The music you love on KMFA dates back centuries. Unfortunately, the same could be said of our web site – the current iteration of kmfa.org has been around since 2005, and that’s nearly a decade, which amounts to ancient history in web years.
The website will be launching in the next week, so you will soon find a whole new online experience at KMFA. You will find the playlist prominently available on the home page, showing the most recent selections as well as the current one. Those of you who listen online will immediately notice that you can now stream KMFA with one click, right at the top of the page, and you will find our new streaming service to be much smoother.
We created the new web site with the idea that KMFA is your portal to the world of classical music and cultural events, here in Austin and beyond. So you’ll find many stories (often with audio and video elements) about local and world arts events, interviews with artists, comments about landmark events in music history, and engaging listening ideas from KMFA’s program staff. Nonprofit arts organizations can submit events to the expanded KMFA Arts Calendar. Listeners have asked about being able to listen to archived copies of KMFA’s weekly programs (Choral Classics, Ancient Voices, Classical Austin, etc.). That feature will be up and running in just a few weeks, with a special page devoted to each program.
We’re thrilled to unveil the new KMFA web site, and we will notify you all when it is ready. We will invite you to explore it for yourself and share your impressions with us. (If you discover any missing links or other bugs, please share those with us, too – like any new web site, this is a work in progress.)
KMFA is deeply grateful to the City of Austin Cultural Arts Division; Creekmore and Adele Fath Foundation; and The Still Water Foundation for support in developing and launching the new web site.
Sometimes, you just get lucky. That was the case today at KMFA when we were honored to welcome one of the America’s great musicians.
Fluent in both American classical and traditional styles of music, Grammy Award-winner Mark O’Connor is on a mission to reinvent classical music in America. A student of folk fiddler Benny Thomasson and jazz violinist Stephane Grappelli, O’Connor has channeled his mastery of their music into his work which pushes his instrument to new extremes in both composition and performance of a variety of musical worlds including classical, jazz and country.
Thankfully, plans were able to be made at the last minute, and we were more than happy to welcome this American musical hero to our studios where in addition to talking with Dianne Donovan, he also showed up with friends and lots of fiddles.
In case you missed it, here is his interview with Dianne:
by John Clare
KMFA Content Director John Clare enjoys the music of Sir Andrzej Panufnik. September 24, 2014 marks the 100th anniversary of his birth. John caught up with Panufnik’s widow and daughter about the Polish master’s music. This is a re-post from blog ClassicallyHip by John Clare.
“It is the true Phoenix, the only one, and it belongs to the world, if the world will have it. This is what Panufnik’s great Ninth Symphony celebrates, in a unique manner. It is his crowning achievement, so far. It is hoped that it will be followed by others, just as new.” – Harold Truscott from “The Achievement of Andrzej Panufnik,” Tempo, December 1984.
I first heard about Andrzej Panufnik in 1989 from my composition teacher Walter Mays, who had heard a radio broadcast. We both liked Polish music, and I had already been inspired by a Polish violin teacher Andrzej Grabiec, to study the music of Krzysztof Penderecki. A recent release on Nonesuch made me fall in love with Panufnik’s Sinfonia Sacra. Soon, ordering scores, taping LPs to cassettes, and researching everything I could find on the composer took up my free time. One spring day a few years later, I called the maestro inquiring about study in London with some private lessons, and if I could get some answers about the mesmerizing third symphony (Sinfonia Sacra). “Write me”, Panufnik advised about the questions, and we can “talk about study in the future”, after seeing some scores of mine. This of course, was before email, and Google, so to come up with a number, and call internationally from Kansas was really a feat. I didn’t get around to sending those questions or scores, and sadly, Panufnik passed that fall.
Panufnik was a composer, pianist, conductor and pedagogue born on September 24th, 1914. He became established as one of the leading Polish composers. As a conductor, he was instrumental in the re-establishment of the Warsaw Philharmonic orchestra after World War II. After his increasing frustration with the extra-musical demands made on him by the country’s regime, Panufnik defected to the United Kingdom in 1954. But in England, just like Poland, the musical scene wasn’t right; in the East, it seemed he was too radical and in the West, not radical enough. Among his positions, he was conductor of the City of Birmingham Symphony Orchestra for two years, but then dedicated his life to composition only. It was in 1963 that Panufnik started gaining more fame (since his defection,) by winning the Monte Carlo Composition Competition with his third symphony, Sinfonia Sacra.
Andrzej Panufnik eventually married a photographer Camilla, and had two children: Jem, a gifted young man who is an artist/dj; and a daughter Roxanna, a composer. I got to know them through the internet, and via interviews in the US.
Hear an exclusive audio clip of Roxanna Panufnik talking about the influence and memories she has of her dad:
Here is an interview with wife, Camilla and daughter, Roxanna.
1. This year is filled with celebrations – how is it to hear these new interpretations of Andrzej’s music?
Roxanna: It’s so exciting to hear different interpretations of his works – it keeps him very much alive and kicking!
Camilla: I have been to dozens of Panufnik concerts this year, and have been most struck by the immense enthusiasm of the performing musicians, not only regular performers but new performers who find the emotional and poetic aspects of Andrzej Panufnik’s music extremely exciting, while at the same time they are fascinated by the originality and power of his compositional skills. There have been many fabulous performances, wonderfully received by audiences. Andrzej – sometimes said his music belonged to the 21st Century, rather than when he composed it, and now I see and I feel – that he was right.
2. The CPO recordings are astounding. While there have been excellent recordings in the past, this is a series of young musicians with the same orchestra. Does that make a difference?
