This month's Living Composer is Stella Ziopoulou - a composer and violinist from Athens, Greece. She also plays the electric violin, the mandolin, some percussion, and is a singer, songwriter, and lyricist! Stella holds diplomas in violin, composition, harmony, counterpoint, and fugue. She graduated from Evangelos Kokkoris' composition class with Distinction, and was the first prize winner. She also holds a degree in International and European Studies (University of Piraeus) and a postgraduate degree in International Relations and Strategic Studies (Panteion University). Stella's work has been presented in some of the most important music venues in Greece. Some composition highlights: Her work "Shades of Alleviation" was selected by the Thessaloniki City Symphony Orchestra in collaboration with Aristotle University of Thessaloniki and the Greek Composer’s Union, and was performed in a concert dedicated to the special needs community. "Une hirondelle dans les nuages" was selected by French composer Alain Louvier and presented during a masterclass at the Athens Conservatory in honour of Olivier Messiaen. "La noche de una estrella" was presented as a part of the event "Hymns of the Night", hosted by the Nakas Conservatory. She composed, in collaboration with Kostas Gakis, the music for a theatre show “From Antigone to Medea”. This led to an invitation for the show to be presented in South Korea for the Busan International Performing Arts Festival in South Korea, as well as being performed in festivals across Greece. In the summer of 2021, she will be presenting a new composition at the 5th Musa Hellenica Festival on the island of Chios. Along with composing, Stella also participates in performances in a variety of other ways. She performs as a stage musician and collaborates with orchestras as a violinist. She is a founding member of the Trio Triaccordo, and creates arrangements for the trio. She was also a founding member of the Athenian Rhapsody Quartet, and has been a member of the events string quartet of the “MusicNow" agency since 2019. She has collaborated with and contributed to recording the work of various Greek artists, such as Zoe Tiganouria, Eleni Voudouraki, Tzeni Tsilis, and Seqstyle. Stella is currently employed as a violin professor at the National Conservatory of Greece, at the Nakas Conservatory, at Doukas School, and at the Ursuline Greek-French School, among other institutions. She wrote a pedagogical music book for young children entitled "Journey to the City of Music Notes", which is accompanied by a CD of songs with her own music and lyrics. In her spare time, she enjoys flamenco dancing! Learn more about Stella: https://stellaziopoulou.com Stella's compositions: Σκιές της Λύτρωσης (Shades of Alleviation) La noche de una estrella Respiro Etereo Stella's Top 5 Classical Music Works: Dvořák: Symphony No. 9 ("Aus der Neuen Welt" - From The New World/The New World Symphony) Mahler: Symphony No. 1 Debussy: La Mer Bach: Partita in D Minor, BWV 1004: V. Chaconne (at 13:50​) Tchaikovsky: Concerto for Violin and Orchestra in D major Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden Click here to browse the site!

Washington, DC-based composer and pianist Jessica Krash's music has appeared in many different kinds of performance contexts, including both traditional and experimental concerts. One of her works (a piece for dancers and saxophones) was even performed on the Washington canal in a thunderstorm! Her work has also been aired on radio in three continents: the US, Europe, and Asia. Jessica graduated with high honours from Harvard College. She then earned a master’s degree in piano from Juilliard and a doctorate in composition from the University of Maryland. She also studied at MIT (Massachusetts Institute of Technology), doing research in the philosophical and cognitive issues underlying musical understanding. Her research found that people who haven’t studied music can notice more important patterns and feelings in music than what musicians see at first on a musical score; sheet music does not always show clearly which notes go together, or which notes are the most important. Jessica loves teaching chamber music, piano, and composition to students of all ages. For 28 years, she taught at George Washington University, and has given lectures at the Library of Congress, NIH, Strathmore, and the Kennedy Center. She enjoys developing lectures and courses on music and the brain, women composers, music and dance, and “dangerous music” - music