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Composer, conductor, virtuoso, novelist, and essayist, Carl Maria von Weber is one of the great figures of German Romanticism. Known for his opera Der Freischütz, a work which expresses the spirit and aspirations of German Romanticism, Weber was the quintessential Romantic artist, turning to poetry, history, folklore, and myths for inspiration and striving to create a convincing synthesis of fantastic literature and music. Resembling the Faust legend, Der Freischütz (the term suggests the idea of an marksman relying on magic) is a story of two lovers whose ultimate fate is decided by supernatural forces, a story which Weber brings to life by masterfully translating into music the otherworldly, particularly sinister, aspects of the narrative. Weber's additional claim to fame are his works for woodwind instruments, which include two concertos and a concertino for clarinet, a concerto for bassoon, and a superb quintet for clarinet and string quartet. Born in 1786, Weber studied with Michael Haydn and Abbé Vogler. Appointed Kappelmeister at Breslau in 1804, he gained fame as an opera composer with the production, in 1811, of Abu Hassan. In 1813, he became director of the Prague Opera. In Prague, where he remained until 1816, Weber developed a mostly French repertoire, taking an active, and highly creative, part in the practical aspects of opera production. Underlying his often controversial efforts to reform opera production was his ardent desire to create a German operatic tradition. Although there were, indeed, capable composers in the German-speaking lands, the idea of a German opera provoked much opposition, as the public, trained to perceive opera as an exclusively Italian art form, regarded the concept of German opera as a contradiction in terms, despite the existence of a singspiel tradition, brilliantly exemplified by the Magic Flute by Mozart. While Weber's appointment as Royal Kappelmeister at Dresden, not to mention the triumphant production of Der Freischütz (1821), certainly strengthened his position as champion of German opera, his opponents remained unconvinced. Weber's next opera, Euryanthe (1823), failed to repeat the success of Der Freischütz. In Euryanthe, his only opera without spoken dialogue, Weber introduced the device of recurrent themes throughout the entire opera, thus anticipating Wagner. Although Weber brilliantly adapted a variety of harmonic styles and textures to the dramatic narrative, the overall effect was seriously hampered by a rambling libretto, an inept adaptation of a medieval romance already used by Shakespeare in Cymbeline. In 1825, Weber was invited to London. Among the works he was expected to conduct was Oberon, another opera with a Shakespearean theme. The librettist, who took the story from Shakespeare's Midsummer Night's Dream, created, in a misguided effort to please the public, an incredible hodgepodge, even more convoluted than Euryanthe, that not even Weber's genius could salvage. Nevertheless, Oberon, which the English public received with admiration, contains much gorgeous music, including examples of lush orchestration and exquisite tone painting. Often performed in concert, the overture is a true Romantic gem. Already in poor health before his London tour, Weber died in the English capital in 1826, shortly after the premiere of Oberon at Covent Garden.

The great musical border crosser of the 20th century, George Gershwin excelled in the fields of concert music and popular song alike. The son of Jewish immigrants from Russia, he was born Jacob Gershvin in Brooklyn on September 26, 1898. His father ran a great variety of small businesses, and George, in the words of The New Grove Dictionary of Music, "excelled at street sports." He also studied the piano and was introduced to the European classics by his teacher Charles Hambitzer.

Gershwin immersed himself in popular music after dropping out of school in 1914 and getting a job as a salesman for the music publisher Remick. He was influenced by ragtime and stride piano music, and as a songwriter enjoyed his first hit in 1920 with "Swanee," recorded by the leading vocalist of the time, Al Jolson. Gershwin and his brother Ira became one of the great creative teams in the history of music, each attuned to the considerable subtleties of which the other was capable. Their 1924 musical Lady, Be Good gained wide familiarity thanks to its hit song, "Fascinating Rhythm." George Gershwin also wrote works for the concert hall: Rhapsody in Blue (1924), best known in an orchestration by Ferde Grofé; the Piano Concerto in F of 1925; and 1928's An American in Paris have been audience favorites since their respective premieres. Probably Gershwin's most famous work was the uncategorizable Porgy and Bess; "folk opera" was an early attempt at description. Set among Black residents of Charleston, South Carolina, Porgy and Bess includes the song "Summertime," heavily recorded by both popular and classical artists.

Gershwin continued to write popular songs and musicals; 1930 brought the successful show Girl Crazy and its catchy yet strikingly complex hit number "I Got Rhythm." The 1932 show Of Thee I Sing was especially notable for its crackling political satire. Gershwin went to Hollywood in 1936 to write for the RKO film studio. In early 1937 he began to complain of headaches, but doctors chalked his symptoms up to stress. In reality he was suffering from a brain tumor; he died on July 11, 1937.

The question of Gershwin's status as a classical composer is a live and productive one. Some observers have pointed out the strong resemblances between his popular and concert idioms, and it is certainly true that for all his studies of the classics over the years, Gershwin rarely wrestled with the problem of large-scale form, which one might regard as classical music's most definitive quest. His concert pieces consist of sequences of great melodies -- perhaps expected in a piece called a "rhapsody" but less impressive for music aspiring to the status of "concerto" or even "tone poem," as An American in Paris was classified. Yet it was not only the American public that loved Gershwin's concert works. They were widely performed in Europe, where they shaped the jazz inflections that began to creep into the music of such composers as Maurice Ravel. Even the proponents of the difficult 12-tone system admired Gershwin's music: Gershwin hobnobbed with Alban Berg in Paris and played tennis with Arnold Schoenberg in Hollywood. "It seems to me beyond doubt that Gershwin was an innovator," Schoenberg wrote, and perhaps history will judge Gershwin as the first harbinger of a new music neither classical nor popular, drawing techniques from many sources and forms of musical knowledge. Who could ask for anything more? ~ TiVo Staff

Morton Gould was an important American composer, generally overshadowed by Copland, Barber, and Bernstein. Like Bernstein, he wrote in both popular and classical styles and often mixed the two. Many record collectors around the middle of the twentieth century knew him primarily as a conductor of popular music, as well as of newer works in the realm of serious music. His "classical" style in composition generally offered few challenges to listeners and often featured well-known themes of a patriotic or folk origin, or were based on melodies from American composers out of the past. Foster Gallery (1939) and American Ballads (1976) fall into this realm.

