Classical music and politics have never been easy bedfellows. Composers and performers throughout history have relied on patronage and support from wealthy sources in order to keep their dreams afloat, and so unlike many other forms of music, classical music often has the reputation of being a politics-free zone. But the truth is that there is a whole repertoire of classical music that is infused with politics, and not just music from the 20th and 21st centuries. Today, with the American election looming just around the corner, we'll explore a series of pieces that all had political messages, the stories behind them, the motivations of the composers who wrote these pieces, and of course, the music itself. We'll be covering music by Haydn, Smyth, Shostakovich, Verdi, Adams, and much more today - join us!

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare’s Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show’s premiere.  The Symphonic Dances brought Bernstein’s electric music from the theatre to the concert stage, and it’s stayed there ever since.  So today, we’ll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

Caroline Shaw is one of the most fascinating, innovative, and brilliant composers of our time. Since winning the Pulitzer Prize in 2013, she rocketed onto the scene and has stayed there ever since, writing music that has captivated audiences around the world. In this conversation, which dates back to 2020(so there is a bit of pandemic talk at the beginning), we talked about her musical upbringing, the shock and surprise of her Pulitzer win, her compositional process, and much much more. This was a really fun and edifying conversation and I hope you enjoy it as much as I did!

In 1929, the conductor Nicolas Slonimsky contacted the American composer Charles Ives about performing one of his works. This was a bit of a surprise for Ives, since he had a checkered reputation among musicians and audience members, if they even were familiar with his name at all. In fact, he was much more famous during his lifetime as an extremely successful insurance executive! Ives mostly composed in his spare time, and his music was mostly ignored or ridiculed as that of a person suffering from a crisis of mental health. Most of his music was never performed during his lifetime, and even today, he is thought of as a great but extremely eccentric composer, and orchestras and chamber ensembles often struggle to sell tickets if his name appears on the program. But for those who love Ives, there is an almost evangelical desire to spread his music to the world. I’m one of those people who loves Ives, and it is one of my personal missions to bring his music to as many places as possible. The piece I chose to talk about today is Three Places in New England, or the New England Symphony, a piece that is a perfect amalgam of what makes Ives such a spectacular composer - his radical innovations, his ahead of his time experiments, his humor, his humanity, his warmth, and the staggering creativity that marked all of Ives’ great works. We’ll start with a little biography of Ives in case you’re not familiar with him, and then we’ll dive into Three Places in New England.  By the end of the show, I hope, if you’re not already, that I will have converted you into an Ives fan for life!

Fundraiser link here: https://www.eventbrite.com/e/1026719635067?aff=oddtdtcreator On October 29th, 1931, The Rochester Philharmonic in New York State presented the world premiere of a new symphony by the composer William Grant Still. A symphonic premiere is always something to look out for in musical history, but this one had an even greater significance. The premiere of Wiliam Grant Still’s First Symphony, subtitled  “Afro American,” was the first time a symphony written by a Black American composer was performed by a leading orchestra. William Grant Still was a man of many firsts, whether he was the first Black American conductor to conduct a major orchestra, the first to have an opera performed by a major company, the first Black American to conduct an orchestra in the South of the United States, and much more. Today we’re going to focus in on Grant Still’s first symphony, a symphony that Grant Still had long thought about, conceptualized, and dreamed of. It was also a symphony wrapped up in the roiling currents of Black America at the time, with the Harlem Renaissance in full swing and Alain Locke’s tract The New Negro sparking discussion and debate all over the country. It was a symphony that attempted to do something no one had ever done before; that is, to marry together the genre of the Blues with that of symphonic music. Until 1950, it was THE most performed symphony written by an American composer. But until 10 or 15 years ago, it had all but disappeared from the stage, but due to the explosion of interest in Black American composers of the past and present, this brilliant symphony is making its way back onto stages all over the world. The way that Grant Still constructed this meeting of two genres of music was ingenious and innovative from start to finish, and so today on the show we’ll explore all of the historical context of the symphony, what Grant Still was trying to do with his monumental new endeavor, and of course, all of the music itself. I want to thank John McWhorter for his brilliant contributions to this episode, as well as the Aalborg Symphony for embarking on a fantastic recording of the symphony, which you will hear throughout this episode.