that was understood as powerful enough to change society. Jessica’s work has received high critical acclaim. Some highlights: Her 2018 chamber and vocal music CD (Albany Records) was praised by the Wall Street Journal, Gramophone, and Fanfare. This album was also named in “10 of the Best New Releases of 2018” by The Daffodil Perspective. Her solo piano CD (Ravello/Capstone) was listed by Tim Page as one of the most interesting CDs of 2006. Recent projects include: A cello concerto, premiered with the Alexandria Symphony in 2018, directed by James Ross with cellist Tanya Anisimova. Delayed by the pandemic, Trimitas’ premiere in Lithuania of Jessica’s piece for wind orchestra in honour of the Vilna Gaon, will be rescheduled for 2022. A short video opera related to artwork of Helen Frankenthaler. Learn more about Jessica: https://www.jessicakrash.com Jessica's compositions: Sulpicia's Songs And Then What I Wanted To Tell You (album) Jessica's Top 5 Classical Music Works: Johannes Brahms: Piano Trio No. 1 in B major, op. 8 Barbara Strozzi: Lagrime Mie Wolfgang Amadeus Mozart: Serenade For Winds in Bb, K. 361, “Gran Partita” Errolyn Wallen: Peace on Earth Gabriella Smith: Carrot Revolution Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden

The poem "Mandoline" by Paul Verlaine has been turned into song form by several composers. Learn about the poem and listen to our selection of musical settings! Which one is your favourite? The Poem Paul Verlaine published his "Fêtes galantes" collection of poems in 1869. The collection was inspired by characters and scenes from the commedia dell’arte (a form of Italian theatre) and the pastoral (depicting the life of shepherds) paintings of 18th-century artists. "Mandoline" was inspired by paintings by Antoine Watteau. In the poem, the reader (or listener) is a party guest, discovering the party through each stanza (group of lines)! The first stanza is a distant observation of the serenaders/the listeners. The second stanza gets more personal, introducing the pastoral characters of Tircis, Aminta, Clitandre, and Damis. The third stanza picks out details of the characters and their appearances. The fourth and final stanza describes the music and the dancing, with nature providing a lovely backdrop. Antoine Watteau - "La Perspective" The text is as follows: Les donneurs de sérénades (Those who serenade) Et les belles écouteuses (And the beautiful listeners) Echangent des propos fades (Exchange dull words) Sous les ramures chanteuses. (Under the singing branches) C'est Tircis et c'est Aminte, (It's Tircis and Aminte) Et c'est l'éternel Clitandre, (And it's the eternal Clitandre) Et c'est Damis qui pour mainte (And it's Damis, who for many a) Cruelle fait maint vers tendre. (Cruel woman writes many a tender verse) Leurs courtes vestes de soie, (Their short silk vests) Leurs longues robes à queues, (Their long dresses with trains) Leur élégance, leur joie (Their elegance, their joy) Et leurs molles ombres bleues (And their soft, blue shadows) Tourbillonnent dans l'extase (They whirl around in ecstasy) D'une lune rose et grise, (Of a pink and grey moon) Et la mandoline jase (And the mandolin prattles) Parmi les frissons de brise. (Among the shivering breezes) Settings Multiple composers have set this text to music. Have a listen to our four selections, and let us know which is your favourite! Gabriel Fauré Claude Debussy Reynaldo Hahn Poldowski Learn more about Sound Garden

Here are some commonly-heard phrases as to why teenagers can't/won't listen to classical music: "A half-hour symphony or three-hour opera is too long for them; they don't have the attention span for it" (there are plenty of shorter works out there, and a four-hour arena concert doesn't seem to be an issue...what's going on there?) "It's not "cool"; their peers don't listen to it" (plenty of teens enjoy listening to, performing, and just talking about classical music together) "It isn't present enough in the media" (the soundtracks for many films, shows, games, etc. may be considered "classical") "School music programmes are undervalued and underfunded; they don't get exposed to it enough" (this one is often true) "They find it boring; it doesn't resonate with them" (maybe Beethoven doesn't resonate with everyone, but what else are they hearing?) "They need to hear it live in order to appreciate it" (live isn't possible for everyone, and the quality of audio and video performances now available is of an increasingly high standard) "They are too used to the