wilde (1988) (32:59) Recitation: The Harlot's House (1:58) I. Lento, senza misura (1:49) II. Andante (1:24) III. Tempo di Valse – (1:15) IV. Ragtime (2:08) V. Andante (3:03) VI. Molto moderato (2:21) VII. Sarabanda con maesta (2:10) VIII. Tranquillo con moto (3:10) IX. Habanera – Tango (2:29) X. Allegretto (2:07) XI. Totentanz (2:24) XII. Lento assai (1:22) XIII. Tempo di valse (2:02) XIV. Lento ma con moto (3:17) South Uist (Hebridean) Folk-Song Suite (1969) (10:00)transcr. Neil Sutcliffe I. Sailing Song (1:01) II. A Witching Song for the Milking (1:41) III. A Little Mouth Music (1:06) IV. Waulking Song (1:32) V. Spinning Song (0:44) VI. A Tired Mother's Lullaby (2:17) VIII. The Christ Child's Lullaby (1:39) Five Songs (7:35)transcr. Neil Sutcliffe Bubblyjock (1966) (1:15) The Rose of All the World (c. 1966) (1:00) The Buckie Braes (1965) (1:47) Hallowe'en Sang (1965) (1:44) Day is Düne (1965) (1:49) A Celtic Cycle (1984-88) (10:33) I. Celtic Lovesong: The Light and Dark of Love (4:13) II. Celtic Lullaby (3:19) III. Peaceful March of the Ever Young (3:01) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Friedrich Lux (1820–95) was one of those musicians who formed the fabric of musical life in nineteenth-century Germany: though he worked away from the major cities, as a conductor, teacher, organist, organizer, and composer, he was an indispensable element of the communities in which he worked. His large body of organ music, as good as unknown before now, brings together elements of the musical language of Bach, Mendelssohn, and Schumann, in works that range from the intimate to the grandiose. This second volume brings some of his many transcriptions to the fore.TracksFantasie pastorale, Concertstück, Op. 64 (publ. 1881) (15:54) I. Allegro moderato (5:50) II. Andantino – Poco più mosso – Tempo I (5:07) III. Allegretto fugato (4:57) Lied ohne Worte (publ. 1877)* (4:46) Variationen aus Kaiserquartett von Haydn (publ. 1879)* (11:27) Poco adagio (1:28) 1. Variation (1:38) 2. Variation (1:41) 3a. Variation (1:32) 3b. Variation (1:29) 4. Variation (3:39) Drei Stücke aus Händel's Messias in Form einer Sonate (publ. 1877) (11:55) No. 1 Chor: Ehre sei Gott (Allegro) (2:19) No. 2 Arie: Er weidet seine Heerde (Larghetto) (5:27) No. 3 Chor: Halleluja (Allegro moderato) (4:09) Andante über die Choralmelodie Wie schön leucht' uns der Morgenstern, Op. 60 for horn and organ (publ. 1878)* (7:12) Adagio aus einem Nocturno von Louis Spohr (publ. 1878)* (5:52) Romance de l'opéra Casilda, Op. 32 (publ. 1863)* (6:28) Die Meistersinger von Nürnberg: Einleitung zum 3. Akt von Richard Wagner (publ. 1875)* (7:45) Marche célèbre de la 1ère Suite de F. Lachner, Op. 113 (publ. 1873)* (6:08) *First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Tchaikovsky's ballet The Nutcracker, which has its origins in a novella by E. T. A. Hoffmann, contains some of the best-loved music ever written. But its composer wasn't very happy with it, perhaps because the plot he was given to work with allowed him to present only a series of dances, losing the moral basis of Hoffman's surprisingly modern tale, with its messages of inclusivity and what is now called ‘women's agency' – here it is the little girl who saves the prince. Hoffmann's aspirational story continues well after the ballet ends, with the little girl, now grown up, marrying the prince, who is now king. John Mauceri has brought the ballet back to its inspiration, calling on music from elsewhere in Tchaikovsky's orchestral output to fashion this ‘retelling', marrying Hoffmann's text and Tchaikovsky's music for the first time.  TracksThe Nutcracker and the Mouse KingOverture (2:11)Part One: Nuremberg, 1416 (19:04) Once a Long Time Ago (2:57) The Mousetrap! (1:59) Princess Pirlipat (1:59) The Curse (3:54) Searching for a Cure (4:18) The Krakatuk Nut (2:19) The Curse is Lifted (0:27) The Mouse Queen's Death (1:11) TransitionThe Drosselmeyers (2:36)Part Two: Nuremberg, 1816 (42:08) Christmas Eve (2:11) Godfather Drosselmeyer (1:20) The Miniature Marzipan Castle (1:18) The Nutcracker (3:04) Stranger Things (2:30) The Great Battle (1:16) After the Dream (2:04) Drosselmeyer's Story (2:50) Marie's Devotion (1:30) The Mouse King Returns (2:25) Fritz's Sabre (3:24) The Great Voyage Begins (2:30) Candy Meadow (1:54) The Mechanical Ballet Troupe (1:47) Sailing on Rose Petals (5:08) The Capital City (2:24) The Marzipan Castle (3:07) Empty Twaddle! (1:26) Part Three: Nuremberg, 1834-Today (9:11) As Time Goes By (1:43) Nathaniel Drosselmeyer (1:37) The King's Proposal (3:05) Epilogue (2:46) First RecordingHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

In 2022, at the end of a series of performances dedicated to Felix Mendelssohn (1809-1847), Claudio Cruz (violin), Adonhiran Reis (violin), Gabriel Marin (viola), and Alceu Reis (cello) from the award-winning Quarteto Carlos Gomes, decided to record the entirety of Mendelssohn's string quartets. In this project with the Azul Music label, the first volume is the album MENDELSSOHN: STRING QUARTETS NO. 1, 2 & 3.Mendelssohn simultaneously published his first two quartets — No. 1 in E flat major, Op. 12 (1829), and No. 2 in A major, Op. 13 (1827) —, but he inverted the chronological order when numbering these pieces that, even in his youth, showed his full maturity. The subsequent Quartet — No. 3 in D major, Op. 44 No. 1 (1838) — is a work the composer was proud of, as evidenced by his letter from July 30, 1838, to violinist and friend Ferdinand David (1810-1873).Tracks1. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: I. Adagio non Troppo – Allegro non Tardante (07:33)2. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: II. Canzonetta. Allegretto (03:47)3. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: III. Andante Espressivo (04:07)4. String Quartet No. 1 in E-Flat Major, Op. 12, MWV R 25: IV. Molto Allegro e Vivace (08:46)5. String Quartet No. 2 in A Major, Op. 13, MWV R 22: I. Adagio – Allegro Vivace (08:20)6. String Quartet No. 2 in A Major, Op. 13, MWV R 22: II. Adagio non Lento (07:22)7. String Quartet No. 2 in A Major, Op. 13, MWV R 22: III. Intermezzo. Allegretto con Moto – Allegro di Molto (05:08)8. String Quartet No. 2 in A Major, Op. 13, MWV R 22: IV. Presto – Adagio non Lento (09:55)9. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: I. Molto Allegro Vivace (13:50)10. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: II. Menuetto. Un Poco Allegretto (05:55)11. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: III. Andante Espressivo ma con Moto (05:10)12. String Quartet No. 3 in D Major, Op. 44 No. 1, MWV R 30: IV. Presto con Brio (08:29)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Bárbara Leu from Azul Music.         

Celebrated for his visionary interpretations of J.S. Bach, Víkingur Ólafsson, one of the greatest pianists and musical minds of today, now embraces Bach's monumental Goldberg Variations. Ólafsson devotes his entire next season to touring the work globally across six continents, while October 2023 marks the anticipated album release on Deutsche Grammophon. “I have dreamed of recording this work for 25 years,” says the Icelandic pianist.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

SOMM RECORDINGS announces a tribute, marking the centenary of his birth, to the English baritone John Carol Case with the first release of his performance of Schubert's Winterreise, accompanied by Raymond Calcraft.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

SOMM Recordings announces Cascade, the exhilarating new recital by pianist Cordelia Williams featuring music by Beethoven, Schumann, and Prokofiev.TracksLudwig van Beethoven Bagatelle in C Major, WoO 56 (2:13)Sergei ProkofievVisions fugitives, Op. 22 (23:25) Lentamente (1:20) Andante (1:27) Allegretto (0:58) Animato (0:59) Molto giocoso (0:26) Con eleganza (0:28) Pittoresco (2:14) Comodo (1:15) Allegretto tranquillo (1:20) Ridicolosamente (0:52) Con vivacità (1:12) Assai moderato (0:57) Allegretto (0:52) Feroce (1:08) Inquieto (0:51) Dolente (1:56) Poetico (1:00) Con una dolce lentezza (1:19) Presto agitatissimo e molto accentuato (0:46) Lento (1:57) Robert SchumannWaldszenen, Op. 82 (21:54) Eintritt (2:05) Jäger auf der Lauer (1:36) Einsame Blumen (1:48) Verrufene Stelle (3:19) Freundliche Landschaft (1:15) Herberge (2:00) Vogel als Prophet (3:02) Jagdlied (2:48) Abschied (3:57) Ludwig van BeethovenSix Bagatelles, Op. 126 (17:37) I. Andante con moto, Cantabile e compiacevole (2:38) II. Allegro (1:49) III. Andante, Cantabile e grazioso (2:34) IV. Presto (3:57) V. Quasi allegretto (2:09) VI. Presto (4:26) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Alpha Classics today releases esteemed Brazilian conductor Simone Menezes' new album, Amazônia, the capstone to a project celebrating the music of Philip Glass and the great Brazilian composer Heitor Villa-Lobos. Pairing musical selections with striking images by Brazilian social documentary photographer and photojournalist Sebastião Salgado, the broader Amazônia project is a meditation on the beauty and fragility of the Amazon rainforest. Menezes has been praised throughout Europe and Latin America for her “astonishing performances” and “daring concepts [that] could only come from a deep and free artist and thinker" (Classical Music Magazine), and made her North American conducting debut leading the Los Angeles Philharmonic in all Beethoven at the legendary Hollywood Bowl on August 29, 2023. Watch Excerpts from the LA Phil Performance.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Salomon representing Primo Artists.