Gould was born in Richmond Hill, Long Island, New York. He was a musical prodigy of a rare order, playing the piano and composing by age four. His parents were strongly supportive of their young son and helped to get his first work, a waltz entitled Just Six, both performed and published when he was still only six years old.

By age eight, he was performing regularly on radio broadcasts. Later, he studied at the Institute of Musical Arts in New York and in New York University, where he was instructed in composition by Vincent Jones. He also studied piano with Abby Whiteside. In his late teens, Gould played piano in vaudeville and radio in various freelancing assignments, but also held positions with Radio City Music Hall and NBC. At age 21, (1934) he landed a conducting post with WOR Radio, regularly leading an orchestra in popular music fare. He recorded for RCA beginning in the 1930s and made piano rolls for Ampico.

One of Gould's first successes in composition was his Chorale and Fugue in Jazz (1935), which received a prestigious premiere on January 2, 1936, with Leopold Stokowski leading the Philadelphia Orchestra. Gould was beginning to turn out many significant compositions now: his Piano Concerto came in 1937 and his Violin Concerto in 1938. The following year, he wrote the aforementioned work based on popular Stephen Foster themes, Foster Gallery, which was subsequently recorded by Arthur Fiedler and The Boston Pops Orchestra.

Gould became music director of the popular radio programs "The Chrysler Hour" and "Cresta Blanca Carnival" in the 1940s. He composed three symphonies (of four) in that decade, as well as a spate of other works, including his Viola Concerto (1943) and Fall River Legend (1947).

Gould also wrote for Broadway, turning out Billion Dollar Baby in 1945 and Arms and the Girl in 1950. In 1944, he appeared in the film Delightfully Dangerous, for which he wrote the score. His career scoring films continued with other efforts including Cinerama Holiday (1955) and Windjammer (1958). He also composed numerous scores for television shows in the 1960s and 1970s. His last important effort here was for the mini-series Holocaust (1978), which starred Meryl Streep. In 1966, Gould received a Grammy award for his recording with the Chicago Symphony Orchestra of Ives' First Symphony.

Gould continued to write concert music, as well, though one might assert that the film world may ultimately have sabotaged his chances somewhat to attain a higher level of art. Still, his Symphony of Spirituals and American Ballads, both premiered in 1976, demonstrated his undiminished talent. From 1986 until 1994 he served as president of the American Society of Composers, Authors and Publishers (ASCAP). In 1995, Gould received a Pulitzer Prize for his composition Stringmusic.

With an all-encompassing technique, deft interpretive sense, and broad repertory, Sharon Kam has established herself as one of the foremost clarinetists of her generation. Like many wunderkind instrumentalists, she made her major orchestral debut in her teens (at 16, with Zubin Mehta and the Israel Philharmonic), won a major competition in her early twenties and became a recording star and international celebrity before she was 30. While she plays many of the standards by Mozart, Weber, Krommer, Schumann, Brahms, Debussy, and others, she is willing to take chances with contemporary works like Penderecki's concerto (of which she made the premiere recording in 1999), and totally unknown works like the concerto by Mendelssohn contemporary Julius Rietz, which she rediscovered and recorded to great acclaim. Based in Germany, Kam regularly appears in concert and at major festivals in Europe and the Americas. Her recordings are available on Teldec, Berlin Classics, Warner Classics, Sony, Arthaus Musik, Euroarts, and other major labels.

Sharon Kam was born in Israel in 1972. She comes from a musical family: her mother is Rachel Kam, longtime violist with the Israel Philharmonic Orchestra, and her brother is Ori Kam, concert violist. Music-making has also extended into Kam's marriage: her husband is German conductor Gregor Bühl, with whom she has concertized and recorded.

After playing violin and piano in her early childhood, Kam took up the clarinet and became a pupil of Eli Eban and Chaim Taub. She later studied under Charles Neidich at Juilliard.

After establishing a concert career in Israel in her teens, Kam was nominated for a Davidoff Prize in 1991, and then won the 1992 ARD Music Competition in Munich. She began recording for Teldec in the mid-'90s. Her album containing the Weber concertos and Grand Duo was awarded an Echo Klassik Prize in 1998. She would receive a second one in 2006 for her recording of works by Spohr, Mendelssohn, Weber, and Rossini, on Berlin Classics.

In between she appeared on several other popular recordings, made her debut at the 2003 Salzburg Festival and regularly appeared at other major concert venues across Europe and the Americas. She has collaborated in chamber repertory with some of the leading artists of the day, as well, including Christian Tetzlaff, Heinrich Schiff, and Lars Vogt. Among her later recordings is the 2009 Berlin Classics CD of Brahms sonatas and trios, with pianist Martin Helmchen and cellist Gustav Rivinius.