immediate gratification of short pop songs, visual media, Netflix, etc" (there are plenty of short works and visual performances out there, and binge listening to/watching different media forms over several hours is common!) While these phrases may not be entirely inaccurate, they are far from being entirely the truth. We've selected four examples of classical music and also created a larger Spotify playlist, curated especially for teens! You can also visit the "Learning Hub" section on our site for more resources and media. Antonio Vivaldi: Amor, hai vinto Let's start with some Baroque (1600-1750 AD) music. Firstly, the term "Baroque" was used as an insult by the older generation at the time to describe the new art forms which they thought were "bizarre and uselessly complicated" (Michel de Montaigne). When the term was used to describe music, it meant that the listener thought it was lacking a coherent melody, too dissonant, and/or changed too much. Antonio Vivaldi (a.k.a. the Red Priest) composed much of his music for the orphaned/abandoned girls of the Ospedale della Pietà. The musicians here were known as the figlie di coro, and they often gave concerts for important visitors, during which the audience and the performers were separated by a metal grill. The figlie di coro were similar to modern-day influencers, receiving gifts, free Italian villa getaways, and more! "Amor, hai vinto" (Love, you won) is an angsty, heartbroken cantata (like a mini opera), which exists in two versions, probably composed around 1726. The version we have chosen is for solo contralto voice, violin, viola, and continuo (bassline/harmonies - usually played by cello/harpsichord). We've posted an English translation below the video. Recitative 1 Love, you won. Here is my breast pierced by your arrows, Who now supports my soul, abandoned by grief? I feel my blood run cold in every vein, and only breath and pain keep me alive. My heart throbs in my breast with new tremors. Cruel Clori, how harsh is your strictness? Aria 1 I pass from sorrow to sorrow like the little ship which in this and in that other wave goes crashing. The sky thunders and whirls, the whole sea is in a tempest. It sees no port or shore, it does not know where to land. Recitative 2 In what strange and confused vortex of thoughts does my mind wander? Now it is calm, now it is angry, and where it stops, it is not resolved. Now it wants to turn into stone, now into dust. O God! But what is it you are complaining about unbelieving, treacherous heart? Alas, what are you complaining about? Do you not know that in the bosom of Clori you have a port and a shore? Aria 2 If you turn your gaze to me my beloved treasure, I will feel no more torment, I will return to breathing. It no longer fears danger, it feels no more pain and distress, my soul is reassured as the calm in the sea. Franz Liszt: Mephisto Waltz No. 1 Franz Liszt was a pianist and composer, who loved causing a stir with his elaborate and fiery playing (much to the distaste of some other people - *cough* Frédéric Chopin, *cough* Clara and Franz Schumann). He became a celebrity with a large, passionate, and frenzied fan base. They would do things like fighting over his handkerchiefs and gloves, trying to get locks of his hair or piano strings he had broken, and wearing his portrait on brooches and cameos. This phenomenon of the star-struck Liszt-lovers was termed "Lisztomania". One of Liszt's favourite stories, on which he based several of his works, was the German tale of "Faust". Faust has a wonderful life, but he is not happy. This leads to him making a terrible deal with the devil. The evil Mephistopheles will use his magical powers to help Faust to do anything he wants, and, in exchange, Faust must agree to become his slave forever once their deal ends. In the original version of the story, once the agreed-upon time is up, Faust has to keep his promise. However, in Johann Goethe's version, Faust is saved, thanks to his beloved Gretchen. Gretchen, who has ended up in prison, refuses to leave her cell until Faust is released from his deal. The first of Liszt's "Mephisto Waltzes" is inspired by an episode where there is music and dancing happening at a wedding. Mephistopheles and Faust join in the festivities, Mephistopheles plays magical music on the fiddle, and everyone falls under a frenzied and sensual spell, dancing out into the forest as he plays. When the music fades away, a nightingale sings a love song. Dmitri Shostakovich: String Quartet No. 8 20th