nRP presents Mozart

Wolfgang Amadeus Mozart was not only one of the greatest composers of the Classical period, but one of the greatest of all time. Surprisingly, he is not identified with radical formal or harmonic innovations, or with the profound kind of symbolism heard in some of Bach’s works. Mozart’s best music has a natural flow and irresistible charm, and can express humor, joy or sorrow with both conviction and mastery. His operas, especially his later efforts,are brilliant examples of high art, as are many of hispiano concertos and later symphonies. Even his lesser compositions and juvenile works feature much attractive and often masterful music.

Mozart was the last of seven children, of whom five did not survive early childhood. By the age of three he was playing the clavichord, and at four he began writing short compositions. Young Wolfgang gave his first public performance at the age of five at Salzburg University, and in January, 1762, he performed on harpsichord for the Elector of Bavaria. There are many astonishing accounts of the young Mozart’s precocity and genius. At the age of seven, for instance, he picked up a violin at a musical gathering and sight-read the second part of a work with complete accuracy, despite his never having had a violin lesson.

In the years 1763 – 1766, Mozart, along with his father Leopold, a composer and musician, and sister Nannerl, also a musically talented child, toured London, Paris, and other parts of Europe, giving many successful concerts and performing before royalty. The Mozart family returned to Salzburg in November 1766. The following year young Wolfgang composed his first opera, Apollo et Hyacinthus. Keyboard concertos and other major works we real so coming from his pen now.

In 1769, Mozart was appointed Konzertmeister at the Salzburg Court by the Archbishop. Beginning that same year, the Mozarts made three tours of Italy, where the young composer studied Italian opera and produced two successful efforts, Mitridate and Lucio Silla. In 1773,Mozart was back in Austria, where he spent most of the next few years composing. He wrote all his violin concertos between 1774 and 1777, as well as Masses, symphonies, and chamber works.

In 1780, Mozart wrote his opera Idomeneo, which became a sensation in Munich. After a conflict with the Archbishop, Mozart left his Konzert meister post and settled in Vienna. He received a number of commissions now and took on a well-paying but unimportant Court post. In 1782 Mozart married Constanze Weber and took her to Salzburg the following year to introduce her to his family. 1782 was also the year that saw his opera Die Entführung ausdem Serail staged with great success.

In 1784, Mozart joined the Freemasons, apparently embracing the teachings of that group. He would later write music forcertain Masoniclodges. Intheearly – and mid- 1780s, Mozart composed many sonatas and quartets, and often appeared assoloist in the fifteen piano concertos he wrote duringt his period. Many of his commissions were for operas now, and Mozart met them with a string of masterpieces. Lenozze di Figaro came 1786, Don Giovanni in 1787, Così fan tutte in 1790 and Die Zauberflöte in 1791. Mozart made a number of trips in his last years, and while his health had been fragile in previous times, he displayed no serious condition or illness until he developed a fever of unknown origin near the end of 1791.

A courtesy from Sputnik Music

Rest In Peace, David

David Bowie

David Bowie
David Robert Jones
(8 January 1947 – 10 January 2016)

Publishing/Advertising On nRP

Starting on the very first day of year 2016, our listeners can now publish or advertise on our net-radio for free. What is required?

  • To send us a jingle or more on mp3 format (320kbps/44100Hz/stereo)1.
  • To send us an email clearly declaring you2 freely sent us and offered without return the jingle(s) for free utilization on the normal daily broadcasting of nRP.
  • To tell us how many times per day you want your jingle(s) broadcasted, preferred hours and for how long3.
  • To send us only material according to our Privacy & Terms which you may find and read clicking respective link placed everywhere in nRP website.

All material will be subject to evaluation and rejected if not according to our requirements.
Join us for your own profit!
Go for it…

  1. You may use other format but it will be converted to mp3 by us.
  2. Your complete ID is required.
  3. This will be analyzed by nRP administration who will decide the final times and timing.

New sound processing…

Thinking only on the pleasure of our listeners, we’ve replaced today our processing sound system1!

We’re now using a multiband sound processing with lots of capabilities to handle the diversity of our music styles. To process music styles going from heavy metal to classical composers it’s a hell of a job… We need to reach a good frequency and loudness commitment somewhere in the middle between rough and extremely fine tunes!

Have we succeeded? Only listeners can tell but we’re quite happy with this improvement…
Enjoy nRP!

  1. As per suggestion and support of our friend Kareem Agamy, a lover of SHOUTcasting too…

Unscheduled Maintenance

For technical problems we haven’t be able to overcome yet, our station will be in the next couple of days on maintenance.

As a consequent result, we cannot follow our daily schedule, we’ll keep server working but listeners may experiment some cuts on a random basis. We also may not be able to totally control quality of emitted sound.

Don’t quit on us. We’ll try our best to recover fast the good quality of our broadcasting but…
That’s life !!

Changing encoding parameters

At the same time we’re posting our very first information in this section called NEWS, we’re testing further encoding parameters for our broadcasting. Simply saying, we’re leaving our lovely 64Kbps/22050Hz and trying 96Kbps/44100hz.

What for? Checking out any possible improvement on quality of our broadcasting just to please our daily listeners. Who knows we can reach the CD quality one of these days?

Tell us of your justice…

Hello world!

Welcome to the new nRP, a home based radio station from Porto to the World, now on a new subdomain…

Actually, in a shy attempt to be accurate, this is not really a radio station. It’s more some stuff somewhat more like a JUKEBOX, at least nowadays, giving people lots and pallets of music. Yes, music, from the light pop to the more or less heavy (not that much) rock and ending on the always loved and unforgettable Classics. All that going through the Celtic, the New Age, the instrumental works and other refined expressions of music included in a raw and maybe not that nice classification of “chill out” music.