"It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise.... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece."  That was George Gershwin talking about writing Rhapsody in Blue, one of the most popular pieces of American Classical Music of the 20th century.  But is the Rhapsody in Blue classical music?  Or is it Jazz?  Its certainly played on more classical concerts than it is on Jazz concerts, it uses a full orchestra (though that’s not what it was originally written for), and the greatest soloists of the classical field regularly play the concerto on so called “serious” classical concerts.   But on the other hand, the structure of the piece is anything but classical and there’s ample room for improvisation though most classical pianists don’t improvise when they play the piece.  So which is it?  Well, the answer is a bit of both, which probably is one of the main reasons for its enduring popularity.  There are very few pieces that put a smile on your face like Rhapsody in Blue, and so today, we’ll explore this most American of pieces, talking about the amazing story of its conception, Gershwin’s quest to be accepted by the great classical composers of the day, and of course, the music itself. Join us! Link to fundraiser episode on Appalachian Spring: https://www.eventbrite.com/e/1026719635067?aff=oddtdtcreator

During Bartok’s life, the violin concerto we now know as Violin Concerto No. 2 was simply known as Bartok’s only violin concerto. The reason? His first concerto, written when he was a much younger man, had never been performed or published. This was a deeply painful memory for Bartok, who had written the concerto for a woman he was in love with, Stefi Geyer, but Geyer refused both Bartok’s advances and the concerto itself, and so it remained unperformed and unpublished until after Bartok’s death. Bartok had written other works for violin and orchestra, including a rhapsody written for his friend and recital partner Zoltan Szekely. Szekely continuously asked Bartok to write him a full blown concerto, but Bartok refused again and again, until finally in 1936 Bartok agreed. But even then, Bartok wasn’t so easy to pin down. Bartok resisted the idea of a full scale concerto, saying to Szekely that he wanted to write a theme and variations for violin and orchestra, but Szekely refused, and demanded a 3 movement standard concerto. Bartok finally agreed, but as you’ll see later, he found a way to get his theme and variations in anyway! The concerto took two years to write, partly due to Bartok being busy with some of his greatest large scale works, but also because of Bartok’s acute stress due to the rise of fascism across Europe. He was constantly thinking of emigrating from his native Hungary, and finally in 1938 he left. As he wrote to his friend: “What is most appalling is the imminent danger that Hungary too will surrender to this system of robbers and murderers..." All of these competing impulses - Bartok’s bitter memories of his first concerto, the turbulent political siutation, and his seeming lack of confidence in writing a full scale concerto, contributed to the delay, but finally in 1938 the piece was finished and was triumphantly premiered on April 24, 1939 in Amsterdam. This concerto is one of the greatest 20th century violin concertos, and is full of a massive amount of brilliant detail as well as an urgently emotional and passionate character. It is a gigantic, nearly 40 minute long piece, and its difficulties for both the violinist and the orchestra are immense. Today we’ll talk about all of the ins and outs of this remarkable concerto, including its challenges, its beauties, its emotional scope, and its brilliant combination of tonality and 12 tone music. Join us! Recording: Danish Radio Symphony, Augustin Hadelich, Violin, Vasily Petrenko Cond.

In December of 1884, Dvorak wrote to a friend about the composition of a new symphony: "I am now busy with this symphony for London, and wherever I go I can think of nothing else. God grant that this Czech music will move the world!!" He was in the midst of working on what would become his 7th symphony, and even though it is nowhere near as popular as his 9th symphony(The New World Symphony) or even the sunny 8th symphony, it is often thought of as Dvorak’s greatest symphony, and for the record, I agree. This symphony is Dvorak at his most serious, most passionate, and most intense. Throughout the symphony, a kind of darkness pervades the work that is very unusual for Dvorak, though it also is full of so many of the things that make Dvorak’s music so beloved today: gorgeous melodies as far as the eye can see, glorious orchestral writing, and more. But what it lacks, unlike the 8th symphony for example, is the kind of simplicity and naivete that marks much of Dvorak’s music, and this lack of “innocence” has led scholars, musicians, and audience members to try to find an extra musical “meaning” for this music. Is the music an expression of Czech nationalism? Is it an expression of grief after the loss of his mother and eldest daughter? Was Dvorak trying to impress Brahms with his seriousness? What could have caused Dvorak to suddenly embrace such darkness in his music? Well, as we’ll find out, it could be a combination of all of those reasons, but also it could be none of them at all. In the end, what is most important is the remarkable music that Dvorak wrote for this 7th symphony, and so today on the show we’ll go through the symphony, trying to illuminate just what makes this, perhaps, Dvorak’s greatest symphony. Join us!

Shostakovich’s 4th symphony is not for the faint of heart. It is a massive work, around an hour in length, and it calls for the second largest orchestra of any in Shostakovich’s output. It is uncompromising, sometimes brutal, and it isn't nearly as lyrical that later Shostakovich has in spades. But with all that said, many people, including myself, consider this symphony Shostakovich’s symphonic masterpiece. It has been described as the symphony containing the kernels of everything Shostakovich would ever write after. It also marks the final piece Shostakovich wrote before his 1936 denunciation that utterly changed the course of his life. Today, on this Patreon-sponsored episode, I’ll take you through this monumental work, telling you the remarkable story of the conception and aborted first performance of the symphony. Then we'll dive into the music itself, talking about the large scope of the piece, it’s unusual form, and of course the raw emotional core that is always so present in Shostakovich. Join us for a wild ride!