Winner of 21 national awards, including the “X Eldorado Music Prize” in 1999, Karin dedicated herself to a deep and meticulous recording of Chiquinha's waltz repertoire, initially inspired and struck by one of her pieces, Harmonias do Coração. The breadth and quality of the scores greatly impressed the pianist, prompting her to split the project into two volumes. In this first album, previously unknown waltzes, unfamiliar to the general public, are introduced. Notable songs include Walkyria" (from the Operetta "A Corte na Roça") – widely celebrated in its time and which became the theme of the conductor's talisman brooch – and ...A Rir o Santo Dia... (from the Zarzuela "Dama de Ouros"), a lyrical-dramatic expression of Spanish origin that greatly captivated audiences in the 19th century.Tracks1. Yara "Coração de Fogo" (08:35)2. Walkyria (From the Operetta "A Corte na Roça") (07:02)3. Saudade (04:07)4. Carlos Gomes (04:29)5. Heloisa (04:36)6. Borboleta (04:27)7. Valsa (From the Pastoral Operetta "Estrela d'Alva") (03:54)8. Cananèa (05:51)9. Harmonias do Coração (06:02)10. … A Rir o Santo Dia… (From the Zarzuela "Dama de Ouros") (03:06)11. Tupy (03:52)12. Grata Esperança (07:00)13. Ortruda (04:33)14. Bella Fanciulla Io T'Amo (04:00)15. Rosa (05:15)16. Phalena (04:26)17. A Bela Jardineira (02:58)18. Dança das Fadas (04:51)19. Viva la Gracia (05:39)20. Ary "Filha do Céu" (05:25)21. Timbyra (03:38)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Bárbara Leu from Azul Music.         

Conspirare's founder and leader, Craig Hella Johnson, commissioned many of the pieces on House of Belonging and composed the opening track himself. The album's texts convey and explore themes about spirituality, philosophy, the natural world, and the human need for deep connection with others. Composers Kevin Puts, Derrick Skye, Alex Berko, Moira Smiley, Shara Nova, and Michael Schachter were recruited for the project, and the music of  Margaret Bonds and Ross Lee Finney completed the album. The emotive texts include verses by Euan Tait, John Muir, William Stafford, Wendell Berry, Rabindranath Tagore, David Whyte, Langston Hughes, Ludwig van Beethoven, and Hildegard of Bingen.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Australian composer Timothy Collins has crafted a setting of the poem 'Sea Song' by New Zealand poet Katherine Mansfield. The single is released to coincide with the centenary of Mansfield's death which is being notably marked in her native New Zealand. Alongside the release of this single, Divine Art is releasing the Sea Song music film digitally, a fully realized narrative film featuring Conceptus artistic director and tenor, Scott Robert Shaw and actress Patricia Aragon. Conceptus' debut album “Gods, Ghosts and Monsters” is set for release on Divine Art in 2024.Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Scott Robert Shaw's debut "The English Tenor" takes us on a beautifully performed journey through a who's who of great English composers and their vocal works. The names Ivor Gurney, Benjamin Britten, Ralph Vaughan Williams, Gerald Finzi and Roger Quilter are synonymous with English Song, and a Golden Age of British music. The wide variety of accompanying instruments and artists, the broad range of text settings, and the mix of cornerstone works of the repertoire alongside lesser-known cycles make "The English Tenor" a thrilling debut album.Five Elizabethan Songs - Ivor Gurney (1890-1937)Along the Field Ralph - Vaughan Williams (1872-1958)Four Songs, Op. 14 - Roger Quilter (1877-1953)8 Folksong Arrangements for High Voice and Harp - Benjamin Britten (1973-1976)Let Us Garlands Bring, Op. 18 - Gerald Finzi (1901-1956)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

In celebration of Gwyn Pritchard's 75th birthday, Métier releases Features and Formations: a fascinating insight into Pritchard's creative process. This is contemporary, seemingly mercurial work, rich in structure. Starting from pre-compositional planning and techniques, the composer subtly evolves rhythm and pitch, to create a sound world that manifests great atmosphere and emotion.Features and Formations include five of Gwyn Pritchard's ensemble works (a quintet, two quartets, and a trio) and three pieces for solo piano, all performed by the distinguished Swiss contemporary music group Ensemble ö! conducted by Francesc Prat, and the piano solos by their pianist Asia AhmetjanovaRealms Apart – Ensemble ö!Calling – Asia AhmetjanovaFeatures and Formations – Ensemble ö!From Time to Time – Asia AhmethanovaNightfall – Ensemble ö!Res – Ensemble ö!Evolution – Ensemble ö!Tide – Asia AhmetjanovaHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

A gratifyingly inventive listening experience, Ispilu marks the first recording of Basque accordionist Lore Amenabar Larrañaga's self-designed quarter-tone accordion, custom-built by Bugari Armando.Claudia Molitor (b. 1974) Fleeting Puddles (2022)David Gorton (b. 1978) Barafostus' Dreame (2020)Donald Bousted (1957-2021) My Time is Your Time (2020)Mioko Yokoyama (b. 1989) Feast(2022) Michael Finnissy (b. 1946) Permissible Self-Expression(2021- 2022) Christopher Fox (b. 1955) Die Stimme der Stadt(2021) Electra Perivolaris (b. 1996) Crystalline Air (2022)Veli Kujala (b. 1976) L'eaurelle (2023)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Exploring the myriad ways that classical music is being created today, Perspectives features four new works written for – and with – Third Coast Percussion by Danny Elfman, Philip Glass, Jlin, and Flutronix. Third Coast Percussion tours the program this season to the Windgate Center for the Performing Arts at the University of Central Arkansas (Sept. 21); Heindl Center for the Performing Arts at Northwest Mississippi Community College (Oct. 2); UCLA's Center for the Art of Performance (Apr. 5); Montalvo Arts Center (Apr. 10); and Friends of Chamber Music Troy (Apr. 25). The Friends of Chamber Music Troy residency will also include an outdoor community performance of Terry Riley's In C.Between Breaths Track ListMISSY MAZZOLI – Millennium Canticles (15:19)   1. Part 1: Famous Disaster Psalm (2:00)   2. Part 2: The Doubter's Litany (2:33)   3. Part 3: Bloodied Bells (6:12)   4. Part 4: Choir of the Holy Locusts (2:47) 5 Part 5: Survival Psalm (1:47)THIRD COAST PERCUSSION – In Practice (17:06)   6. Part I (9:00)   7. Part II (8:06)8. TYONDAI BRAXTON – Sunny X (11:15)9. AYANNA WOODS – Triple Point (5:11)10. GEMMA PEACOCKE – Death Wish (9:43)Total Time: 58:58Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Katy Salomon representing Primo Artists.

The raw intensity of emotions in works like Aretusa, Satya I, and Il faudrait d'abord désespérer, where each note unfolds with hypnotic allure, envelops the listener in a world of transcendental states. Dive into the depths of Camus' "The Stranger" with Pour triumpher du soleil and À chaque épée de lumière– Dinescu's masterful use of sound effects challenges your comfort zone, evoking moments of scorching desperation and futile blankness, a testament to the composer's acute sensitivity.TracksAretusa (16:31)Vista I. La casa è mia e non è mia (1:33) II. Non è vero? Non è vero? (2:09) III. lo ne rimasti talmente impressionate che la notte me lo sognai (1:30) IV. Non voglio spiegare ciò che non si speiga (1:17) V. Allucinazioni (1:22) VI. Basta lasciamo andare (1:02) Satya I (6:48) Il faudrait d'abord désespérer (5:11) Für Uli (4:31) À chaque épée de lumière (9:46) Pour triompher du soleil (8:48) De-ale Lupului I (3:10) II (3:06) III (3:09) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

A captivating new album from the extraordinary talents of Edward Cowie, a true master of multiple disciplines. This remarkable polymath, renowned as a composer, visual artist, and natural scientist, has gifted us his exhilarating third epic cycle of 'bird portraits' - a thrilling 24-movement composition for clarinet(s) and piano.TracksCD 1Book 1 American Fish Crow (4:30) Wood Thrush (3:03) Eastern Meadowlark (4:05) Common Loon (4:25) Belted Kingfisher (3:15) American Winter Wren (3:54) Book 2 Broad-tailed and Blue-throated Hummingbirds (3:11) White-winged Dove (3:50) Common Nighthawk (4:39) Greater Roadrunner (2:09) Least Bittern (3:48) Great Horned Owl (2:38) CD 2Book 3 Blue Jay (2:28) Mockingbird (3:55) Yellow Crowned Night Heron (3:46) Northern Goshawk (3:11) Say's Phoebe (4:09) Red Winged Blackbird (3:23) Book 4 Northern Cardinal (5:22) Virginia Rail (3:00) Turkey Vultures (4:20) Yellow-breasted Chat (3:25) Horned Lark (5:53) Bald Eagle (5:31) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Frederick Septimus Kelly, born in Sydney in 1881, was on the way to becoming one of Australia's most important early composers when he was killed during the Battle of the Somme in 1916. The three works recorded here – for the first time – underline just how grievous was that loss, not only for Australia but for the musical world more generally. Kelly's D minor Violin Sonata is an astonishingly assured work for a twenty-year-old student composer; his Serenade for flute and piano exudes good-natured charm; and the two surviving movements of his Piano Trio – which have a Brahmsian intensity – suggest that he would have been one of the major composers of the twentieth century.TracksViolin Sonata No. 1 in D minor (1901) (26:06) I. Adagio – Allegro vivace (10:33) II. Andantino (5:17) III. Allegro vivace (10:16) Serenade for Flute and Piano, Op. 7 (1911) (22:18) I. Prelude (3:16) II. Idyll (7:13) III. Minuet (2:11) IV. Air and Variations (6:24) V. Jig (3:14) Piano Trio (c. 1905?) (17:21) I. Lento (moderato) (12:27) II. Scherzo and Trio (Presto) (4:54) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Another source of pride and pleasure is that our September releases, between Toccata Classics and Toccata Next, bring our fourth release featuring the Swedish organist and composer Gunnar Idenstam, whose music I find enormously attractive. In 2019 Gunnar was commissioned to provide the music to a film, The Vegan Toothbrush, by the Norwegian film-maker Trygve Luktvasslimo, which takes seriously the issue of climate change itself but satirises the quasi-religious intensity of climate activists. Gunnar is one of the few remaining organists who maintain the centuries-old tradition of improvisation at the console, and his extemporizations for the film, all of which are concerned with water, developed into a kind of powerfully atmospheric sea symphony. The structure is underpinned by three ‘Chorale Preludes'. The recording was made on Gunnar's own, personalised Quantum Q350 digital organ.Tracks Prelude (1:38) Chorale Theme I (2:54) Water Vortex (0:51) Water Landscapes (3:25) Poem I (19:28) Chorale Theme II (5:43) Poem II (19:13) Bubbles (1:15) Chorale Theme III (2:10) Hymn (3:35) Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Virko Baley was born in Ukraine in 1938, suffered a tumultuous childhood of displacement during the Second World War, and came to the USA as a refugee, with his family, in 1949, eventually making his home in Las Vegas. He has long been fascinated by the poetry of Emily Dickinson, as can be heard in the two moving works recorded here – one, Uniforms of Snow, an orchestral song-cycle setting her texts, the other a suite for violin and piano inspired by those settings. They display an acute ear for orchestral colour, a fondness for dramatic gesture and a strong sense of lyricism, occasionally inflected by distant echoes of Baley's eastern European origins, the richness of the song-cycle placing him downstream from Mahler and Berg and the restraint of the Ten Songs without Words occasionally evoking Arvo Pärt. This recording provokes another pinch-me moment, since it brings the voice of Lucy Shelton into the Toccata fold. Virko Baley himself conducts the Cleveland Chamber Symphony, and they are followed in the Ten Songs without Words by the violinist Karen Bentley Pollick and pianist Timothy Hoft.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Likewise with the Anglo-Scottish composer William Wordsworth (1908–88), great-great-grandnephew of the poet, with whom I occasionally exchanged letters and phone calls in the pre-e-mail late 1970s and early 1980s: I never could have predicted that his reputation might be restored by a series of Toccata Classics albums of his orchestral music, and I confess to an inordinate degree of pleasure in having helped right that injustice. Wordsworth's piano music, too, was poorly known before now, none of it recorded since a handful of pieces appeared on LP 60 years ago – though his epic Piano Sonata is a work of major importance. The first-ever complete recording, on this release, reveals an honest, unfussy approach to the keyboard akin to that of two other major symphonists, Sibelius and Rubbra: like them, Wordsworth's primary concern seems to have been the expression of deep feeling – which makes the gentle story-telling of his miniatures for children all the more surprising. The pianist is that stalwart defender of Scottish piano composers, Christopher Guild – who grew up just a few miles along the Moray Firth from Wordsworth's Highland home overlooking Glen Feshie in the Cairngorms.TracksPiano Sonata in D Minor, Op. 13 (1938-39) (27:04) I. Maestoso (13:21) II. Largamente e calmato – (6:13) III. Allegro molto – Poco adagio – Tempo I (7:30) Three Pieces for Piano* (10:35) Prelude (1932) (4:40) Scherzo (undated) (2:04) Rhapsody (spring 1934) (3:51) Cheesecombe Suite, Op. 27 (1945) (13:18) I. Prelude (4:35) II. Scherzo (1:34) III. Nocturne (4:58) IV. Fughetta (2:11) Ballade, Op. 41 (1949) (7:55) A Tale from Long Ago (publ. 1952)* (1:48) March of the Giants (publ. 1952)* (1:16) Ding Dong Bell (publ. 1952)* (1:19) Snowflakes (publ. 1952)* (1:38) Fireside Story (publ. 1952)* (2:28) Bedtime (Six O'Clock) (publ. 1952)* (1:13) Bedtime Story (publ. 1952)* (1:25) Hornpipe (publ. 1952)* (1:03) Valediction, Op. 82 (1967)* (10:00) - First RecordingsHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcast with the permission of Sean Dacy from Rosebrook Media.