century Russian Soviet composer Dmitri "Harry Potter" Shostakovich's music features different musical techniques, strong and sometimes grotesque elements and contrasts, and experimental/ambivalent tonality (musical "home"). The eighth String Quartet (1960) was composed in only three days, shortly after Shostakovich had reluctantly joined the Communist Party. The piece was subtitled "to the victims of fascism and war". It uses Shostakovich's signature "DSCH" (representing his name) musical motif - consisting of the notes D, E flat, C, B natural (in German: D, Es, C, H). The whole quartet is great, but the second movement is really something (at 5:14)! Friedrich Gulda: Concerto for Cello and Wind Orchestra Composers have always made use of the instruments, technologies, tastes, etc. of their time - their music wasn't necessarily considered "classical" at the time of composition. Austrian composer and pianist Friedrich Gulda worked in both the classical and jazz fields, and enjoyed the contrasts between different styles of music. He broke away from traditions and was considered unorthodox - he even announced his own death in order for an upcoming concert to serve as a party for his "resurrection"! In his five-movement "Concerto for Cello and Wind Orchestra" (1980), we hear jazz, a minuet, rock, polka, a march, and improvised cadenzas mixed in with more "traditional" sounds. Listen to the first movement below! Contemporary Classical There are many composers of all ages who are writing in the 21st century, including teens such as Alma Deutscher. Watch TwoSetViolin introduce 5 pieces by 5 living composers: You can check out our Living Composer posts on our blog - each month, we feature a new composer. Playlist If you are a Spotify user, listen to our Classical Music for Teens playlist, which will continue to be updated: Learn more about Sound Garden

We've collected some common misconceptions, and addressed them in this post! "Classical music is old-fashioned" The truth: Classical music has a long heritage. Many works from years gone by are still frequently performed and recorded today, as listeners still appreciate the aesthetic qualities, the workmanship, and the unique historical insight they offer. Like all living art forms, there is also a constant outpouring of new works, sounds, composers, performers, practises, instruments...you name it! Emerging talents continue to add their voices to the classical music industry, championing its heritage, and challenging the "status quo". "Classical music is boring" The truth: That all depends on what you personally find interesting! Is it the music itself which is boring, or how it is presented? Do some works catch your attention more than others? How do your real-life experiences of classical music compare to the stereotypes? Have a listen to some of the works in our playlist at the end of this post! When you find something you like, think about what it is that grabs your attention! "Classical music is only for the wealthy" The truth: Some experiences can be expensive. Learning an instrument isn't cheap. Studying music at tertiary level isn't cheap. Auditioning isn't cheap. Live performance ticket prices can vary substantially. Music professionals must be fairly compensated, so there is always a cost involved. It is just a matter of who is paying. However... There is plenty of music available online for free or at a low cost. There are often cheap tickets available (concession prices, flash sales, etc.) to attend live concerts. Smaller concerts (local choirs and orchestras, recitals) are generally very reasonably priced. Instrumental teachers often offer a free/discounted first lesson. There are often scholarships available for study. Many organisations and individuals have developed free or low-cost community projects and outreaches. Businesses such as Sound Garden are here to help promote access! "Classical music is too intellectual" The truth: Absolutely FALSE! There are many studies which show that babies and young children can easily engage with classical music. Early learning does offer some advantages, but you can start learning and listening at any age. Required intellectual ability: Some classical music works can be appreciated immediately by the general public, based on sounds, melodies, rhythms, etc. that our minds consider to be aesthetically pleasing - no deeper knowledge required. (This is where we come in): Some works may be more difficult to appreciate, due to factors such as: Language - Language may be