Joaquín Rodrigo's music is an homage to the rich and varied cultures of Spain. No other Spanish composer has drawn on so many different aspects of his country's spirit as sources of inspiration, from the history of Roman Spain to the work of contemporary poets. His music is refined, luminous, fundamentally optimistic, with a particular predominance of melody and original harmonies. His first works reveal the influence of composers of his time, such as Ravel and Stravinsky, but a personal voice soon emerged which would go on to create a notable chapter in the cultural history of Spain in the 20th century, where the originality of Rodrigo’s musical inspiration goes hand in hand with a devotion to the fundamental values of his tradition. Rodrigo’s numerous and varied compositions include eleven concertos for various instruments, more than sixty songs, choral and instrumental works, and music for the theatre and the cinema. Many distinguished soloists have commissioned works from him, among them Gaspar Cassadó, Andrés Segovia, Nicanor Zabaleta, James Galway, Julian Lloyd Webber and the Romero guitar quartet. His numerous writings on music reveal a profound understanding of his art [note from GuitarDaily.com]. Watch a performance of Rodrigo's Tonadilla (1959) played by guitarists John Williams and Julian Bream . . . . one of this week's FEATURED NEW MUSIC VIDEOS.

The ballet Maa (1991) [the word "maa" in Finnish can mean "earth", "land" or "country", possibly even "world"], with music composed by Kaija Saariaho, was the response to a commission from the ballet of the Finnish National Opera. The ballet does not have a plot as such, rather it is built around thematic archetypes such as doors, gates, stepping into new worlds, journeys and the crossing of waters. Both scenography and music are shrouded by deliberate mystery and characterized by a lucidity and minimalism of gesture. The work's openness and approachability make it an ideal introduction to the poetry and poeticism of Saariaho's music. The approach taken by original choreographer Carolyn Carlson and Saariaho when producing Maa was not one of close collaboration, rather they chose to let their differing artistic personalities encounter one another and spark off tensions and syntheses. Carlson's methods rely heavily on improvisation and the development of ideas whose outcome cannot be known a priori, while Saariaho's conceptual process makes active use of deterministic solutions and carefully planned temporal frameworks. In no sense did these contrasting, if not conflicting approaches lead Saariaho to neglect the dramatic requirements of the different sections of the ballet. In working a weave of textures which progress and change at a leisurely and gradual, almost minimalistic pace, she has clearly been attentive to finding a balance for the whole work which takes the listener into account. Saariaho's compositions are laid out in such a way that they encourage us to imbibe and dwell in the timbral detail. The sensuous calm which permeates the music for Maa inevitably affects our mood and senses, turning them to higher levels of sensitivity and awareness [note by Juhani Nuorvala]. Watch an excerpt from the ballet Maa, performed by Works & Process and the International Contemporary Ensemble, with new choreography by Luca Veggetti . . . it's our DANSES PYTHEUSES for the week.

The music of Puerto Rican composer William Ortiz-Alvarado depicts the Latino culture in the United States, mainly that of New York City. Raised in Manhattan and Brooklyn, the composer's musical roots are a mesh between the metropolis' own imposing and crowded socio-culture of the oppressed, with those unemployed and marginalized Latinos who gather in the streets in search of a musical outlet in order to forget their life condition. Ortiz-Alvarado is not deaf to this reality; he grasps it and makes a fascinating musical graffiti through his craft as a trained classical composer. He calls his musical canvas "graffiti sonora" or "streetlore" where elements of the two cultures collide to create a new authentic and legitimate musical language. Within the last three decades,  Ortiz-Alvarado has written over 130 compositions for almost all types of musical genres; from song to opera, from chamber music to symphonic works. Among his numerous awards, grants and commissions is the 2001 Latin Grammy Nomination for the CD Tango mata danzon mata tango by the Baja California Orchestra, which includes his Guitar Concerto Tropicalizacion. Listen to a performance of Ortiz-Alvarado's Urbanización (1985) . . . it's one of our PYTHEAS EARFUL for the week.