Roxanna: Can’t answer this one, but mum can!
Camilla: Most important in making this amazingly exciting set of 8 CDs was the young and brilliant Polish conductor, Lukasz Borowicz, the artistic director of the Warsaw-based Polish Radio Symphony Orchestra. He conducted the first 3 CDs with his excellent Warsaw Orchestra, and the further five CDs, requiring a larger orchestra, in Berlin with the brilliant Konzerthausorchester.
3.100 years – the world has changed so much. Yet Andrzej’s music speaks to new audiences and is fresh. Is there a piece that speaks to you personally? (Almost all of his works touch me, but Katyn Epitaph hits me most! Both the tragedy and music.)
Roxanna: Nothing beats Sinfonia Sacra for me – especially hearing it performed live. It’s so timeless in its beauty and passion – so fresh, even 50 years after it was written!
Camilla: It’s difficult for me to name just one work. I love all of them. Some of course have special associations for me. Andrzej was composing his wonderful Sinfonia Sacra at the time our love affair was blossoming. The mysterious, exquisite 1948 Lullaby is a fascinating earlier work of immense originality, which led to him being acknowledged as the “Father of the Polish School” of experimental music in the 2nd half of the 20th Century. The Violin Concerto is also very close to my heart. I agree with you that Katyn Epitaph is deeply moving and it expresses his deep feelings about the 15,000 victims. And the last section of Symphony No 10 reduces me to tears, it’s so beautiful. No, I have to say I love them ALL and each one stirs a different memory.
4. How is it to have Roxanna’s (your) and Andrzej’s music together on programs (and now!) recordings?
Camilla: Andrzej would have been so proud of Roxanna and her immense success in the world of composition, no easy task in this day and age. People love her music and want to perform it over and over again. I am thrilled at our daughter’s recognition in the musical world and I rejoice to hear the music of the two classical Panufniks side by side. There is a definite link, spiritual as much as definable…
Roxanna: It feels very natural – i would have fought it 20 – even 15 – years ago whilst i strove to prove myself as an independent voice form his but now i relish those musical traits we have in common!
5. Panufnik Young Composers and inspirations from his music – affecting young composers…are there any goals or challenges ahead?
Roxanna: Mum needs to answer this one!
Camilla: The LSO-Panufnik Project for Young Composers give 6 talented young composers each year the chance to learn from proximity to Britain’s greatest Orchestra. They have coaching sessions on advanced composition for some of the more complex instruments such the whole range of percussion, or the harp, and they can test with any member of the orchestra their experimental ideas, they can attend rehearsals and concerts, they are coached by an experienced composer, they get to understand the pride and adoration of music of great orchestral players, and there are all sorts of other areas of help and perks. We have a brilliant young French conductor who conducts our quite fiery workshops with both kindness and challenges. Each year we commission two of our composers to compose for public concerts with the LSO ; also each year we have further ideas how we can develop the scheme, which is supported by the very enthusiastic Helen Hamlyn Trust. We have great results, many of the alumni are getting excellent commissions, the orchestralove the scheme and by mutual consent decided to start recording some of the short compositions which have succeeded most at our workshops. The first year we had 17 people applying. This year we had 131 applicants. Sir Andrzej Panufnik of course is an example to them all!
6. Congratulations, and many happy thoughts for this wonderful milestone for an incredible musicians and man.
Roxanna: Thank you! X
Camilla: Thank you John. You have been enthusiastic about Panufnik music long before so many great performers discovered it! I appreciate that more than words can say!
Audio examples (including 37 pieces for over 3 hours of listening!) are on Spotify – that includes both Roxanna’s and Andrzej’s music.
Panufnik was a good friend of Witold Lutoslawski…they were famous for performing duets during World War II in underground cafes around Warsaw Their rep included the infamous Paganini Variations.
Violinist Anne Akiko Meyers makes her home in Austin, but plays around the world. She is a mother of two, has a new release of American music called “American Masters,” just filmed a world premiere for PBS, and opens the Austin Symphony’s 104th season. Amidst all of this, she stopped by the KMFA studios to talk to John Clare about all of these projects, and to encourage you to become a sustaining member of KMFA.
She will be performing the Bach Double Violin Concerto on Friday and Saturday nights at 8:00 p.m., at the Long Center for the Arts in Dell Hall for the opening of the Austin Symphony Orchestra’s 104th season.
Hear the full interview:
We have two hot, new CD releases to give to YOU, our loyal listeners.
Simply click here for your chance to win one or both CDs! One entry per person. Winners will be notified by 9/17/14.
1 ) Nicola Benedetti – Homecoming, A Scottish Fantasy
2) Alessio Bax plays Beethoven – Hammerklavier & Moonlight Sonatas, The Ruins of Athens
KMFA Content Director John Clare likens the works of Shakespeare to composer Ludwig van Beethoven. More recently, William Walton scored Henry V on the silver screen, and Patrick Doyle’s music for Kenneth Branagh’s version is already a classic. Both scores can be heard on KMFA 89.5FM.
Locally, a one-man version of the Bard’s play is coming up.
September 5 to 14th, Robert Faires stars in Henry V for Austin Shakepeare’s season opener at the Long Center. KMFA’s John Clare spoke to Faires after rehearsal this week. The two talk about language, Robin Williams, and hear how the original one man production came about, and why it’s being revived.
Listen to the interview:
Take a sneak peek at the production:
Find out more about the production here: http://austinshakespeare.org/drupal/index2.php?q=node/747