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	<title>Musical America Blogs &#187; Martinu</title>
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		<title>Rediscovered Voices in the Studio: ‘Es geht wohl anders’ and ‘Czech Flute Music’</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6804</link>
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		<pubDate>Sun, 19 Aug 2012 22:53:59 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Anne Midgette]]></category>
		<category><![CDATA[Avie Records]]></category>
		<category><![CDATA[Charles Abramovic]]></category>
		<category><![CDATA[Christian Immler]]></category>
		<category><![CDATA[Danny Driver]]></category>
		<category><![CDATA[Dvorak]]></category>
		<category><![CDATA[Exilarte]]></category>
		<category><![CDATA[Feld]]></category>
		<category><![CDATA[Jeffrey Khaner]]></category>
		<category><![CDATA[Martinu]]></category>
		<category><![CDATA[Rebecca Nelsen]]></category>
		<category><![CDATA[Schulhoff]]></category>
		<category><![CDATA[The Washington Post]]></category>
		<category><![CDATA[Walter Arlen]]></category>

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		<description><![CDATA[by Rebecca Schmid The historical forces that decide which composers enter the canon often seem beyond our control. Why Brahms should become hackneyed while chamber music enthusiasts are not familiar with the name Martinu continues to frustrate musicians and critics alike, and yet a refreshing trend seems to be emerging. As Anne Midgette writes this [...]]]></description>
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		<title>New Releases:  ‘Almost Truths and Open Deceptions’; &#8216;Opus 1&#8242;</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6287</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=6287#comments</comments>
		<pubDate>Fri, 27 Jul 2012 13:30:31 +0000</pubDate>
		<dc:creator>rschmid</dc:creator>
				<category><![CDATA[Berlin Times]]></category>
		<category><![CDATA[Almost Truths and Open Deceptions]]></category>
		<category><![CDATA[Andrew Russo]]></category>
		<category><![CDATA[Annie Gosfield]]></category>
		<category><![CDATA[Assaff Weisman]]></category>
		<category><![CDATA[Azica Records]]></category>
		<category><![CDATA[Bartok]]></category>
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		<category><![CDATA[Debussy]]></category>
		<category><![CDATA[Felix Fan]]></category>
		<category><![CDATA[Israeli Chamber Project]]></category>
		<category><![CDATA[Itamar Zorman]]></category>
		<category><![CDATA[Jorge Luis Borges]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Martinu]]></category>
		<category><![CDATA[Matan Porat]]></category>
		<category><![CDATA[Roger Kleier]]></category>
		<category><![CDATA[Saint-Saens]]></category>
		<category><![CDATA[Sivan Magen]]></category>
		<category><![CDATA[Tchaikovsky Competition]]></category>
		<category><![CDATA[The Pearls Before Swine Experience]]></category>
		<category><![CDATA[Tibi Cziger]]></category>
		<category><![CDATA[Tzadik Records]]></category>

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		<description><![CDATA[By Rebecca Schmid The New York-based composer Annie Gosfield is best known for her synthesis of industrial sounds and other unconventional sampling into rock-inflected, yet often intricately wrought, compositions. As a fellow at the American Academy in Berlin last semester, she researched encrypted radio broadcasts from World War Two—part of a long-standing fascination with archaic [...]]]></description>
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