A self-taught composer, Don Dilworth's career has encompassed both folk music and contemporary concert music, ballet, and opera. An aspiring composer from grade school, he was proficient in both folk and classical guitar by the time he entered college at M.I.T. as a physics major. This coincided with the late '50s folk music boom, which was particularly vibrant in Boston. While attending M.I.T., he was a regular patron at Club 47, a venue that became one of the leading showcases for new folk music talent, including Joan Baez, Noel Paul Stookey, Eric Von Schmidt, and the Charles River Valley Boys, and he later started playing guitar there on occasion. Baez became a particularly big fan of Dilworth's playing and later asked him to perform at her sister's wedding. Shortly after Baez signed with Vanguard Records and left Boston, Dilworth gave her the gift of a song, Annabel Lee, based on the poem by Edgar Allan Poe. Baez later recorded the song in an arrangement by Peter Schickele on her album "Joan" (1967). Apart from some instruction from Gregory Tucker at M.I.T. and Nicolai Martinov of the St. Petersburg Conservatory in Russia, Dilworth has remained almost entirely self-taught as a composer and musician. Based in Maine, he has written seven operas, several songs cycles, and a considerable body of chamber music, as well as works for synthesizer and cello. Listen to Don Dilworth's The Sick Rose (1994) performed by soprano Nancy Ogle and pianist Clayton Smith . . . this week's FROM THE PYTHEAS ARCHIVES.

Portland Chamber Music Festival will kick off its 2011 season with a program entitled "Leclair, Vaughan Williams and Mendelssohn", and Maine Public Radio will be providing its listeners with a front row seat to the start of this critically-acclaimed series. Held at the Abromson Center at the University of Southern Maine, the Portland Chamber Music Festival program will feature Jean-Marie Leclair's Sonata in C major, Op. 3 No. 3, Ralph Vaughan Williams' On Wenlock Edge and Felix Mendelssohn's Octet in E flat major, Op. 20, This program will feature famed tenor John McVeigh. A Maine resident, Mr. McVeigh has performed with the Metropolitan Opera and Lyric Opera of Chicago. The PCMF has garnered nationwide attention since its inception in 1994. The festival's five-concert series has been broadcast on National Public Radio and WGBH in Boston and has been awarded two grants from the Aaron Copland Fund for Music. Join in the excitement Thursday, August 11th at 8pm - either live (at Abromson Center at the University of Southern Maine in Portland) or over the airwaves and online at MPBN Radio or online at MPBN.net. Check it all out at the Portland Chamber Music Festival's website.

The acclaimed Spanish composer Joaquin Rodrigo is the man most responsible for popularising the guitar as a classical concert instrument. His most famous composition is his 1939 Concierto de Aranjuez, the first orchestral work composed specifically for guitar. This ground-breaking composition was prompted by a meeting between Rodrigo and Spanish guitarist Regino Sainz de la Maza, in Paris. De la Maza performed the Aranjuez for the first time in 1940 with the Barcelona Philharmonic Orchestra. Since then, the work has been recorded innumerable times and is the most well-known and influential piece of 20th century Spanish music. Rodrigo's compositions developed from his blending of Baroque compositions for the vihuela (a lute-like instrument that pre-dates the guitar) with the folk traditions of flamenco music and his own classical training. Before he began producing compositions for guitar the only classical work available to master guitarists, such as Andres Segovia and others, were piano transcriptions of Bach and other classical composers (John Martinez, wsws.org). Watch a performance of Rodrigo's Invocacion y Danza (1961) by guitarist Denis Azabagic . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Dubbed a five time "Classical Music Pick" by the Boston Globe, Juventas New Music Ensemble voices the musical culture of the present. From lyrical melodies to recorded sounds from outer space, their performances are a tour de force, showcasing the most engaging music of today's generation. Juventas offers new music - ranging from a world premiere Kung Fu opera to a wintry-inspired holiday concert. They offer fresh repertoire - featuring the eclectic sounds of over 90 young composers from around the globe. With over 60 exhilarating concerts under their belt, the 2011-2012 season will bring more high energy performances including a collaboration with Intermezzo Opera and Schola Cantorum of Boston, a fully-staged world premiere of Ketty Nez's opera The Fiddler and the Old Woman of Rumelia and their first ever performance in Providence, Rhode Island. As an ensemble-in-residence at the Boston Conservatory and Middlebury College (Vermont), Juventas is excited to continue theirr educational work and reach out to new, young talents . . . it's our FEATURED ENSEMBLE for the week.

In 2003 violinist Ittai Shapira made a critically acclaimed Carnegie Hall debut with the Orchestra of St Luke's performing the world premier of a violin concerto written for him by his Israeli compatriot Shulamit Ran. Winner of the Pulitzer Prize in music and composer-in-residence of the Chicago Symphony, Ran's music blends high-energy, dense compositional thought, with a penchant for long-spun melismatic melodies. The Albany Records recording of Ran's Violin Concerto has become part of a compilation of her works performed by the BBC Concert Orchestra conducted by Charles Hazlewood, and Daniel Barenboim and the Chicago Symphony Orchestra. Hear the second movement of Shulamit Ran's Violin Concerto with violinist Ittai Shapira  . . . it's one of our PYTHEAS EARFULS for the week.