While Rachel Barton Pine is widely known for her virtuosic and expressive performances of works from the Western classical music canon, she is also a heavy metal enthusiast and performer of the genre. Pine discovered her love for heavy metal as a teenager and later performed at rock radio stations where she would intersperse her own arrangements of her favorite metal songs by Black Sabbath, AC/DC, and Metallica with works by Paganini and Ysaÿe in order to introduce new listeners to classical music. From 2009–2014 she was a member of the acclaimed doom/thrash metal band Earthen Grave, playing 6-string electric violin. With Dependent Arising, Pine explores connections between modern classical music and heavy metal and showcases her own unique journey within these two seemingly disparate genres.Track Listing:1 Dmitri Shostakovich Violin Concerto No. 1 in A minor, Op. 77 / I. Nocturne (11:33)2 II. Scherzo (6:22)3 III. Passacaglia (12:54)4 IV. Burlesque (4:54)5 Earl Maneein - Dependent Arising Concerto for Violin and Orchestra / I. Grasping at the self (14:06)6 II. The crows already knew of your grief. They will carry him home. (11:17)7 III. Gate gate paragate parasamgate bodhi svaha. (6:01)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Quiet Rhythms is a piano cycle at once sprawling in scope and introspective in practice. Quiet Rhythms has the warmth and immediacy of a late-night improvisation—an artist following the melodies where they lead him. Quiet Rhythms brings together traditions Susman has spent a lifetime studying: the harmonic language of jazz, the rhythmic pulse of Latin music, the circling melodies of minimalism, the complex structures of medieval fugues, the ingenious simplicity of the American Popular Songbook.Track Listing:1 Quiet Rhythms No. 102 Quiet Rhythms No. 33 Quiet Rhythms No. 74 Quiet Rhythms No. 45 Quiet Rhythms No. 136 Quiet Rhythms No. 17 Quiet Rhythms No. 188 Quiet Rhythms No. 169 Quiet Rhythms No. 2010 Quiet Rhythms No. 2111 Quiet Rhythms No. 212 Quiet Rhythms No. 513 Quiet Rhythms No. 22Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

For the first time in history, a ‘Concerto for Portuguese Guitar and Orchestra' has been composed and recorded, with the composer, Pedro Henriques da Silva, performing as soloist. The whole album “Transclassical Concertos” will be released on August 25th 2023 on the label Bright Shiny Things/Imaginary Animals. Recorded at the legendary Abbey Road Studios with the Academy of St. Martin in the Fields—the most successful chamber orchestra in history with about 800 albums released with millions of copies sold and won many Gold Discs. The Telegraph called it "the world's favourite chamber orchestra.” The album was conducted by Royal Shakespeare Company music director Bruce O'Neil.Track Listing:1Lucia Carus o: Light and Wind Piano Concerto: I. Wind Storm, then Dusk2 II. Gentle Nightly Breeze; Sunrise3 III. Soft Rain, Sunshine, and Tempest4 Pedro Henriques da Silva: Concerto for Portuguese guitar- I. Dusk5 II. Night6 III. Dawn7 Lucia Caruso & Pedro H. da Silva: "Folia" for Portuguese guitar, piano and orchestra8 George Harrison. "Here Comes the Sun" arr. by Pedro H. da SilvaHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.comThis album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Anton Bruckner's Symphony No. 8 in C minor, WAB 108, is the last symphony the composer completed. It exists in two major versions of 1887 and 1890. It was premiered under conductor Hans Richter in 1892 at the Musikverein, Vienna. It is dedicated to the Emperor Franz Joseph I of Austria.This symphony is sometimes nicknamed The Apocalyptic, but this was not a name Bruckner gave to the work himself.Gertrude Heinz, conductorCMD German Opera Company of BerlinHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

After a Dream is dedicated to French masters of the 19th and 20th centuries. They include César Franck (1822-1890), Gabriel Fauré (1845-1924), Claude Debussy (1862-1918), Maurice Ravel (1875-1937), and Camille Saint-Saëns (1835-1921).In the interpretation of Meneses and Budu, Fauré's Après un Rêve combines fervor and serenity. When the duo performs Franck's Sonata, the dialogue between the instruments nods to the expressiveness of singing and the eloquence of speech, as their phrases inquire, affirm, and exclaim. In Vocalise-Étude en Forme de Habanera, the variety of sonorities, flowing ceaselessly in this recording, imparts to Ravel's composition a sense of musical time that seems much more expansive than its minutes—a recurring perception throughout the album. Ultimately, After a Dream showcases the paradox of memorable interpretations— the sensation that music arises solely within them and belongs exclusively to them.Tracks1. Violin Sonata in A Major, FWV 8: I. Allegretto Ben Moderato (Transcr. for Cello and Piano) (César Franck) - (6:04)2. Violin Sonata in A Major, FWV 8: II. Allegro (Transcr. for Cello and Piano) (César Franck) – (8:44)3. Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia. Ben Moderato (Transcr. for Cello and Piano) (César Franck) – (7:42)4. Violin Sonata in A Major, FWV 8: IV. Allegretto Poco Mosso (Transcr. for Cello and Piano) (César Franck) – (6:47)5. Sicilienne, Op. 78 (Gabriel Fauré) – (3:50)6. Élégie, Op. 24 (Gabriel Fauré) – (6:47)7. 3 Songs, Op. 7: I. Après un Rêve (Arr. for Cello and Piano by P. Casals) (Gabriel Fauré) – (3:02)8. Préludes, Book 1, L. 117: No. 8, La Fille aux Cheveux de Lin (Arr. for Cello and Piano by Antonio Meneses & Cristian Budu) (Claude Debussy) – (2:31)9. Sonata for Cello and Piano, L. 135: I. Prologue (Claude Debussy) – (4:10)10. Sonata for Cello and Piano, L. 135: II. Sérénade et Finale (Claude Debussy) – (6:41)11. Vocalise-Étude en Forme de Habanera, M. 51 (Arr. for Cello and Piano by P. Bazelaire) (Maurice Ravel) – (2:52)12. Le Carnaval des Animaux, R. 125: XIII. Le Cygne(Camille Saint-Saëns) – (2:44)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Miami's renowned orchestra NU DECO ENSEMBLE release their major label debut Duende, via Sony Music Masterworks, available now – listen here. Known for blending genres and bringing fresh energy to orchestral music, Nu Deco showcases gentle plucking that tiptoes towards a swooning strings section on their dynamic interpretation of the Bad Bunny hit song, “Me Porto Bonito” TRACKLIST1. Unholy (Sam Smith and Kim Petras)2. Me Porto Bonito (Bad Bunny)3. LA FAMA (Rosalía feat. The Weeknd)4. Packt Like Sardines In a Crushd Tin Box (Radiohead)5. Black Elk Peak (Nu Deco Ensemble original)6. Everything In Its Right Place (Radiohead)Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Philharmonic, conducted by Yannick Nézet-Séguin with Mezzo-soprano Elina Garanca as soloist. The Summer Night Concert was performed this year on June 8th, 2023. It is an annual open-air event, which has been held since 2008. The park of Schönbrunn Palace in Vienna/Austria is the magical setting for the concert. The illustrious conductors who have previously led the orchestra at this event are Georges Prêtre, Daniel Barenboim, Franz Welser-Möst, Lorin Maazel, Christoph Eschenbach, Zubin Mehta, Semyon Bychkov, Gustavo Dudamel, Daniel Harding, and Andris Nelsons.1. Georges Bizet, Suite Nr. 1 aus der Oper Carmen (Arrangement Ernest Guiraud 1885)             Nr. 5. Les Toréadors (Vorspiel zum 1. Akt)             Nr. 2. Intermezzo (Vorspiel zum 3. Akt)             Nr. 1a. Aragonaise (Vorspiel zum 4. Akt) 2. Georges Bizet, Habanera aus der Oper Carmen3. Lili Boulanger, D‘un matin de printemps. Fassung für Orchester 19184. Hector Berlioz, Ouvertüre zur Oper Le Corsaire op. 215. Charles Gounod, „O ma lyre immortelle“ Arie aus der Oper Sapho6. Maurice Ravel, Daphnis et Cloé. Suite Nr. 27. Camille Saint-Saëns, „Mon cœur s'ouvre à ta voix” Arie aus der Oper Samson et Dalila8. Maurice Ravel, BoleroHelp support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