They are the most famous 8 notes in not only Western Music, but probably in all of music. If you walk down the street and ask someone to name a painting, they might say the Mona Lisa.  A movie?  Maybe Star Wars.  A piece of classical music?  Certainly, it would be Beethoven 5.  But why?  What makes those 8 notes so arrestingly powerful?  Well, this week, we’re going to take a deep look at this ubiquitous piece, exploring lots of different questions.  What inspired Beethoven to write such a piece (a hint here, it probably wasn’t fate knocking at the door)?  How was this symphony different from everything that came before it?  What influence did it have on composers of the future?  What are the OTHER 3 movements of the symphony like, since many people only know the first movement?  This symphony is monumentally important because in many ways it serves as the fulcrum between the classical and romantic eras. It is the most quoted piece of classical music there is, and it remains the most played symphony in the world. Today on this show from the archives, we're going to be exploring this symphony including new material that includes discoveries I've made about the symphony only in the last year or so, including the impact that the French Revolution had on the conception of this symphony. Join us!

This show is a bit different today. Last year I did a live video podcast on Mozart's Requiem for my Patreon subscribers. I've now edited that show into an audio-only version for everyone to be able to listen to, since this is such an essential piece and there's so much to talk about with it! The audio only version won't get into as much granular detail as the video podcast did, and it won't include quite as many clips from the movie Amadeus, but all the same, we take a deep dive into Mozart's Requiem today, talking all about one of the greatest unfinished works in the history of art. We'll discuss the myths and legends behind the piece, the movements that Mozart started but never finished, and the completions of the score by different composers, especially the heavily criticized but still regularly used completion of Franz Sussmayr. We'll also talk about each movement in detail, exploring just what Mozart brought to the Requiem text. This piece has the distinction of being one of the greatest pieces ever written, just as it is, but also one of the great what-if stories in musical history. Join us to learn all about the Mozart Requiem, and if you want to see the full video version of the show, please head over to patreon.com/stickynotespodcast to find out how you can support the show.

The history of classical music is littered with the stories of great composers who tragically died young. The composer I’ve been talking about for the last two episodes, Franz Schubert, died at 31. Mozart died at 36, Mendelssohn at 38, Bizet at 37, Gershwin at 38, Gideon Klein at 25, Purcell at 36. The composer I will tell you about today is part of this sad list. Lili Boulanger, one of the most talented and promising composers of her era, died at the age of just 24, and her entire life since the age of 2 was marked by illness and poor health. In her short life she wrote around 24 works, many of which show extraordinary prowess for such a young composer. Boulanger was the first woman to win the famous Prix de Rome, a French composition prize won by past luminairies such as Berlioz, Gounod, Debussy, Faure, Massenet, and many other greats of French composition. It was also won by Boulanger’s father, a story we’ll get to as we go through Boulanger’s life. Her music was marked by the influences of impressionism, but also by the influence of her perhaps more well known sister, Nadia, who became a legendary composition teacher throughout the 20th century. Today I’ll take you through some of the key moments in Boulanger’s life, and we’ll also take a look at 3 of her pieces: Les Sirenes, Faust Et Helene, the piece that won Boulanger the Prix de Rome, written when she was just 18, and we’ll finish with an orchestral piece that might be the most frequent way you might encounter Boulanger’s music in the concert hall these days entiled D’un Matin de Printemps. Boulanger, despite her short life, is one of hte most fascinating and underrated musical figures in classical music history, so if you aren’t already familiar with her music, I can’t wait to introduce you to her this week. Join us! A big thank you to Thomas Goss for his research on Lili Boulanger - his fantastic article on her is available here: https://orchestrationonline.com/lili-boulanger-in-her-own-right/ Performances: Les Sirenes: Chorus: Philharmonia Chor Stuttgart with Helene Schneiderman, mezzo-soprano and Émile Naoumoff, piano Faust Et Helene: Ann Murray (mezzo-soprano), Bonaventura Bottone (tenor), Jason Howard (baritone), BBC Philharmonic, Yan Pascal Tortelier, Conductor D'un Matin de Printemps: BBC Philharmonic, Yan Pascal Tortelier, Conductor