Surely, 70’s and 80’s are the core of our pop & rock music, with lots of British and American production. We also include “made in Portugal” music but unfortunately not yet the amount we’d like to include. Step by step, it will grow up…

Kind regards,
Ze Barbosa

nRP presents Wim Mertens

Wim Mertens (b. Neerpelt, Belgium, May 14, 1953) is a Belgian composer, countertenor vocalist, pianist, guitarist, and musicologist. Mertens studied social and political science at the University of Leuven (graduating in 1975) and musicology at Ghent University. He also studied music theory and piano at the Royal Conservatories of Gent and Brussels.

In 1978, he became a producer at the then BRT (Belgian Radio and Television). For Radio 2 (Radio Brabant) he produced concerts by Philip Glass, Steve Reich, Terry Riley, Meredith Monk, Urban Sax, and others, and hosted a program called `Funky Town together` with Gust De Meyer (with whom he recorded the experimental CD `For Amusement Only`).

Known primarily as a composer since the late 1970s, Mertens is best known for his opus “Struggle for Pleasure”. He is also well known for his piece “Maximizing the Audience”, which was composed for Jan Fabre’s play The Power of Theatrical Madness, which premiered in 1984 in Venice, Italy. Mertens’ style, while continually evolving during the course of his prolific output, touches veins of minimalist, ambient and avant-garde, usually, however, preserving a melodic fundament to the forays that he makes into the worlds that he is exploring.

Mertens’ music was used in the 1987 Peter Greenaway film `The Belly of an Architect`, along with that of Glenn Branca. Mertens also recorded under the name “Soft Verdict”, and is the author of American Minimal Music, which looks at the school of American repetitive music.

In March 1998 Mertens became the Cultural Ambassador of Flanders.

© Discogs

Free 4 You: “Houfnice”, Wim Mertens ( download to be played on Winamp )

nRP today’s schedule

Due to some technical problems involving our server we have in process some light adjustments to our today’s schedule.

For the same reason, some short interruptions may happen on our todays’ broadcasting.
Sorry !! We’re working on it…
nRP Webmaster

nRP presents Mike Oldfield

Composer Mike Oldfield rose to fame on the success of Tubular Bells, an eerie, album-length conceptual piece employed to stunning effect in the film The Exorcist. Born May 15, 1953, in Reading, England, Oldfield began his professional career at the age of 14, forming the Sallyangie folk duo with his sister Sally; a year later, the siblings issued their debut LP, Children of the Sun. By the age of 16, he was playing bass with Soft Machine founder Kevin Ayers’ group the Whole World alongside experimental classical arranger David Bedford and avant-garde jazz saxophonist Lol Coxhill; within months, Oldfield was tapped to become the band’s lead guitarist prior to recording the 1971 LP Shooting at the Moon.

Tubular Bells, originally dubbed Opus 1, grew out of studio time gifted by Richard Branson, who at the time was running a mail-order record retail service. After its completion, Oldfield shopped the record to a series of labels, only to meet with rejection; frustrated, Branson decided to found his own label, and in 1973 Tubular Bells became the inaugural release of Virgin Records. An atmospheric, intricate composition that fused rock and folk motifs with the structures of minimalist composition, the 49-minute instrumental piece (performed on close to 30 different instruments, virtually all of them played by Oldfield himself) spent months in the number one spot on the U.K. charts, and eventually sold over 16 million copies globally. In addition to almost single-handedly establishing Virgin as one of the most important labels in the record industry, Tubular Bells also created a market for what would later be dubbed new age music, and won a Grammy for Best Instrumental Composition in 1974.

The follow-up, 1974’s Hergest Ridge (named after Oldfield’s retreat in a remote area of Herefordshire) also proved phenomenally successful, and dislodged Tubular Bells at the top of the British chart. With 1975’s Ommadawn, he explored ambient textures and world music; however, the emergence of punk left Oldfield baffled, and he retreated from sight for three years following the LP’s release. He resurfaced with 1978’s Incantations. Platinum, issued a year later, kept its eye on the clubs, and featured a dance version of the Philip Glass composition "North Star." With 1980’s QE2, Oldfield moved completely away from his epic-length pieces and traveled into pop territory, a shift typified by the album’s cover of ABBA’s "Arrival." He continued in a pop vein for much of the 1980s, as albums like 1983’s Crises, 1984’s Discovery, and 1987’s Islands encroached further and further upon mainstream accessibility.

In 1992, Oldfield teamed with producer Trevor Horn for Tubular Bells II, which returned him to the top of the U.K. charts. The Songs of Distant Earth appeared two years later, followed by a third Tubular Bells update in 1998. In 2003, Oldfield re-recorded Tubular Bells in celebration of its 30th anniversary, with John Cleese as master of ceremonies replacing the late Vivian Stanshall; the album was issued as a two-disc set including a video disc.

Light + Shade, a double-disc conceptual work of new studio material, appeared in 2006. An album-length classically influenced piece, Music of the Spheres, appeared in 2008, followed by a live offering. After a four-year break from his own work, Oldfield reentered the studio and began working on a return to pop/rock-influenced music. In early 2014 he emerged with Man on the Rocks.

© eMusic.com

Free 4 You: “Tubular Bells Part1 (Arr)”, Mike Oldfield ( download to be played on Winamp )