The Kyiv Patriarchate, established in 1992, was denounced by Moscow and the schism between the two Orthodox churches has become part of the geopolitical confrontation between Russia and Ukraine since 2014. Warlike, incendiary speeches made by Moscow Patriarch Kyrill, some made before Russia's annexation of Ukraine, have only increased tensions. Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Sviatoslav Richter (1915–97), who several times played all three wartime sonatas during the 1945-6 concert seasons, gave his first public recital in Odessa in 1934 and was taught by Heinrich Neuhaus at the Moscow Conservatory. Having played Prokofiev's Fifth Piano Concerto under the composer's direction, Richter gained a formidable reputation in the USSR and played in the West for the first time in 1960. Subsequent visits were eagerly awaited, however Richter became highly selective in his choice of venue, (always preferring smaller venues) and repertoire and often, as with Visions fugitives, selected a few pieces from a single cycle. Following an extensive tour of the USA in 1970, he chose not to return to that country as Aldeburgh and selected sites in France and Italy became his preferred venues outside Russia. In 1986 Richter gave 91 concerts over a four-month period during a tour by car from Leningrad -Vladivostok - Moscow. In addition to numerous solo concerts, Richter often played alongside friends such as Britten, Kagan, Rostropovich, Fischer-Dieskau, Schreier, Oistrakh, and Fournier.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  This album is broadcast with the permission of Sean Dacy from Rosebrook Media.

Keith Jarrett's account of Carl Philipp Emanuel Bach's Württemberg Sonatas is a revelation. “I'd heard the sonatas played by harpsichordists, and felt there was a space left for a piano version,” says Jarrett today. This outstanding recording, made in May 1994 and previously unreleased, finds the pianist attuned to the expressive implications of the sonatas in every moment. The younger Bach's idiosyncrasies: the gentle playfulness of the music, the fondness for subtle and sudden tempo shifts, the extraordinary, rippling invention…all of this is wonderfully delivered. The fluidity of the whole performance has a quality that perhaps could be conveyed only by an artist of great improvisational skills. In Jarrett's hands, CPE Bach's exploration of new compositional forms retains the freshness of discovery. The pianist also takes to heart CPE's famous statement: “Since a musician cannot move others unless he himself is moved, he must of necessity feel all of the effects that he hopes to arouse in his listeners."Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com  This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

UPS, teamsters reach agreement on new contract, averting strike. Apple iPhone 15 Pro features: USB-C port, new design, thinner bezels. Foldable iPad is still a possibility for Apple. Apple hit with French objections over advertising user data. App Store developers must detail why they're using some APIs Android will now warn about unknown Bluetooth trackers, like AirTag, traveling with you. Apple wants to know why users are turning off Conversation Awareness on AirPods Pro. Pixar, Adobe, Apple, Autodesk, and NVIDIA form Alliance for OpenUSD to drive open standards for 3D content. Apple again fails to save classical music. How the Partnership Between Apple and Goldman Sachs Soured. Reed Jobs' Yosemite plans using venture capitalism to fight cancer. Picks of the Week Jason's Pick: GoPro Max Andy's Pick: Recipe Keeper Alex's Pick: 32 Sounds Hosts: Leo Laporte, Alex Lindsay, Andy Ihnatko, and Jason Snell Download or subscribe to this show at https://twit.tv/shows/macbreak-weekly. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: zocdoc.com/macbreak ZipRecruiter.com/macbreak

UPS, teamsters reach agreement on new contract, averting strike. Apple iPhone 15 Pro features: USB-C port, new design, thinner bezels. Foldable iPad is still a possibility for Apple. Apple hit with French objections over advertising user data. App Store developers must detail why they're using some APIs Android will now warn about unknown Bluetooth trackers, like AirTag, traveling with you. Apple wants to know why users are turning off Conversation Awareness on AirPods Pro. Pixar, Adobe, Apple, Autodesk, and NVIDIA form Alliance for OpenUSD to drive open standards for 3D content. Apple again fails to save classical music. How the Partnership Between Apple and Goldman Sachs Soured. Reed Jobs' Yosemite plans using venture capitalism to fight cancer. Picks of the Week Jason's Pick: GoPro Max Andy's Pick: Recipe Keeper Alex's Pick: 32 Sounds Hosts: Leo Laporte, Alex Lindsay, Andy Ihnatko, and Jason Snell Download or subscribe to this show at https://twit.tv/shows/macbreak-weekly. Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit Sponsors: zocdoc.com/macbreak ZipRecruiter.com/macbreak