spoken/sung, or this may refer to the music - the structure of the work and how it sounds. The history/context - we don't all know ancient Greek legends or the political situation which influenced a particular work! Sound Garden is here to fill in those gaps or point you in the right direction. Some works just may not resonate with you - that's absolutely normal. Every listener has their preferences! "Classical music is elitist" The word "elitist" means: "organized for the good of a few people who have special interests or abilities" (Cambridge Dictionary). The classical music industry has been and can still be, at times, elitist. Classical music as a genre has, at different times and contexts, been available for both the general population and the upper classes. Often it was the popular music of their time. As concerts became more lavish and expensive to create, some forms of classical music (looking at you, opera!) became accessible only to the wealthy and well-connected. Nowadays, classical music comes in many forms, sizes, and budgets, and there are plenty of opportunities for everyone to access and engage. Here is the truth (TLDR): Classical music itself is not elitist. Music is not constrained by finances, prejudices, or anything else. It does not care if you are human, plant, object, abstraction. It either exists for all or does not exist at all. All it needs is someone to listen! "Classical music isn't for me" Maybe it is, maybe it isn't. There is only one way to find out... Start listening! Learn more about Sound Garden

Our April 2021 Living Composer is Anna Vienna Ho - a Hong Kong-born musician with many strings to her bow! She has worked professionally as a piano soloist, piano accompanist/collaborative pianist, répétiteur, vocalist, and composer. Anna gained her Bachelor of Arts (Honours) in Music at the Hong Kong Baptist University, where she was awarded the Hong Kong Government Talent Development Scholarship for two consecutive years. She then completed an Advanced Postgraduate Diploma and a Master of Music in Piano Performance with distinction from Royal Birmingham Conservatoire, where she received a number of awards and scholarships. She has won prizes in numerous international piano competitions. As well as her achievements in piano, she is an experienced soprano classical singer with a number of performances and awards to her name. In her career so far, she has worked in different capacities with many opera companies and music organisations, and has performed in concert venues across Asia and Europe. Anna's interest in composition began in secondary school, and her works, including vocal, piano, and chamber music, have been performed worldwide: Her hymn "A New Creation" was included in a CD album published by ICQM (a music school in Hong Kong) in 2010. Her string quartet "The Forester" was premiered at RTHK (Radio Television Hong Kong) Studio One and broadcast on RTHK Radio 4. In 2018, her solo piano piece "Images" was included in the RMN Classical (a London-based music production studio) album "Modern Music for Piano" and distributed in stores and on digital platforms. Her choral work "The Infinite Shining Heavens" was premiered by London Oriana Choir in their 2019 annual concert. Her new opera "Buddha and the Monkey King" premiered at the Tête à Tête Opera Festival in September 2020. She was commissioned by the Birmingham Opera Company for its recent digital project "It Gets Lighter From Here!". Her composition "Chase", for solo clavietta, has been selected as part of David Bohn's composition project. Learn more about Anna: https://annaviennaho.wixsite.com/pianosoprano Anna's compositions: Buddha and the Monkey King (opera) Learn more about Chinese music and the production of this opera: The Infinite Shining Heavens (choir) The Forester (string quartet) Album "Modern Music for Piano" (including Anna's track "Images") available on streaming sites: https://rmnmusic.com/modern-music-for-piano/ Anna's top 5 classical music picks: Puccini: La Bohème Watch the full opera (with English subtitles) here! Ravel: Miroirs Saint-Saëns: Carnival of the Animals Chopin: Études (Op. 10 and Op. 25) Tchaikovsky: Piano Concerto No. 1 Interested in being featured in future Living Composer posts? Download the form below! Learn more about Sound Garden Click here to browse the site!

Your taste in visual art can tell us a lot about your taste in music! Take our quiz to find out what you should listen to! Learn more about Sound Garden Click here to browse the site!

