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(Soundbite of song, "Change")

GUY RAZ, host:

You're hearing a piece simply titled "Change." It's from a new album by The Now Ensemble, and it's just one of dozens of interesting CDs that make it to my colleague Tom Huizenga's desk each month.

Tom is the classical editor for NPR Music and joins us on this program periodically to spin a few of the things that have been crossing his desk lately. Tom, it's great to see you again.

TOM HUIZENGA: Great to be back, Guy.

RAZ: This, what do we call this music? I mean, you're here, you know, reppin' classical, man. But there's a jazziness going on here, almost poppy.

HUIZENGA: Maybe that's just the point, really. I think that it's all those genres, maybe even a few more. I hear definitely some pop, perhaps a little hip-hop, a little Steve Reich maybe.

RAZ: I hear that. I hear that.

HUIZENGA: It's music by Judd Greenstein. He's a 31-year-old composer from New York, and you might say is an important person in the indie classical scene, if that's what we want to call it.

RAZ: Uh-oh, indie classical.

HUIZENGA: It's from this new record called "Awake," and there are five other young composers on it. And let's move just a little further down into the piece, where things get percolating, and the flute and the clarinet, they chase each other around.

(Soundbite of song, "Change")

RAZ: This is pretty groovy stuff, man.

HUIZENGA: I really like it. I love how the piece kind of builds and transforms. It's got a super-cheerful groove and all these interlocking parts. It's quite wonderful.

RAZ: Okay, so you did say indie classical. I did stop you for a moment. I got to ask you: What is indie classical?

HUIZENGA: Well, it's a term that's being tossed around a lot these days. I'm not sure I would call it a movement, but I think of it as a younger generation of these kind of genre-bending composers who have absorbed certainly the last big movement in music, minimalism, but they're very adept at borrowing all of these styles.

They include things like electric guitars, drums, electronics in their music. And not only that, they feel equally comfortable performing their own pieces in clubs or in, you know, traditional concert venues.

(Soundbite of song, "Change")

RAZ: Love it. Okay, what have you got next for us in your stack of CDs there?

HUIZENGA: Okay, something very different. Take a deep breath. Time to chill. This is just impossibly gorgeous keyboard music by Domenico Scarlatti, played by the French pianist Alexandre Tharaud.

(Soundbite of music)

RAZ: What can you say about that? That's beautiful.

HUIZENGA: Yeah, that's the opening of the Sonata in A major. And I love that calming heartbeat rhythm in the left hand.

Tharaud is a really great Chopin player, but he obviously loves his baroque keyboard music because he's recorded albums by Bach and Rameau and Couperin, all contemporaries of each other.

This new record is all Domenico Scarlatti, 18 sonatas in all.

RAZ: So, Scarlatti was also a contemporary of Bach's.

HUIZENGA: That's right, class of 1685, same year as Bach and Handel.

RAZ: And the pianist Tharaud, this is his period.

HUIZENGA: He specializes at this stuff. And of course, you know, Guy, all this music was written for the harpsichord. This predates our modern piano. But Tharaud brings out a lot of Scarlatti's great coloristic effects.

Let's move down into the CD and another track here. Check out this image he conjures up here, just like a little Spanish street procession. You can almost hear the trumpets and guitars and drums all on Tharaud's piano. This is Scarlatti's Sonata in E major, K 380.

(Soundbite of music)

RAZ: That's Alexandre Tharaud, with Scarlatti's Sonata in E major.

HUIZENGA: Yeah, that's good. That's shaping up to be one of my favorite albums so far this year.

RAZ: I'm speaking with Tom Huizenga. He's a classical editor for NPR Music. Tom, what else have you been listening to these days?

HUIZENGA: Well opera, of course. And there's a great new CD out by one of the more exciting opera singers today. He's from Germany. His name is Jonas Kaufmann.

(Soundbite of music)

Mr. JONAS KAUFMANN: (Singing in foreign language).

HUIZENGA: Kaufman's star is rising pretty fast these days. He's had a string of successful CDs and appearances most recently at the Met in New York. He was there just a few weeks ago singing in Wagner's "Die Walkure," and the audience and the critics like totally fell in love with his good looks and his heroic, muscular voice.

Just listen to the richness of Kaufman's voice. It's got all this power and kind of the darker, burnished colorings of a baritone.

(Soundbite of music)

Mr. KAUFMAN: (Singing in foreign language).

HUIZENGA: The new record that we're listening to is an all-Italian CD called "Verismo Arias."

RAZ: What's verismo?

HUIZENGA: It's kind of a musical movement that blossomed around the turn of the 20th century in Italy. And the music got bigger, it got bolder, it got more melodramatic.

The stories in verismo operas, they're all about the raw emotions of the common people. I mean, we're talking, like, busted-up lovers, murder, betrayal, you know, the usual stuff.

(Soundbite of laughter)

RAZ: What's he singing about here?

HUIZENGA: This opera is set in the dark moments of the Reign of Terror in the French Revolution. It's from the opera "Andre Chenier" by Giordano.

(Soundbite of music)

Mr. KAUFMANN: (Singing in foreign language).

RAZ: Amazing. That's an Aria from the opera "Andrea Chenier" that's sung by the tenor Jonas Kaufmann.

Tom, we have time unfortunately for just one more. Take us off the beaten path a little bit.

HUIZENGA: All right, we can handle that. Can you say Mieczyslaw Karlowicz?

RAZ: I don't think we're allowed to say that on the radio.

HUIZENGA: Well, it's a tough name, but he's a great composer.

(Soundbite of music)

HUIZENGA: Karlowicz was a polish composer. He was also an avid mountain climber. He died in 1909, when he was covered with an avalanche in his beloved Tatra Mountains. He was only 32. Karlowicz' music is rarely played outside of Poland, but thanks to a few adventurous CD labels willing to take a risk, he's making something of a resurgence these days.

RAZ: What is he known for? I mean, did he even have time to leave a legacy?

HUIZENGA: A little bit. I mean, he was a fairly important figure at a time when a generation of younger Polish composers were taking chances with blending modern and traditional styles together.

RAZ: Yeah.

HUIZENGA: But you'll hear some obvious influences here in this symphony, most notably Wagner, Richard Strauss, Tchaikovsky. But Karlowicz has his own style. Listen to how he builds the finale. We'll hear the finale of the symphony here, and there's a luminous brass chorale that's just great.

(Soundbite of music)

RAZ: Love those trombones.

HUIZENGA: Yeah, they're good, and this is a good performance from folks who really know how to play Karlwicz' music. It's the Warsaw Philharmonic with Polish conductor Antoni Wit.

RAZ: Definitely off the beaten path. Thank you for that. That's Tom Huizenga. He is a classical editor here at NPR Music. You can hear more from these selections at Tom's blog. It's called Deceptive Cadence. That's at nprmusic.org. Tom, thanks so much for dropping by.

HUIZENGA: Always a pleasure, Guy, thanks.

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