Will Page returns to the show for a “state of the industry” episode. In last year's appearance he correctly called out the slowdown in streaming subscriptions, bubbles in web3, and more.Will believes the value of copyrighted music could hit $45 billion annually when the 2022 numbers are calculated — up $5 billion from 2021, which is already an all-time high for the industry.  Another massive shift is glocalisation”: the trend of local music dominating the domestic charts, as opposed to Western artists. This phenomenon isn't just being felt in music, but across every industry, from film to education.We covered both these trends, plus many more. Here's all our talking points: 1:33 Why the music industry is actually worth $40+ billion annually7:03 Physical music sales on the up and up10:47 How publisher and labels split up copyright value16:59 The rise of “glocalisation” will impact every industry34:39 DSP carnivores vs. herbivores 40:23 Why video vs. music streaming isn't a perfect comparison 46:31 Music as a premium offering in the marketplace 51:38 How to improve streaming royalties  1:06:05 AI music benefits that goes overlooked 1:10:07 Will's latest mix pays homage to Carole KingGlocalisation report: https://www.lse.ac.uk/european-institute/Assets/Documents/LEQS-Discussion-Papers/EIQPaper182.pdfWill Page's 2023 Believe in Humanity:https://www.mixcloud.com/willpagesnc/2023-believe-in-humanity/Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuest: Will Page, @willpageauthorThis episode is sponsored by DICE. Learn more about why artists, venues, and promoters love to partner with DICE for their ticketing needs. Visit dice.fmTrapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. TRANSCRIPT[00:00:00] Will Page: I put so much emotional time and effort into making these mixes happen and going out for free.They get your DJ slots, but more importantly, it goes back to what makes me wanna work in music, which was a lyric from Mike G and the Jungle Brothers from that famous album done by the forties of Nature, where he said, it's about getting the music across. It's about getting the message across. It's about getting it across without crossing over.How can I get art across an audience without delegating its integrity? And it's such an honor to have this mixed drop in this Friday I mean, that's, made my year and we're not even into June yet.[00:00:30] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:00:56] Dan Runcie Guest Intro: Today's episode is all about the state of the music industry, and we're joined by the One and Only, Will Page. He is a fellow at the London School of Economics. He's an author of Tarzan Economics and Pivot, and he is the former chief economist at Spotify. Will's second time on the podcast. Now, the first time we talked all about the future of streaming and where things are going in music, and we picked that conversation, backed up.We talked about a bunch of trends including the glocalisation of music, which is from a new report that Will had recently put out. We also talked about why he values the music industry to be close to a 40 billion industry, which is much higher than a lot of the reports about recorded music itself.And we also talk about a bunch of the topics that are happening right now, whether it's ai, how streaming should be priced, the dynamic between record labels and streaming services, and a whole lot more love. This conversation will always brings it with these conversations, so I hope you enjoy it as much as I did. Here's our chat.[00:02:00] Dan Runcie: All right, today we have the one and only Will Page with us who is recording from a beautiful location. I don't know if you're listening to the pod you can't see, but will tell us where you are right now.[00:02:09] Will Page: So great to be back like a boomerang on Trapital. Dan, and I'm coming to you from the Platoon Studios. Part of the Apple Company Platoon is our label services company, which is owned by Apple. They're doing great stuff with the artists like Amapiano music from South Africa. And the best place I can describe to you here, it's like a Tardus.Have you've ever seen Dr. Who? There's a tiny door in this tall yard music complex in North London just behind Kings Cross. When you enter that tiny door, you enter this maze of the well class spatial audio recording studios of Apple. And it's an honor they've given me this location to come to Trapital today.[00:02:41] Dan Runcie: Well we're gonna make the best of it here and it's always great to have you on, cuz Last year, last year's episode felt like a state of the industry episode, and that's where I wanna start things off this year with this episode.A couple months ago, you put out your post in your Tarzan economics where you said that this industry is not a 2020 5 billion industry, the way others say. Mm-hmm. You say, no, this is almost a 40 billion industry. So let's break it down. How did you arrive there and what's the backstory?[00:03:12] Will Page: I get goosebumps when you say that you think like 10 years ago we were talking about a 14 billion business and now it's a 40, you know, skews a slurred Scottish pronunciation, but let's just be clear from one four to four zero, how did that happen?Well the origins of that work, and you've been a great champion of it, Dan, is for me to go into a cave around about October, November and calculate the global value of copyright and copyright is not just what the record labels publish, that famous IFPIGMR report that everyone refers to, but it's what collecting studies like ask F and BMI collect what publishers generates through direct licensing.You have to add A plus B plus C labels, plus collecting societies plus publishers together. Then the complex part, ripping out the double counting and doing all the add-backs, and you get to this figure of 39.6 billion, which as you say, you round it up, it begins with a four. And I think there's a few things that we can kind of get into on this front.I think firstly we should discuss the figure. I'll you a few insights there. Secondly, I think we should discuss the division. And then thirdly, I want to cover the physical aspect as well. So if you think about the figure, we've got 39.6 billion. We know it's growing. I think what's gonna be interesting when I go back into that cave later this year to redo that number, it's gonna be a lot bigger.Dan, I'll see it here on Trapital First. I think a 40 billion business in 2021 is gonna be closer to a 45 billion business in 2022. And one of the reasons why it's not labels and streaming, it's a combination of publishers are reporting record collections, essentially they're playing catch up with labels, booking deals that perhaps labels booked a year earlier.And collecting studies are gonna get back to normal after all the damage of the pandemic. And when you drive those factors in where you have a much bigger business than we had before. So for the people listening to your podcast who are investing in copyright, this party's got a waiter run. You know, don't jump off the train yet cause this thing is growing[00:05:18] Dan Runcie: And the piece I want to talk about there is the publishing side of this. If you look at the breakdown of the numbers you have, the publishing is nearly, publishing plus is nearly 13 billion itself. The major record labels own most of the largest publishers right now. Why isn't this number just automatically included? Wouldn't it be in everyone's advantage to include the fact that yes, Universal Music Group and Universal Music Publishing Group are together, part of the entity that make this, whether it's them, it's Warner Chapel, it's others. Why isn't this just the top line number that's shared in all of the other reports?[00:05:56] Will Page: It would be nice if it was, and indeed, I think the publishing industry around about 2001 used to do this. They haven't done it since. But it's like spaghetti. It's the best way I can describe it. I mean, how do you measure publisher income? You know, is it gross receipts by the publisher? Is it the publisher plus the collecting Saudi? That is money that went straight to the songwriter and didn't touch the publisher. So what the publisher holds onto what we call an industry, a net publisher, shares all these weird ways of measuring this industry that we have to be clear on.And it's, not easy. but I think what we do in the report is we try and make it bite size. We try and make it digestible to work out how much of that publisher's business came through, CMOs, the S gaps and BMIs this X over here PS music and how much do they bring in directly? And that allows you to understand a couple of things.Firstly, how do they compare vi to vis labels in terms of their overall income? And secondly, how do they compare when they go out to market directly, let's say putting a sync and a TV commercial or movie versus generating money through collective licensing that is radio or TV via ASCAP or bmr. So you get an interpretation of how these publishers are making those numbers work as well.[00:07:03] Dan Runcie: That makes sense. And then when we are able to break it down, we see a few numbers that roll up into it. So from a high level, at least what you shared from 2021, we have that 25.8 billion number from the recorded side. So that does fall in line with what we see from what the IPIs and others share. 10 billion Sure.From the publishing. And then you do have, the next 3.5 and then a little sliver there for royalty free and for the publishers' direct revenue that doesn't come from the songwriters. The next piece though, within the elements of how all of the revenue flows into that. We've talked a lot about streaming and we've talked, we'll get into streaming in a little bit, but I wanna talk about the physical side cause that was the second piece that you mentioned.We've all talked about vinyl, but it's not just vinyl. So could you talk a bit about where the trends are right now with physical sales and why this is such a huge factor for this number?[00:07:56] Will Page: Who would've thought on a Trapital podcast in May, 2023. We'll be talking about physical as a second topic on the agenda, but it's worth it. I mean, it's not a rounding era anymore. It's not chump change. in America, physical revenues largely vinyl outpaced the growth of streaming for the second year straight. It's not as big as streaming, but it's growing faster and it has been growing faster for two years now. That's crazy. Here in the uk the value of physical revenues to the UK music industry has overtaken the value of physical to Germany.Quick bit of history. For years, decades, Germans used to buy CDs. that's fallen off a cliff. They've given up on CDs. Whereas over here in Britain, we've all started buying vinyl again. So the value of vinyl in Britain is worth more than the value of CDs to Germans, that type of stuff you didn't expect to see.And if you go out to Asia, you see the CD market still strong. You've still got people who buy more than one copy of the same cd, of the same band. Don't ask me to explain the rationale for that, but it happens and it moves numbers. But after all this, when the dust settles, I mean a couple of observations, all the data to me is suggesting that 55, 60% of vinyl buyers don't actually own a record player.So I think it was Peter Drucker who said, the seller really knows what they're selling, and I don't think you're selling intellectual property or music cop right here. What we're actually selling is merchandise, you know, Taylor Swift, I got an email from Taylor Swift team saying they've got a marble blue vinyl coming out this week.Now we're talking about vinyl in the same way we used to talk about stone wash jeans, marble blue. This is like the fourth version of the same 11 songs priced at 29 99. Let's just figure that out for a second. I'm willing to give you 10 bucks a month to, access a hundred million songs on streaming services, but I'm also, it's the same person.I'm also willing to give you 30 bucks to buy just 10 of them. This is expensive music and I might not even be listening to it cause I don't even have a record player.[00:09:55] Dan Runcie: This is the fascinating piece about how we're calculating this stuff because the vinyl sales and all of that has been reported widely as a great boom to the industry and it has been.We've seen the numbers and in a lot of ways it brings people back to the era of being able to sell the hard copy of the thing itself, but it's much closer to selling a t-shirt or selling a sweatshirt or selling some type of concert merchant. It actually is the actual physical medium itself. So it'll be fascinating to see how that continues to evolve, how that embraces as well. On your side though, as a personal listener, do you buy any vinyls yourself that you don't listen to, that you just keep on display or?[00:10:34] Will Page: It's like your shoe collection, isn't it? Yes, right. Is the answer to that. But no, I mean, I will say that I got 3000 fi funk records in the house and they're all in alphabetical chronological order.So if they haven't been listened to, at least I know where to find them.[00:10:48] Dan Runcie: That's fair. That makes sense. So let's talk about the third piece of this, and that's the division of this. So you have the B2C side and you have the B2B side. Can we dig into that?[00:10:59] Will Page: Sure. this is, I think the backdrop for a lot more of the sort of thorny conversations happening in the music industry is now, you may have heard that in the UK we've had a three year long government inquiry into our business.We had the regulator turn over the coals, and so there's a lot of interest in how you split up this 40 billion dollar piece of pie. who gets what? And the division I'm gonna talk about here is labels an artist on one side. Songwriters and publishers on the other side as it currently stands, I would keep it simple and say two thirds of that 40 billion dollars goes to the record label and the artist, one third goes to the publisher and the songwriter.Now, when I first did this exercise back in 2014, it was pretty much 50 50, and when you see things which are not 50 50 in life, you're entitled to say, is that fair? Is it fair that when a streaming service pays a record label a dollar, it pays the publisher and the songwriter around 29 cents? If you're a publisher, a songwriter, you might say, that's unfair, cuz I'm getting less than them.I have preferences, issues, and I have any issues with this division. Well, let's flip it around. If you look at how B2B world works, licensing at the wholesale level, let's say you're licensing the bbc, for example, if your song's played on the bbc, you're gonna get 150 pounds for a play. 90 pounds goes to the songwriter and the publisher, 60 pounds goes to the artist and a record label.Now, is that fair? Why does the publisher win in the B2B market? By the record, label wins in the B2C market. And the one, the lesson I want to give your listeners is one from economics, and it's rarely taught university these days, but back in 1938, 1939, in a small Polish town called la. Now part of the Ukraine, ironically, free Polish mathematicians sat in a place called a Scottish Cafe, ironic for me, and invented a concept called Fair Division.And the question they posed was, let's imagine there's a cake and there's two people looking at that cake getting hungry. There's Dan Runcie over in the Bay Area and there's Will page back in Edinburgh. What's the best way to divide that cake up? And the conclusion they came up with is you give Will page, the knife.Aha, I've got the power to cut the cake. But you give Dan Runcie the right to choose which half. Damn, I've gotta make that cut really even otherwise, Dan's gonna pick the bigger half and I'll lose out. And this divider two model gave birth to the subject of fair Division and it simply asked, what makes a fair division fairer?How can I solve a preference? How can I solve for envy? I want that slice, not that slice. I'm unhappy cause Dan got that slice and not that slice. There's a whole bunch of maths in this. We had a third person that gets more complex. But I just wanna sow that seed for your listeners, which is when we ask questions like, why is it the label gets a dollar and the publisher gets 29 cents?There's gotta be some rationale why you know who bets first? Is it the label that bets first or the publisher who commits most? Is it label that commits most marketing spend or the publisher? These types of questions do with risk, often help answer questions of fair division, or to quote the famous Gangstar song, who's gonna take the weight?Somebody's gotta take a risk when you play this game, and perhaps there's a risk reward trade off, which is telling us who gets what Share of the spoils.