There are a few tropes when it comes to Schubert’s late music. The pieces are very long. They have four movements.  The first two movemnts are expansive, magisterial explorations of the human psyche, and the last two movements are much lighter, almost like two different pieces are at play. All of these tropes fit the Schubert B Flat Sonata we started talking about a couple of weeks ago. After the huge first movement, Schubert takes us into a world of the most remarkably simple and yet profoundly moving music in the second movement, followed by a scherzo and last movement that seem(and I emphasize the word seem) to wash all of that away. The last two movements of this sonata in particular have come in for criticism in some quarters, but this is nothing new for Schubert. You hear this criticism about his G Major Quartet, his cello quintet, and other large scale works. It’s also been theorized that the final two movement “curse” Schubert seemed to struggle with is why he left his 8th symphony unfinished. But as you’ll hear today, I don’t think there’s much, if anything, to criticize in these final two movements, and I’ll try to argue that there’s no drop off in quality in this music, just a different approach and outlook. But the bulk of today’s show will be about this second movement. There is something beyond otherworldy in this character of Schubert’s music. It doesn’t belong to our world, but it doesn’t belong to another world either. Instead it goes somewhere even deeper than we can possibly imagine. Schubert goes to a different place than any other composer when he is in this “mood,” and in this movement, that bleak character is married to profound consolation, creating a movement of utter perfection. So let’s explore the final three movements of this remarkable Sonata together. Join us!

For a long time I’ve received emails and messages from people asking, and sometimes demanding, that I explore the solo piano repertoire. Other than a look at the Goldberg Variations of Bach, I’ve basically neglected a huge amount music, including some of the greatest works ever written. Why have I been doing this? Well, if I’m totally honest, it’s been slightly out of a sense of intimidation. I’m not a pianist, and I’ve always been somewhat in awe of the piano and pianists. Even after spending years with this music, I still felt that I just simply didn’t know the solo piano repertoire well enough to do it justice. Well, now that I’ve gone through ALMOST all of the symphonic standard repertoire, and now that I’ve started exploring the string quartet repertoire, I think it’s time to throw off this sense of awe and dive right in. You might think I might not reach too high to start off, maybe an early Beethoven sonata, or a Mozart or Haydn Sonata. Well, in my opinion you’ve got to go big or go home, so I’ve decided to explore one of the towering masterpieces not only of the solo piano genre, but of all music, Schubert’s Sonata in B Flat Major. This is a piece that has been described as “well-nigh perfect,” as “beyond analysis,” as including “the most extraordinary trill in the history of music,” and as “the climax and apotheosis of Schubert’s instrumental lyricism and his simplicity of form.” These are just a few of the superlatives I’ve found in researching this piece. It was written in the last weeks of Schubert’s short life, and it truly does take the listener on an unforgettable journey. There is nothing quite like Schubert’s final works, and so over the next two episodes, I will take you through this remarkable sonata, a piece that Alex Ross has described as “a premature communication from the beyond.” This is a huge piece, with so much to talk about, so I’ve split this episode into two parts. This week we’ll look at the first movement, and then in two weeks we’ll cover the final three movements. Join us!

H.C. Robbins Landon, the great musicologist, once wrote about Mozart that his music was “an excuse for mankind's existence and a small hope for our ultimate survival." I couldn’t agree more, especially when it comes to a piece like the one we’re going to talk about today, Mozart’s Piano Concerto in D minor, NO. 20, or K. 466. These days, Mozart is still one of the most popular composers in the world, one of two composers almost anyone on the street could name off the top of their head. But it might surprise you to know that Mozart was not always so popular. During the 19th century, Mozart’s music was seen as too light, graceful, and even superficial by the stormy Romantics who wanted to probe the deepest and darkest feelings of humanity and the natural world, by extreme means if necessary. Only a few of Mozart’s works were played regularly during this time period, and this concerto was one of them. It’s easy to say why - it is one of only two Mozart Piano Concertos in a minor key, and its stormy and dramatic character allowed the Romantics to create fantastical stories to go along with the piece, and to connect it to the one Mozart opera that remained popular throughout the 19th century, Don Giovanni. Strangely enough, I see a similar thing happening today, among young lovers of classical music. I often see Mozart’s music being criticized on social media by younger musicians as being too light and superficial, and sometimes I even see this criticism from musicians who seem to gravitate to works that have more extroverted dramatic intentions. But to me, Mozart is just as, if not more dramatic that many of the Romantic era composers. It's all just done in a very different way. This concerto might be the perfect example of all of this! It has all the drama you could ever want for you thrill seekers, and it also has all of the masterful subtlety that for me makes Mozart’s music so endlessly touching. This is a concerto of remarkable breadth of emotion, character, and feeling, and it’ll be a joy to take you through it this week. Join us!    Performance is Mitsuko Uchida with Camerata Salzburg. Assorted first movement cadenzas are performed by Michael Rische.

My first interaction with the musical term modes was Leonard Bernstein’s brilliant Young People’s Concert, also called What is a Mode? In that show, Bernstein showed how modes are an essential part of what makes modern music, meaning pop and rock music, tick. This was central to Bernstein’s point during this amazing show, which is available on Youtube, and he punctuated his discussion with multiple examples of pop music from the time that used modes. Today, on this Patreon sponsored episode, I was asked to go through all of the modes and show how they have been used in classical music. Much of my show today is modeled on and takes its inspiration from that Bernstein Young People’s Concert, and I’ll be peppering clips from that show throughout my own exploration. As Bernstein says, the common practice period of classical music, starting with Haydn and ending sometime early in the 20th century, didn’t feature a lot of modal music, though that doesn’t mean it was completely absent. So today I’ll explain what modes are, and we’ll go through each of the so called church modes, explaining their characteristics, and then showing you examples throughout musical history of exactly how these modes were used by the great composers. This show might seem a bit technical, but I think there’s a lot of really interesting and fascinating stuff here, so stick with me, and let’s explore modes together. Join us!