French composer Mel Bonis pursued an artistic career in an era when this was a huge challenge for women in French society. She was encouraged by some of the top composers around her, and completed over 300 works in her lifetime! Keep reading to learn about her life and about her cello sonata - one of several of her works which is gaining popularity once again in the 21st century! Biography Mélanie Hélène Bonis was born in Paris in 1858 to a lower-middle-class family. As a child, she was shaped by her Catholic education, which inspired her throughout her life. She had a strong personality, and taught herself the piano, despite her family's lack of support. When she was twelve years old, her parents finally allowed her to pursue a musical education, thanks to the influence of a cornet professor friend. Not long after, she began composing, and at the age of 16 was introduced to composer César Franck. He taught her piano, encouraged her in her composing, and brought her to the Conservatoire. At the Conservatoire, Mélanie attended classes in accompaniment, harmony, and composition. She showed great promise as a composer, and received several awards. At that time, composing was not an acceptable profession for women - it was believed that women were too fragile for such work, and could not compose anything of value. For this reason, Mélanie chose to use a pseudonym - Mel Bonis - as did many of her contemporaries in typically "male" roles. She soon met and fell in love with singer/poet/journalist/music critic Amédée Landély Hettichinger, but her parents were against this marriage, as it would encourage her further into a "dangerous artistic world". She was forced to leave the Conservatoire, much to the disappointment of the director and her teachers. In 1883, her family arranged, against her will, for her to marry businessman Albert Domange. While he was a generally likeable person and well-off, he was 25 years her senior, twice widowed with five children, did not share Mélanie's spiritual ideals, and did not like music. She became seemingly entirely devoted to managing family life (including 3 more children) and the 12-person team of domestic staff. However, a few years after her marriage, she met up with her former love interest from the Conservatoire, who introduced her to her future publisher. Her compositions started to become known, and she and Amédée worked together in his singing studio. The pair were still deeply in love, but Mélanie resisted her desires for a long time due to her religious convictions. Ultimately, she gave birth in secret to an illegitimate child, who was placed in the care of one of her former chambermaids. From then on, she corresponded with Amédée only in order to obtain news of the child, though he attended many concerts featuring her works. Despite showing signs of depression following the separation from her child, she continued to promote her music. In 1910, she became the secretary of the Société des compositeurs de musique (SCM), through whom she had formerly won prizes for her compositions. Her works were performed by the top performers. All the while, Mélanie continued to fulfill her duties at the heart of the Domange home. In 1918 she lost her husband and her son Édouard returned home after having been a prisoner of war. A romance began to blossom between her illegitimate daughter Madeleine (who was unaware that Mélanie was her mother) and her half-brother Édouard. Mélanie explained the situation to her daughter, and made her swear secrecy in order to prevent dishonour falling upon the family. Madeleine was devastated, but the confession brought mother and daughter closer. Madeleine soon came to live with Mélanie, who began writing music again. After Madeleine left home and married, she continued to visit her mother as she aged. Mélanie passed away in 1937, having completed about three hundred works for a range of instrumental groupings, including works for solo instruments, chamber ensembles, orchestras, and voice/s. Cello Sonata, Op. 67 Mel Bonis' "Cello Sonata" was composed in 1905, and is dedicated to Monsieur Maurice Demaison - an art critic, writer, and doctor of law. The work is in three movements: 1. Moderato, quasi andante (moderate, almost at a walking pace) 2. Très lent (very slow) 3. Moderato molto (very moderate) The first movement begins with a four-note chord on the cello, immediately imitated by the piano. The descending motion of the cello melody, starting each phrase at the "high" point and meandering downwards in pitch, is very important in this movement. At first, the piano largely plays arpeggiated (broken) chords before switching to an ostinato (consistently repeated) rhythm. It then returns to the arpeggiated chords, at which point the cello melody begins moving upwards for a brief moment (a sign of things to come!). We hear some development on the ideas which were already introduced, along with some interesting changes in harmony (notes which sound together, creating chords) and tonality (the "key" centre and relationships of the notes around it). We then come back to the descending motion, in both the cello and the piano parts. A mixture of ascending and descending motion, in conversation between the two parts, takes us to the end of the movement. The second movement is song-like, with the piano establishing the initial mood, with its flowing triplet (three notes per beat) patterns. The cello then begins its simple, voice-like melody, while the piano adds colour and texture below. The final movement starts with firm statements from both the piano and the cello. The piano takes over with quick, arpeggiated triplet figures, before the cello adds its voice again. The two continue in an agitated conversation, until easing into a calm song. The more agitated mood reappears, followed again by the song, which builds in intensity and sharpness. Snappy chords and staccato (detached) notes in the cello, followed by a final held note, tell us that the work has ended. Listen Listen to the work performed on double bass instead of cello: Take our quiz: How many female composers can you recognise? Learn more about Sound Garden Click here to browse the site!

Looking for relaxing music for kids, calm music for study, or just after a general chilled-out vibe? We've put together a playlist featuring some of our favourites! Classical Sessions for...Calm Want to learn how to invite more calm into your life? Check out our Classical Sessions for...Calm workbook! Learn about the science of calm and complete relevant activities, accompanied by carefully selected classical music works! Learn more! Learn more about Sound Garden Click here to browse the site!