[00:14:15] Dan Runcie: Let's unpack this a little bit because it's easy to see. May not be fair, but it's easy to see why the record labels get preference on the B2C side because as I mentioned before, the record labels have acquired a lot of the publishers, and especially in the streaming era, they were prioritizing that slice of the pie, their top line, as opposed to what essentially is the subsid subsidiary of their business, the publishing side.Why is it flipped with sync? Well, how did that dynamic end up being that way?[00:14:47] Will Page: That's an anomaly, which is actually blatantly obvious. You just don't think about it. And the way it was taught to me is anyone can record a song, but only one person can own a song. So I think, let's give an example of, I don't know, a Beach Boy song where I could ask for the original recording of that Beach Boy song to be used in the sync.Or I could get a cover band. So let's say I got a hundred thousand dollars to clear the rights of that song, and the initial split should be 50 50. If a band is willing to do a version of it for 10,000, the publisher can claim 90,000 of the budget and get the option. If the record label objects and says, well, I wish you used a master.Well, you got a price under the 10,000 to get the master in. So this kind of weird thing of bargaining power, if you ever hear. Let me scratch that again. Let me start from the top. Let me give you a quick example, Dan, to show how this works. One of my favorite sort of movies to watch when you're Bored and killing Time is The Devil's Swear, Prada great film.And then that film is a song by Seal called Crazy, incredible song, timeless. That guy has, you know, timeless hits to his name, but it's not him recording it. Now, what might have happened in that instance is the film producer's got a hundred thousand to get the song in the movie, and he's looking to negotiate how much you pay for publishing, how much you pay for label.Now the label is getting, you know, argumentative, wanting more and more, and the publisher is happy with a certain fee. Well, the film producer's got an option. Pay the publisher of the a hundred thousand, pay him 90,000, given the lion share of the deal. And then just turn the label and say, screw you. I'm gonna get a covers bant and knock me out.A decent version of it. And this happens all the time in TV films, in commercials, you'll hear covers of famous songs. And quite often what's happening there is you gotta pay the publisher the lion share of your budget and then just cough up some small chains to the covers bant to knock out a version.And then, so just a great reminder, Dan of anyone can record a song, but only one person can own the song that is the author. And that's why negotiating and bargaining power favors publishes in sync over the record labels.[00:16:59] Dan Runcie: That makes sense. And as you're saying that, I was thinking through five, six other examples of cover songs I've seen in many popular TV shows and movies.And this is exactly why?[00:17:08] Will Page: It's always car commercials. For some reason, every car commercial's got cover in a famous song. You think, remember that weird Scottish guy down Ronie Trapital? Yeah. That's what's happened. The publishers pool the rug from under the record label's feet at negotiation table.Another super important observation about the glocalisation trend, Dan, is I'm gonna take one of those 10 countries as our spotlight, Poland. Now the top 10 in Polands or Polish, the top 20 in Poland, or Polish. In fact, if you go to the top 40, it's pretty much all Polish bands performing in Polish, and you could say that's localization.But stop the bus. Most of those acts are performing hip hop, which is by itself a US genre. So perhaps we've got glocalisation of genre, but localization of language and artist. And that's a very important distinction for us to dissect. And perhaps it's for the anthropologist, the sociologist, to work out what's going on here.But it's not as straightforward as it's just local music. It's local music, but it's global genres, which is driving us forward.[00:18:08] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist. You just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about. How different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:19:04] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:19:28] Dan Runcie: Well said. Agreed. Well, let's switch gears a bit. One topic that I wanna talk about, and I actually gave a talk recently, and I referenced you from this term, and its of music, was the glocalisation of music and why this is happening and what it means for Western music specifically in the us. But first, if you could define that term and explain why this is so important in music right now.[00:19:53] Will Page: Well, I'm so excited to be on Trapital talking about this because we are now officially published by London School of Economics, so I'm gonna make my mom and dad proud of me. At last Backstory, paperback of my book, guitars in Economics, retitled to Pivot. Apparently WH Smith's Travel and Hudson Travel said books with economics in their titles Don't sell an airport.So we've rebranded the whole book to Pivot and it's in airports, which is a result. that book, that paperback came out on the 6th of February and that night I was on the BBC one show and they had this great happy, clappy family friendly story. They wanted to bounce off me. They said, Hey, will, Isn't it great that the top 10 songs in Britain last year were all British ex?For the first time in 60 years, Britain got a clean sweep of the top 10 in the music charts. And I said, curb your enthusiasm because we're seeing it elsewhere. The top 10 in Germany, were all German. Top 10 in Italy, all Italian, ditto France, deto Poland. And if you go to Spain, the top 10, there were all Spanish language, but largely Latin American.So it's not just a British thing that we've seen this rise of local music on global streaming platforms. We're seeing it everywhere, cue some gulps and embarrassments live in the TV studio. But I made my point and I came out of that interview thinking. Well that stunned them. It's gonna stu more people.And I said about working on a paper called glocalisation, which with a Scottish accent, it's hard to pronounce. Let's see how you get on with it. Not localization and not glocalisation. Emerging to by definition and by practice glocalisation. I teamed up with this wonderful author, Chris Riva, who'd be a great guest on your show.He did a wonderful blog piece you may have read, called Why is There No Key Changes in Music anymore? It's a really beautiful piece of music writing and there isn't. Nobody uses key changes in the conclusion of songs. And we set out to do this academic study to explain to the world what's been happening in music and why it's relevant to everyone else.And what we saw across 10 European countries was strong evidence of local music dominating the top of the charts in these local markets on global platforms. Now history matters here. We didn't see this with local High street retailers, America, British, Canadian music dominated those charts. We still don't see it in linear broadcast models like radio and television, you know, it's still English language repertoire dominating those charts. But when it comes to global streaming, unregulated free market, global streaming, we see this phenomenal effect where local music is topping the charts. And you know, you look at what does it mean for us English language countries like ourselves?It means things get a little bit tough. It means exporting English language repertoire into Europe becomes harder and harder. Maybe I'll just close off with this quite frightening thought, which is Britain is one of only three net exporters of music in the world. The other two being your country, United States and Sweden.Thanks to a phenomenal list of Swedish songwriters and artists. And I can't think of the last time this country's broken a global superstar act since Dua Lipa in 2017. Dan, we used to knock them out one, two a year. 2017 was a long time ago, and it's been pretty dry since.[00:23:13] Dan Runcie: And that's a great point for the people that work at record labels and other companies making decisions too, because there's been so much talk about hip hop's decline. But so much of that is focused on how this music is categorized and a lot of it's categorized solely on.What is considered American hip hop. But if you look at the rise of music in Latin America, which has been one of the fastest growing regions in the world, most of that music is hip hop. Bad Bunny considers himself a hip hop artist, you just brought up this example of Polish hip hop being one of the most popular genres there.So when we think about, how different genres get categorized, which genres get funding. Let's remember that key piece because hip hop is this culture and it's global, and that's gonna continue. So let's make sure that we are not taking away from a genre that is really one of the most impactful and still puts up numbers if we're categorizing it in the right way.[00:24:07] Will Page: Damn straight. I mean, I think genres are often like a square peg trying to fit into a round hole and in a paper published by London School of Economics, I was honored to use that line that I think I said on trap last time, which is rap is something you do. Hip hop is something you live. Rap could be the genre, hip hop could be the lifestyle.Maybe what those Polish acts getting to the top of the charts of doing is representing a lifestyle, but they're doing it in their mother tongue.[00:24:32] Dan Runcie: Well said. Agreed. This is something that's been top of mind for me as well because technology in general has a way of making regions and making people in particular regions closer together than it does making the world bigger. It's like in, in a sense, technology can make the world seem bigger, but it actually makes it seem smaller, right? And I think that algorithms and bubbles that come from that are another symptom of this.But this is going to have huge implications for Western music. You mentioned it yourself. All of these markets that are used to being export markets, when they no longer have the strength to be able to have those exports, how does that then change the underlying product? How does that then change the budgets, the expectations of what you're able to make? Because if you're still trying to maintain that same top line revenue, you're still trying to maintain those airwaves you have, it's gonna cost you more money to do that, because you can't rely on the few Western superstars that you have to get, that you have to have equivalent of a superstar or at least a middle tier star in every region that you once had strong market share that you could export in.And it's gonna change cost structures. It's gonna change focus. And a lot of these expansions that we've seen of record labels, especially Western record labels, having strong footprints in different regions across the world, they're not just gonna need to have presence, they're gonna need to have strong results.And in many ways, try to rival the own companies that are in those comp, in those regions, the homegrown record labels, because every country is trying to do their own version of this and it's gonna be tight. This is one of the challenges that I think is only gonna continue to happen.[00:26:14] Will Page: You're opening up a real can of worms. I get it. Pardon to your listeners, we're getting excited here. Day of publication, first time we've been able to discuss it on air, but I know I'm onto something huge here and you've just illustrated why just a few remarks. One, some of the quotes that we have in the paper were just phenomenal. We have Apple included in the paper. We have Amazon, Steve Boom, the head of that media for Amazon in charge of not just music, but Twitch audio books, the whole thing. He's looking at all these media verticals. He makes this point where he says, as the world becomes more globalized, we become more tribal. Stop right there, as he just nailed it.What's happening here? It's The Economist can only explain so much. This is what's so deep about this topic. I wanna toss it to the anthropologist of sociologists to make sense of what I've uncovered, but it's massive. Now let's take a look at what's happening down on the street level with the record labels and the consumers. You know, the record labels are making more money and they're devolving more power to the local off seats. You know the headcount in the major labels, local off season, Germany, France, and Vietnam or wherever is doubled in the past five years. It hasn't doubled in the global headquarters. That's telling you something.If you look at how labels do their global priority list, maybe every month, here's 10 songs we want you to prioritize globally. So I had a look at how this is done, and across the year I saw maybe 8, 10, 12 artists in total, and there's 120 songs. There's not that many artists. You think about how many local artists are coming out the gate every week hitting their local labels or local streaming staff, up with ideas, with showcases and so on.Not a lot of global priority. Then you flip it and you think about the consumer, you know, they've had linear broadcast models for 70 years where you get what you're given. I'm gonna play this song at this time and you're gonna have to listen to it. FM radio, TV shows now they're empowered with choice and they don't want that anymore.They want what's familiar. What comforts them. They want their own stars performing in their own mother tongue topping those charts. So this has got way to go. Now, a couple of flips on this. Firstly, what does this mean for artists? And then I'm gonna take it out of media, but let's deal with artists.Let's imagine a huge festival in Germany. 