In 1857, Brahms wrote to his friend Joseph Joachim about his first Piano Concerto, saying, “ “I have no judgment about this piece anymore, nor any control over it.”  Brahms first began sketching his first piano concerto in 1853, but it would be five full years before Brahms finished the piece, and another year until its first performance.  During that time, the piece became a Sonata, then a symphony, then a sonata for two pianos, and then finally a concerto for Piano and orchestra, or as the joke goes, a concerto for piano VERSUS orchestra.  The piece, and Brahms’ struggles with it, are completely understandable considering Brahms’ youth, and the extraordinarily tumultuous circumstances of his private life during the years of 1853-1858.  During this time period, he was anointed by no less than the kingmaker of classical music at the time, Robert Schumann, as the Chosen One that represented the future of music. He became friendly with both Robert and Clara Schumann, began achieving huge successes, then witnessed the slow mental breakdown of Robert, culminating in a suicide attempt and institutionalization, all while falling deeper and deeper in love with Clara Schumann, and she with him.  The turbulence and emotional weight of all of this is reflected in one of Brahms’ most impassioned works, the first piano concerto.  We’ll talk about the historical background for the piece, Brahms’ working out process, and of course, the structure and insides of this massive, daunting piece.

Very often, when I tell people that I’m a classical musician, I am told, “wow, I love classical music! It’s so relaxing!” I think almost all classical musicians have heard that before, and you know what? Sometimes, it’s true! Classical music can be relaxing! But sometimes, and actually pretty often, classical music is NOT relaxing. It is exciting, emotional, passionate, and can make your heart race!  Don’t believe me? Today's show is all about proving that to you. I'm going to share with you some of the most thrilling, powerful,  and well, some of hte loudest music in the history of classical music. I should say SOME OF, because what we are going to play for you today is absolutely not an exhautive list. If you like what you hear today, there is so much more where that came from. What we’re going to do today is to take you through a kind of musical time machine of fast and furious symphonic music, trying to cover as many different styles and eras of classical music as possible. NOTE: What will appear on the podcast feed is a shortened version of a full live concert I did with the Aalborg Symphony a few weeks ago. I highly recommend listening to that version as well, which features full length performances of many of the pieces I'm talking about on the show. You can find that here: https://www.dr.dk/lyd/p2/p2-koncerten/p2-koncerten-2024/p2-koncerten-fuld-pedal-det-er-vildt-det-er-hoejt-det-er-weilersteins-stoerste-hits-12422443145 Enjoy!

There has always been a debate about “The Great American Symphony.” By the time most prominent American composers got around to writing large scale symphonic works, the symphony had very nearly gone out of fashion. To many musicians and thinkers, the symphony had passed on with the death of Mahler. With the advent of atonality, which essentially destroyed the developmental structure that symphonies rested on, there seemed to be nowhere for the symphonic genre to go. The traditional udnerstanding is that composers like Shostakovich, Prokofiev, and Sibelius, among others, picked the symphony back up from its deathbed and resurrected it. But there was a generation of American composers also writing symphonies around this time, and many of them have never quite gotten the consideration they deserve. Ives wrote 4 brilliant symphonies, Bernstein wrote 3 ambitious symphonies, there are the symphonies by the first generation of Black American composers, namely William Dawson’s Negro Folk Symphony, and then there are much less known symphonies by composers like Roy Harris, which were huge successes at the time of their premiers, but which have faded into obscurity. Despite many strong efforts, very few American symphonies have made their way into the standard “canon.” That is, except for one: Copland’s 3rd Symphony, which is almost certainly the most played American symphony. It was written as World War II was coming to an end, and it is one of Copland’s most ardent and life-affirming works. Naturally, connections were made to the Allied triumph in World War II, but Copland insisted that the symphony wasn’t a reflection of the era, writing: "if I forced myself, I could invent an ideological basis for the Third Symphony. But if I did, I'd be bluffing—or at any rate, adding something ex post facto, something that might or might not be true but that played no role at the moment of creation." Whatever the inspiration, this symphony has become one of Copland’s most enduring works, even though it is also in many ways one of his most complex. It is a massive work, nearly 40 minutes in length, and it requires a huge and virtuosic orchestra. It also features some of Copland’s most recognizable tunes, including of course, the Fanfare for the Common Man, which permeates the symphony and is in many ways its central theme. So today, on this Patreon Sponsored episode, we’ll dig deep into this symphony, mapping out its unusual form, and savoring the energy, optimism, and creativity with which Copland attacked the well-worn genre of the symphony. Join us!

