While George Gershwin, 1898-1937, is noted as perhaps the most prestigious American classical composer of the Twentieth Century, his influence on modern popular music can be compared only with such greats as Duke Ellington and the Beatles. His folk Opera, Porgy And Bess, fuses the blues, jazz and classical forms. Summertime is perhaps the best known of the songs of Porgy and Bess, but My Man's Gone now is the most challenging and rewarding of its compositions.
Nina Simone, 1933-2003, was perhaps one of the most accomplished jazz performers of the Twentieth Century, a composer and pianist in her own right, her perfomances benefited from her composer's ability to adapt a work and her virtuoso skill as a singer. Her incredible power and emotion were showcased in a voice with exceptional range. In the West this High Priestess of Soul held a place comparable to that of Umm Kulthum on the Levant. Pegged in later life as a protest singer, and suffering from personal difficulties, she became an exile to Barbados, Liberia and France. This should not overshadow her musical accomplishment.Here you can enjoy the fusion of these two great artists of the last century, with Nina Simone's signature recording of what I consider Gershwimn's greatest work, My Man's Gone Now, from Porgy and Bess:
On December 25, 1989, Leonard Bernstein gave a concert in Berlin celebrating the end of the the Berlin Wall. The centerpiece was the performance of Beethoven's 9th symphony (Ode to Joy) with the word 
Little compares to Ludwig van Beethoven. One of the strangest opinions I've ever heard of Beethoven is that his music is malevolent. He certainly can convey darker themes with his compositions. The Fifth Symphony, with its "Fate knocking at the door" is far from lighthearted. Indeed, Beethoven can be seen as the first Heavy Metal artist, with the booming epic style of his symphonies. Considered a member of the Classical school along with Mozart and Haydn we can hear echoes of Shubert and a foretaste of the Romantics that is absent mostly, say, in Mozart. To make a grossly inadequate analogy for the student of pop music, Beethoven's dramatic range is like Led Zepellin to Mozart's saccharine early Beatles.
One of my favorite of all classical pieces is Beethoven's Sixth Symphony, "The Pastoral." Composed, rehearsed and debuted along with the more ominous Fifth, The Sixth, with its buoyant mood, provides a perfect complement. The Pastoral Symphony, which is intentionally meant to evoke "recollections of country life" has been famously adapted to two iconic movies of the Twentieth Century. The first is Walt Disney's animated masterpiece Fantasia. The full five movements, performed by Leopold Stokowski directing the Philadelphia Symphony Orchestra, are illustrated with scenes of Greek and European mythology that comprise one of my earliest and most joyful childhood memories. 
The second iconic film usage is in 1973's sci-fi noir, Soylent Green. The fatherly police archivist Sol Roth, (Edward G. Robinson in his last role,) has watched America decay from greatness to mindless rioting and self-delusion. Choosing to die, he patronizes a state-run euthansia clinic. With all the world's wildlife dead, Roth watches images of the countryside and listens to Beethoven's Pastoral as the fatal cocktail takes effect. Of course its use in Soylent Green is darkly ironic. The piece itself conjures no malevolent images, at least nothing worse than a soon-passed summer thunderstorm. 
Discovered in 1803 in the Benediktbeuern abbey by the German scholar Johann Andreas Schmeller, the 
It premiered at the Alte Oper, Frankfurt, in 1937. The opening movement, 
Researching the guitarist Francisco Tárrega, [considered the father of modern classical guitar] I ran across the amazing Chinese guitar vituosa Li Jie (