80,000 people now festival can now sell out with just German X, no problem at all. So when the big American X or British X commanded like a million dollars a headlining fee, you wanna go play that festival. That promoter can turn around and say, sorry man, I can't generate any more money by having you on my bill.How much are you gonna pay me to get on stage? Price maker, price taker? You see what happens. And then the last thing, and there's so much more in this paper for your listeners to get to, and let's please link to it and you'll take, I'll take questions live on your blog about it as well, but. There's a great guy called Chris Deering, the father of the Sony PlayStation. Did you play the Sony PlayStation back in the day? Were you're a fan of the PlayStation.[00:29:08] Dan Runcie: Oh, yeah. PS one and PS two. Yeah. Okay.[00:29:11] Will Page: You, oh, so you, you're an OG PlayStation fella. So he's the father of the PlayStation and launching the PlayStation in the nineties and into the nineties. He offered us observation, which is when they launched a SingStar, which was karaoke challenge.In the PlayStation, he says, we always discussed why the Swedish version of SingStar was more popular in Sweden than the English version Science. Intuitive enough. Let me break it down. Gaming back then was interactive music was not, you interacted with your PlayStation, that's why you killed so much time with it. Music was just a CD and a plastic case that broke your fingernails when you tried to open it. That's how the world worked back then and gaming offered you choice. I could try and do karaoke with those huge global English language hits where I could go further down the chart and buy the Swedish version and sing along to less well known Swedish hits. And the consumer always picked the Swedish version. So as a bellwether, as a microcosm, what I think Chris Ding was teaching us was we saw this happening in gaming long before you started seeing it happen with music. 20 years ago when there was interactive content, which gaming was, music wasn't, and consumers had a choice, which gaming offered a music didn't.They went local. Today, Dan, we're dealing with music lists, A interactive, and B offers choice. And what we're seeing is local cream is rising to the top of the charts.[00:30:33] Dan Runcie: And we're seeing this across multimedia as well. We're seeing it in the film industry too. Even as recent as five, 10 years ago, you release any of the blockbuster movies that were successful in the us, almost all of them had some overseas footprint.Some of them definitely vary based on the genre, but they were always there. But now China specifically had been such a huge market for the Hollywood and Box office specifically, but now they're starting to release more of their own high ed movies and those are attracting much more audiences than our export content can one.Two, the Chinese government in general is just being very selective about what they allow and what they don't allow. And then three, with that, that's really only leaving certain fast and furious movies and Avatar. That's it. The Marvel movies are hit and missed depending on what they allow, what they don't allow, and how, and it's just crazy to see the implications that has had for Marvel Studios for everyone else in Hollywood as well.When you think about it, and we're seeing this across multimedia, I think there's a few trends here that makes me think about, one is. Population growth in general and just where those trends are and how different corporations can approach the opportunity. Because I look at Nigeria, you look at Ethiopia, these are some of the fastest growing countries in the world.And you look at the music that is rising more popular than ever, whether it's Amapiano or it's Afrobeats, that's only going to continue to grow. And that's only from a few regions in the huge continent of Africa. So when we're thinking about where success is gonna come from, where that lines up with infrastructure, people have been seeing it for years.But the reason that we're seeing the growth in Africa, the growth in Latin America, the growth in a lot of these markets is this trend of glocalisation and it's only going to increase. So if we're thinking about where we wanna invest dollars, where we wanna build infrastructure in the future, we not just being folks that live in the western world, but also elsewhere in the world, this is where things are heading.[00:32:37] Will Page: Let me come in down the middle and then throw it out to the side. So, Ralph Simon, a longtime mentor of mine, is quoted in the paper and where he's actually gonna moderate the address here at the Mad Festival here in London, which is for the marketing and advertising community here, where he says, what you've uncovered here that headwind of glocalisation is gonna affect the world of marketing and advertising this time next year.That's what will be the buzzword in their head. So if you think about, I don't know, a drinks company like Diagio, maybe they've got a globalized strategy and a globalized marketing budget. When they start seeing that you gotta go fishing where the fish are and the fish are localized, they're gonna devolve that budget and devolve that autonomy down to local offices. So the wheels of localization, this rise of local, over global, they've only just got started, if I've called it right. We're onto something way bigger than a 20 minute read LSE discussion paper. This goes deep, deep and far beyond economics. But then you mentioned as well China, I mean just one offshoot observation there, which is to look at education.If you look at the UK university system, about a third, if not more, of it is subsidized by the Chinese government and Chinese students here. Great for business, slightly dubious in its business, besties, charging one student more than another student for the same product. But that's what we do over here.And I recently, we made a fellow of Edmar University's Futures Institute, which is an honor to me, you know, gets me back home more often. Fine. And I was learning from them that. The quality of students coming from China to study here in Britain and across Europe is getting worse and worse. Why? Cuz the best students have got the best universities in China.They no longer need to travel. So there's a classic export import dilemma of, for the past 10, 15 years, universities have built a complete treasury coffer base of cash around selling higher education to the Chinese. And now the tables are turning. I don't need to send my students to you universities anymore.I'll educate them here. Thank you very much. So, like I say, this stuff is a microcosm. It's got a can of worms that can open in many different directions[00:34:39] Dan Runcie: And it's gonna touch every industry that we know of to some extent, especially as every industry watches to be global to some extent. This is going to be a big topic moving forward.Let's shift gears a bit. One of the terms that was really big for us. That came from our podcast we did last year. We talked about herbivores and we talked about carnivores, and we talked about them in relation to streaming. We haven't touched on streaming yet, and this will be our opportunity to dig down into it, but mm-hmm.For the listeners, can we revisit where that came from, what that means, and also where this is heading? What does this mean for music streaming right now as it relates to the services and competition?[00:35:24] Will Page: Well, when I first came on Trapital, that was in a small Spanish village of Cayo De Suria and I didn't think I'd come up with an expression that would go viral from a small village in Spain to be, you know, quoted from in Canada, in America.And Dan, this is quite hilarious. we have a new secretary of state of culture here in the UK. The right Honorable MP, Lucy Fraser KG, Smart as a whip. Brilliant. And when I first met her, you know what the first thing she said was, I listened to you on Trapital. I wanted to ask you about this thing you've got going called herbivores and carnivores.So right the way through to the corridors of power, this expression seems to have traveled. What are we talking about? Well, the way I framed it was for 20 years we've had these streaming services, which essentially grow without damaging anyone else. Amazon is up. Bigger subscriber numbers. Apple's got bigger subscriber numbers.YouTube and Nancy's bigger subscriber numbers. And then Spotify. Nancy's bigger subscriber numbers. Everyone's growing each other's gardens. That's fine. That's herbivores. What happens when you reach that saturation point where there's no more room to grow? The only way I can grow my business is stealing some of yours.That's carnivores. And the greatest example is simply telcos. We're all familiar with telcos. We all pay our broadband bills. How do telcos compete? Everybody in your town's got a broadband account, so the only way you can compete is by stealing someone else's business. The only way here in Britain Virgin Media can compete is by stealing some of skies.The only way that at and t competes is by stealing some of com. So that's carnival competition. Now, the key point for Trapital listeners is we don't know what this chapter is gonna read like cuz we've never had carus pronounce that word correctly. Carus behavior before. We've never seen a headline that said, Spotify's down 2 million subs and apple's up 2 million, or Amazon's up 3 million and you know, YouTube is down 3 million.We don't know what that looks like. So I think it's important for Trapital to start thinking about logical, plausible scenarios. You kick a one obvious one, which is again, a lesson from the telcos. When we do become carnivores, do we compete on price or do we compete on features? Let me wheel this back a second, you know, we'll get into pricing in more depth later. But downward competition on price tends to be how carnivores compete, and that'll be a fascinating development given that we've not seen much change in price in 22 years in counting or as we saw with Apple, they roll out spatial audio, they charge more for it, they've got a new feature, and they charge more for that feature.So do we see downward competition blood on the carpet price competition, or do we see. Upward competition based on features. I don't know which one it's gonna be. It's not for me to call it. I don't work for any of these companies. I've worked with these companies, but I don't work for any of them directly.But we have to start discussing these scenarios. How's this chapter gonna read when we start learning of net churn amongst the four horseman streaming services that's out there. It's gonna be a fascinating twist, and I'm beginning, Dan, I'm beginning to see signs of con behavior happening right now, to be honest with you.I can see switchers happening across the four, so I think we're getting there in the US and the UK. What are those signs you see? I'm just seeing that in terms of subscriber growth, it's a lot bumpier than before. Before it is just a clear trajectory. The intelligence I was getting was, everyone's up, no one needs to bother.Now I flag, you know, I signed the siren. I'm beginning to see, you know, turbulence in that subscriber growth. Someone could be down one month, up the next month. Maybe that's just a little bit of churn. The ending of a trial period, you don't know. But now for me, the smoke signals are some of those services are seeing their gross stutter.Others are growing, which means we could start having some switching. I can add to that as well. Cross usage is key here. I really hammered this home during my 10 years at Spotify, which is to start plotting grids saying, who's using your service? This person, that person, and next person now ask what other services are they using?And some data from America suggests that one in four people using Apple music are also using Spotify. And one in four people using Spotify are also using Apple Music. Cross usage confirmed. So if that was true, what do you make of that? With a public spending squeeze? With inflation, with people becoming more cost conscious in the economy with less disposable income, maybe they wanna wheel back from that and use just one, not two. And that's where we could start seeing some net churn effects taking place as well. So, you know, imagine a cross usage grid in whatever business you're working on. If your Trapital listeners and ask that question, I know who's using my stuff, what else are they using? Um, that's a really, really important question to ask to work out how this carnivore scenario is gonna play out.How are we gonna write this chapter?[00:40:23] Dan Runcie: This is interesting because it reminds me of the comparisons that people often make to video streaming and some of the dynamics there where prices have increased over the years. I know we've talked about it before to tend to a 12 years ago Netflix was cheaper than Spotify was from a monthly, US price group subscription.And now tough, tough. It's right. And now it's nearly twice the price of the current price point. That it is. The difference though, when we're talking about when you are in that carnival, when you're in that carnival market, what do you compete on? Features or price? Video streaming, you can compete on features essentially because the content is differentiated.If you want to watch Wednesday, that Netflix series is only one platform that you can watch it on. Yeah, you need to have that Netflix subscription, but in music it's different because if you wanna listen to SZA's SOS album, that's been dominating the charts. You can listen to it on any of these services.So because there are fewer and fewer limitations, at least, if your goal, main goal from a consumption perspective is to listen to the music, how do you then differentiate, which I do think can put more pressure on price, which is very interesting because there is this broader pricing debate that's happening right now about why prices should be higher.And we've seen in the past six plus months that Apple has at least raised its prices. Amazon has done the same, at least for new subscribers. Spotify has announced that it will but hasn't yet and this is part of that dynamic because on one hand you have these broader economic trends as you're calling them out, but on the other hand you do have the rights holders and others pushing on prices to increase.And then you have the dynamic between the rights holders and then the streaming services about who would then get the increased revenue that comes. So there's all of these fascinating dynamics that are intersecting with this her before shift to carnivores[00:42:23] Will Page: For sure. Let me just go around the block of those observations you offered us. All relevant, all valid and just, you know, pick off a few of them. If we go back to Netflix, I think Netflix has a, not a herbivore. I'm gonna talk about alcohol here cause it's late in the day in the UK. A gin and tonic relationship with its competitors. That is, if Dan Runcie doesn't pay for any video streaming service, and let's say Netflix gets you in and I'm the head of Disney plus, I say, well, thank you Netflix.That makes it easier for me to get Dan to pay for Disney Plus too. They compliment each other. They are genuine complimentary goods. They might compete for attention. You know