Klezmer music has always been very close to my heart, even as a classical violinist. During the pandemic I attempted to learn Klezmer clarinet, and soon I began collaborating with the great Klezmer(and classical!) violinist Abigale Reisman on her work for Klezmer band and orchestra called Gedanken. Abigale taught me so much about Klezmer music, including the fact that despite its reputation as a clarinet-centric genre, the violin is actually the original voice of the Klezmer sound. I've been wanting to do a show about Klezmer music for a while, and Abigale was the perfect person to talk to, as she has experience in both the classical and Klezmer worlds, and was able to talk about the differences between the two sounds, as well as all of the characteristics that make Klezmer music so instantly recognizable. We also talked about the similiarites between classical and Klezmer music, which classical violinists had the most Klezmer like sound, and how to tell the difference between a traditional Eastern European folk tune and a Jewish Klezmer folk tune. I so enjoyed this conversation and I hope you will too! You'll hear an excerpt of Abigale's band Ezekiel's Wheels at the end of the show, but check them out here:  https://www.youtube.com/@ewklezmer/videos Link to the concert I mentioned at the top of the show:  https://www.br-klassik.de/audio/20240308-on-demand-so-joshua-weilerstein-vilde-frang-strawinsky-schostakowitsch-100.html

In 1850, Robert Schumann accepted a position as the new Music Director in Dusseldorf. This job had a lot of responsibilities, including conducting the city orchestra. Schumann, along with his wife, the legendary pianist Clara Schumann, and their 7 children moved to Dusseldorf. The city made a huge to do about the Schumann’s arrival, welcoming him with balls, speeches, and parades. This was a new adventure for the Schumann family, and Robert, at least at first, was invigorated. He loved the less reserved personality of the residents of Dusseldorf, and he was deeply inspired by the Rhine river. Very quickly, Schumann had begun composing at his usual feverish pace. He wrote his cello concerto in just two weeks, and then he began a new symphony, what would turn out to be his last symphony. It would be a celebration of the Rhineland and all of its prosperity, beauty, and charm. Soon after the symphony was written however, the euphoria turned towards catasprophe. Schumann was not a good conductor, and the musicians of the orchestra soon turned bitterly against him. His compositions were still not well understood, and his mental health began sliding towards a crisis point again. So Schumann’s 3rd symphony, the Rhenish, really represents a snapshot in time - a time of euphoria, of joy, of possibility. It is this boundless energy that comes up again and again in this remarkable symphony which we are going to talk about today. We’ll discuss the wonderful varieties of joy Schumann includes in the piece, its unusual structure, it’s transcendent fourth movement, and the unique challenges of performing Schumann’s music, which often bedevil conductors to this day. Join us!

In 1806, the 36 year old Beethoven received a commission from the Russian ambassador in Vienna, Count Andreas Razumovsky. Razumovsky wanted a set of string quartets for what would soon be his house string quartet which included some of the finest players Vienna had to offer. As part of his commission, Razumovsky asked Beethoven to include a Russian theme in each one of the quartets. Beethoven obliged him in 2 of the quartets, and the Razumovsky quartets, Op. 59 1, 2, and 3, were born. 1806 was near the height of Beethoven’s astonishing so called Middle Period, where the scale of his music drastically expanded from his earlier works and he began writing in a so called heroic style, with much more brash and adventurous music. This all started in 1803 with his Eroica Symphony, but Beethoven did not limit his adventures and his expanding palate to his symphonies. Everything with Beethoven’s music was expanding, including his string quartets.  These middle quartets form part of the core of most string quartets repertoires. They are astonishing works in every regard, where Beethoven starts pushing limits we didn’t even, or maybe he didn’t even, know he had. From the expansive 59, 1, to the intensely felt and taut 59, 2, to the often fun loving 59, 3, Beethoven explores every facet of string quartet playing and brings that heroic and passionate new style to the genre of the string quartet. For today, we’re going to go through Op. 59, 1, a remarkably expansive and brilliant piece that explores every facet of string quartet playing, pushing quartets to their technical and emotional limits in ways that were absolutely shocking at the time and still unbelievably challenging today. If you come to this show for symphonies, that’s great, but for me and many other musicians, Beethoven’s string quartets are the greatest collection of pieces by any composer in any genre. I hope that today’s exploration will help convince you of that! Join us!

I’ve mentioned Ethel Smyth a few times in the past on this show. This is partly because of her music, and partly because she remains one of the most interesting people who ever lived. She was a composer of course, but she was also a conductor and an author, as well as a political activist. Specifically, she was a suffragette, fiercely advocating for the rights of women to vote in her home country of the UK. As a composer Smyth wrote dozens of works, all of which are starting to become better known as performers and administrators look to bring more music by female composers onto concert stages around the world. Smyth did not have it easy, constantly fighting for her place, battling conductors, other composers, and even her own father, all for the right to be a composer.  Today, after I introduce you to a bit more of Smyth’s amazing biography, we’re going to focus on her first orchestral work, her Serenade in D Major. This is a piece that certainly doesn’t sound like a first orchestral piece, and it is full of all of the qualities that make Smyth’s music so enjoyable to listen to - lush warmth, humor, raucous intensity, and the quiet passion that runs through the music of so many great British composers. Smyth’s Serenade in D is starting to be performed more, and I’m really proud to be using my own recording of the piece for the show today, which I made with the Lausanne Chamber Orchestra in 2021. It is only the second professional recording of the piece, and the recording has just been released on Claves Records. So today, we’re going to go through this wonderful piece and also spend some more time in the wild and unpredictable world of Dame Ethel Smyth. Join us!

When you think of the genre of the concerto, you might be thinking of something like this: virtuoso fireworks, perhaps over romantic gestures designed simply to show the soloist off, and a rather pedestrian orchestral part, giving the soloist all of the spotlight while the conductor and orchestra are mere accompanists.  Of course, this is a huge generalization and it isn’t true about many concertos.  But of all of the concertos that I conduct regularly, and hear regularly, there is one that always stands out as the exception to the rule: Dvorak’s Cello Concerto.  The Dvorak deserves every bit of popularity it has received over the years. In fact, you could argue that it is THE perfect concerto.  It's enjoyable to play, perfectly written for the cello, enjoyable to listen to, and enjoyable to accompany for the orchestra. It has everything, which makes it all the more shocking to think that before Dvorak wrote the piece, he didn’t even think of the cello as a suitable instrument for a solo piece!   But once convinced of the cello’s viability as a solo instrument, Dvorak gave everything to to the piece. We’ll talk all about the sometimes tragic history behind the writing of the concerto, the specific difficulties it places on the cellist, the conductor, and the orchestra, and of course, go through the piece in detail, pointing out all the different facets that result in the Dvorak being perhaps the greatest of all concertos. Join us! Cellist: Miklos Perenyi

We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!."  Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring.  Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show’s premiere.  The Symphonic Dances brought Bernstein’s electric music from the theatre to the concert stage, and it’s stayed there ever since.  So today, we’ll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

I had the great joy to do my first ever live edition of Sticky Notes last month with the Aalborg Symphony in Denmark. For this concert, I chose a piece that is extremely close to my heart, Dvorak's New World Symphony. The story of the New World Symphony is a fascinating one. The symphony was the result of an extraordinary series of events, with Dvorak coming to America in 1892, meeting the great singer Harry Burleigh, and falling in love with a totally new, to him, genre of music: Black American and Native American folk music. Listening to Burleigh and other voices around America, Dvorak had discovered a new “American” sound for his music, and even though he would end up staying in the US for just three years, in that time he composed two of his most popular pieces, the American String Quartet, and the New World Symphony But of course, the New World Symphony isn’t really an American piece. It is a piece written in America by a Czech composer, which means it embodies traits from both sides of the Atlantic.  Moments of Black American influence elide into Czech Slavonic Dances and back again with incredible ease.  All along the way, Dvorak infuses his highly traditional symphonic style with this "American" sound, a sound that enraptured the public from the very first time they heard it, and remains both incredibly popular and incredibly moving, today. Join myself and the Aalborg Symphony for this exploration of the symphony, followed by a complete performance. I'm extremely grateful to the Danish Radio for allowing me to use this performance for the show.

Throughout the history of Western Classical Music, folk music has imprinted itself as an invaluable resource for composers from all over the world. In fact, it’s easier to make a list of composers who never used folk music in their compositions than it is to make a list of the composers who did! This tradition began long before the 20th century, but the work of composers like Bartok and a resurgence in the influence of nationalist music sparked a massive increase in composers using folk music throughout the 20th century and into the 21st. Bartok is thought of as the king of using folk music, as he was essentially the worlds first ethnomusicologist. But Stravinsky, who used dozens of uncredited folk tunes in his Rite of Spring, as well as Bernstein, Copland, Gershwin, Grainger, Vaughan Williams, Szymanowski, Dvorak, and so many others embraced folk music as an integral source for their music. This was in stark contrast to the second Viennese school composers like Schoenberg, Berg and Webern, and post World War II composers like Stockhausen, Boulez, and others who deliberately turned their backs on folk music. One composer who straddled both worlds during their lifetime was the Polish composer Witold Lutoslawski, a brilliant composer whose career started out in the folk music realm, though not entirely by choice, and ended up in music of aleatory, a kind of controlled chaos! One of his first major works, the Concerto for Orchestra is the topic for today’s show, and it is heavily influenced by folk music from start to finish. It is a piece also inspired and might even be a bit of an homage to the great Bela Bartok and his own Concerto for Orchestra, which was written just ten years earlier. Lutoslawski, if you’re not familiar with him, is one of those composers that once you learn about him, you can’t get enough of him. I’ll take you through this brilliant and utterly unique piece today from start to finish. Join us!