who's got the best exclusive content, who's gonna renew the friends deal, whatever, you know, who's gonna get Fresh Prince of Bel Air on?That could be a switch or piece of content too, but when you step back from it, it's gin and tonic. It's not different brands of gin, that's really important technology, which is they've grown this market of video streaming. They've increased their prices and the same person's paying for 2, 3, 4 different packages.If I added up, I'm giving video streaming about 60 quid a month, and I'm giving music streaming 10 and the sixties going up and the music's staying flat. So it's bizarre what's happened in video streaming because the content is exclusive. Back to, how do music carnivores play out again? Could we see it play out in features?I listen to airport cause they've got classical and I listen to Spotify because it got discovered weekly. Is that plausible? Personally, I don't buy it, but you can sow that seed and see if it takes root, as well. I think just quick pause and Apple as well. I think two things there. They've launched Apple Classical. That's a very, very good example of differentiating a product because it's a standalone app like podcast as a standalone app. The way I look at that is you can go to the supermarket and buy all your shopping. You can get your Tropicana orange juice, you can get your bread, get your eggs, get your meat, get your fish or you could go to a specialist butcher and buy your meat there instead. Apple Classical for me is the specialist butcher as opposed to the supermarket, and they're offering both in the same ecosystem. It'd be incredible if they preload out the next iOS update and give 850 million people an Apple classical app.Imagine if they did that for Jazz, my friend. Imagine if they did that for jazz. Just if Apple's listening, repeat, do that for jazz. So there's one example. The other example from Apple is to go back to bundling. You know we talk about 9.99 a month. I chewed your ear off about this topic last time I was on your show.Just to remind your listeners, where did it come from? This price point in pound Sterling, in Euro in dollar that we still pay for on the 20th of May, 2023. It came from a Blockbuster video rental card that is when reps, he got its license on the 3rd of December, 2001. Not long after nine 11, a record label exec said if it cost nine 90 nines, rent movies from Blockbuster.That's what it should cost to rent music. And 22 years plus on, we're still there, ran over. But what does this mean for bumbling strategies? How much does Apple really charge? If I give $30 a month for Apple One, which is tv, music, gaming news, storage and fitness, all wrapped up into one price. Now, there's a famous Silicon Valley investi called James Barksdale.Dunno if you've heard of him from the Bay Area where you're based. And he had this famous quote where he said, gentlemen, there's only two ways to make money in business. Bundling and unbundling. What we've had for the past 10 years is herbivores. Unbundling. Pay for Netflix, don't pay for Comcast. Pay for Spotify. Don't pay for your CDs, fine. What we might have in the next 10 years is carnivores bundling, which is a pendulum, swings back towards convenience of the bundle and away from the individual items. So Apple, take 30 bucks a month off my bank balance. Please take 40. All I want is one direct debit. I don't care about the money, I just want the bundle.And I don't want to see 15 direct debits every month. I just wanna see one. I think that's a very plausible scenario for how the next 10 years it's gonna play out as we shift from herbivores to carnivores[00:46:31] Dan Runcie: And the bundle benefits, the companies that have the ability to do that, right? You can do that through Amazon Prime and get your video, your music, your free shipping or whatever is under that umbrella. You could do that through Apple. You mentioned all the elements under Apple one. Spotify has some element of this as well, whether it's exclusive podcasting and things like that. So you're starting to see these things happen, one thing that you mentioned though earlier, you're talking about going through the supermarket and all of the items that you could get there versus going to the specialty butcher.One of the unique aspects of the supermarket thing though, is that. You go into the supermarket, yes, you can get your high-end Tropicana, or you can get the generic store brand, but you're gonna pay more for that high-end Tropicana because you're paying for the brand, you're paying for everything else that isn't gonna necessarily be the same as the generic one.That may not necessarily be the same quality or the same taste. We're seeing this a bit in the streaming landscape now and some of the debates that were happening. You've heard the major record label executives talk about how they don't necessarily want their premium music. They see their content as HBO level and it's being in a playlist next to rain music, or it's next to your uncle that is playing some random song on the banjo and they're getting essentially the same price going to the rights holders for that song.And in the supermarket that's obviously very different, each item has its own differentiator there, or econ has its own price point there and its own cost, but that isn't necessarily the same thing in music. Of course, the cost of each of those tracks may be different, but the revenue isn't. So that's gonna be, or that already is a whole debate that's going on right now. Do you have thoughts on that?[00:48:21] Will Page: Well, you tossed top Tropicana, let me go grab that carton for a second. It's one of the best economic lessons I ever learned was visiting a supermarket in America cuz it's true to say that when you go into one of your American supermarkets, an entire aisle of that precious shelf space, it's dedicated to selling inferior brands of orange juice next to Tropicana.Just very quickly what's happening there, the undercover economist, if you want, is a bargaining power game. Tropicana knows The reason Dan Runcie pulled the car over, got the trolley, went into that supermarket is to get a staple item of Tropicana and other stuff. By the time it gets to the till, Tropicana could be $5.By the time he gets to till he spent $50. So here, subscriber acquisition cost contribution is really high. They're getting you into the mall. What you do once you're in the mall is anyone's business, but they got you in. Otherwise you would've gone to the deli across the street. So they could say to the supermarket, I'm gonna charge you $7 to sell that Tropicana for $5 in my supermarket.Supermarket knows this, they know that Tropicana's got the bargaining paris. They counter by saying, here's an entire shell space of awful brands of orange juice to curb your bargaining power to see if the consumer wants something different. Now is this Will Page taking a stupid pill and digressing down Tropicana Alley. No. Let's think about this for a second today, Dan, there's a hundred thousand songs being onboarded onto streaming services. Is there anybody what? Marching up and down Capitol Hill saying We want a hundred thousand songs. No, the floodgates have opened them. It's all this content. Two new podcasts being launched every minute.All this content, all of these alternative brands to Tropicana. But you just wanted one. And I think the record labels argument here is that one Cardinal Tropicana is worth more than everything else you're offering by its side. So we wanna rebalance the scales. Now this gets really tricky and very contentious, but what is interesting, if you wanna take a cool head on this topic, it's to learn from the collecting studies, which is not the sexiest thing to say on a Trapital podcast, but it's to look at your Scaps and your BMIs and understand how they distribute the value of money for music.Since their foundation in the 1930s, scap has never, ever treated music to have the same value. They have rules, qualifications, distribution, allocation practices, which change the value of music. And they don't have data scientists then. And to be honest, I don't think they have data scientists now, but they always have treated the value of music differently.When they were founded, they had a classical music distribution pot and a distribution pot for music that wasn't classical music. Ironically, their board was full of classical composers, and I think that's called embezzlement, but we'll leave that to the side. What we have here is a story of recognizing music as different value in the world of collecting Saudi.I call that Jurassic Park, but in the world of music streaming with all those software developers and engineers and data scientists, 22 years of 9.99 money coming in and the Prorata model, which means every song is worth the same for money going out, and that's your tension. That's your tension. How do you get off that?Tension is anyone's business. We got some ideas we can discuss. User-centric is one, autocentric is another. I've got a few ideas for my own, but I want your audience to appreciate. In straight no chaser language we call it. That's the undercurrent of what's going on here. How do you introduce Trapitalism to communism?[00:51:38] Dan Runcie: You mentioned there's artist centric, user-centric, but you mentioned some ideas you had of your own. What are those ideas?[00:51:44] Will Page: Can I bounce it off? Use my intellectual punch bag for a quick second. Yes, and I've worked 'em all. I've worked on the artist centric model. I've worked on artist growth models. That's up on YouTube. I've worked on user centric, but I'm just, I'm worried that these models, these propositions could collapse the royalty systems that these streaming services work under. The introduction of user centric or artist centric could become so complex, so burdensome, the royalty systems could break down.That's a genuine concern I have. It's not one you discuss when you talk about your aspirations and the land of milk and honey of our new streaming model that you envisage. Back in the engine room when you see how royalties are allocated and calculated and distributed out to right holders, I mean they're under stress anyway.Any more stress could snap it. So I come at this model, my proposition from the one that's least likely to break the system. I'm not saying it's the best model, but it's the least like least likely to have adverse impact on the system. And it came from my DCMS Select Committee performance in the UK Parliament, which your listeners can watch, we can give the link out, which is I said to the committee in terms of how you could change the model.What about thinking about duration? This wheel back since 1980s when B BBC radio plays, let's say Bohemian Rhapsody, it will pay for that song twice what it would pay for. You're my best friend, members of Queen wrote both songs, both released within three, four years of each other, but one lasts twice as long as another.So duration is not new. We factor in duration a lot in our music industry. We just never thought about it. If you look at Mexico, the Mexican collecting Saudi, which is so corrupt as an inside an army barracks, if you look there, they have sliding scales, duration. They factor in time, but they say the second minute is what?Less than the first. But I'm giving you more for more time just adding, decreasing scale. Germany, they have ranges in your country. America, mechanical licensing collective, the MLC in Nashville, they have overtime songs that last more than six minutes get a 1.2 multiplier. So I've been thinking about how could you introduce duration to this business?And the idea I've come up with is not to measure time. That'd be too complex, too burdensome. Every single song, measuring every second of consumption. How do you audit there? If you're an artist manager, but I wanna measure completion, then I think this is the answer. I want songs that are completed in full to receive a bonus and songs that are skipped before they end to receive a penalty.Not a huge bonus, not a huge penalty, but a tweak. A nudge that says, I value your attention. I value great songs, and you listen to these great songs and it captures my entire attention. You deserve something more. But if I skipped out after the first chorus, you deserve something less. I think that small nudge is a nudge in the right direction for this industry, and it wouldn't break the systems.So there it is. Tell me now, have I taken a stupid pill?[00:54:42] Dan Runcie: What I like about it, and I've heard other people in the industry mention this too, you're able to get something closer to what we do see in video streaming. I forget which app is specifically, but their threshold is 75%. So they acknowledge that yes, if you don't wanna watch the credits, you don't wanna listen to the closeout, that's fine.But if we at least get you for 75%, then we are gonna count that, and then that then can get used internally. That can then get used in different areas. But I think it provides everyone better data and analysis, much better data to be able to break down than. Whether or not you listen to the first 30 seconds, that's such a low threshold, but that's essentially where we are today.I think the biggest thing, regardless of what path is chosen, because as you and I both know, there's trade-offs to everyone. So instead of going through all the negative parts about it, I think it's probably more helpful to talk about it collectively, you accept the fact that there are trade-offs. You accept the fact that people are gonna try to game the system regardless of how you go about it.Because we have seen duration work elsewhere and it does get at that particular thing that we're trying to get at there is help there. And you mentioned other things such as, yes, if you're listening to the Bohemian Rhapsody, you, which I think is at least seven minutes and 15 seconds, most likely longer versus two minute song that is clearly idealized for the streaming era.There still should be maybe some slight difference there because listening to a minute and 30 seconds is very different than listening to five minute and 45 seconds to be able to hit that 75% threshold. So between that and then I've heard other topics such as which artists you start your session with should have some type of multiplier on there, and as opposed to someone that gets algorithmically recommended to you to be able to put some more onus on the on-demand nature of music streaming.The tough thing is that these things do get tough in general. Anytime there's any type of multiplier or factor in, there still is a zero sum pot that we're taking the money out of. So accepting the trade-offs, I like the direction, I think that there's a few ways to go about it that could make it more interesting, but in general, I do think that any of the proposed options I've seen at least, allow a bit more of a true economic reflection of where the reality is as opposed to where things are today.And I understand where things are today. It's easy. It's easy to report, it's easy to collect on and pay people out, relatively speaking. But like anything, there's trade offs.[00:57:14] Will Page: Yeah, it's really easy today. Even drummers can work out their royalties and no offense to drummers, but that's telling you something.But two points on my dura