In January of 1839, Clara Wieck, Robert's future wife, wrote to Robert, “Don’t take it amiss if I tell you that I’ve been seized by the desire to encourage you to write for orchestra. Your imagination and your spirit are too great for the weak piano.” Clara knew that she would have struck a nerve with Robert, whose history with the piano was full of trials and tribulations. Robert had trained as a pianist, but a 3 year period of reckless amounts of practicing as well as the exacerbating effects of experimental devices meant to strengthen his fingers had destroyed his ability to play professionally. But already from the age of 17, in 1827, Robert had considered writing a piano concerto, probably for himself to perform. He made 4 further attempts to write a concerto, but it seems, like so many things in Schumann’s life, that his marriage to Clara was the final inspiration that he needed to get over the hump. It made sense, as Clara Schumann was possibly the greatest pianist of her age, and someone who was ceaselessly devoted to promoting her husband’s works wherever she played. In 1841, one year after their marriage, Robert finished a one movement piano concerto in A minor, which he called a Phantasie. Clara reported adoring the piece, but no publisher was interested in the work of a still relatively unknown composer. They were especially uninterested in a on movement concerto, and so Robert knew he needed to “finish” the piece with two extra movements. It would take him 4 more years to finally tack on those extra movements, and the first performance would be given 4 years after that Phantasie had been written, of course with Clara as soloist. This concerto has remained popular practically ever since it was written, and there are so many reasons for it, from its arresting opening, to its abundant lyricism, to its constant interplay with the orchestra, something that Robert grappled with when writing this concerto. This piece is one that doesn’t have a story behind it, or any sort of narrative - it lives in the world as a sort of fantasy, constantly evolving in its beauty throughout. We’re going to talk about this piece in detail, from start to finish on this Patreon Sponsored Episode. Join us!

Brahms’ violin concerto is one of the most difficult works for any violinist to tackle. It is as virtuosic as the hardest piece of Paganini as well as being as musically complex as a Brahms symphony. It takes most violinists years or even decades to feel comfortable with this piece, and many violinists consider it a kind of Mount Everest. Why? What makes this piece so complex, and yet so beautiful? What kind of choices do violinists make in their interpretations? For today, I'm not only going to tell you about this piece and how Brahms composed it, but I'm also going to compare 3 different recordings of the piece(Heifetz, Oistrakh, and Ferras) in order to show you the differences in interpretations between these 3 titanic violinists. We'll also talk about many of the topics we’ve covered before with Brahms; continuous development, gorgeous melodies, and that amazing Brahmsian quality of both respecting established forms while constantly subtly subverting them. Let's start the climb together and get to know this remarkable piece. Join us!

Today is a bit of an unusual episode. Last month I was invited by the British Society of Aesthetics to address their annual conference. My task was to give a lecture on whatever topic I wanted, having to do with music. So, considering it was an Academic Philosophy conference, I chose the easiest and most straightforward topic possible - What Does Music Mean?  Obviously, this is a topic that has been interrogated from just about every different angle, and I certainly would never claim to have all the answers. But for my lecture, I decided to focus on how to find meaning in these amazing works from a performer's perspective. How do I study and learn these pieces so that I can find the meaning that I think is inside of them? What does history teach us about these pieces and can we use history to find meaning in these works? To try to answer these questions I chose three pieces to explore - Beethoven's Eroica Symphony, Barber's Adagio for Strings, and Shostakovich's 5th Symphony. After the lecture I realized it could easily be a podcast episode, so I've slightly changed a few things to make the lecture a bit more podcast-friendly. I hope you enjoy this one, and thanks to the British Society of Aesthetics for their invitation and their warm welcome!

On October 29th, 1931, The Rochester Philharmonic presented the world premiere of a new symphony by the composer William Grant Still. A symphonic premiere is always something to look out for in musical history, but this one had an even greater significance. The premiere of Wiliam Grant Still’s First Symphony, subtitled  “Afro American,” was the first time a symphony written by a Black American composer was performed by a leading orchestra. William Grant Still was a man of many firsts, whether he was the first Black American conductor to conduct a major orchestra, the first to have an opera performed by a major company, the first Black American to conduct an orchestra in the South of the United States, and much more.  Today we’re going to focus in on Grant Still’s first symphony, a piece that Grant Still had long thought about, conceptualized, and dreamed of. It was also a symphony wrapped up in the roiling currents of Black America at the time, with the Harlem Renaissance in full swing and Alain Locke’s tract The New Negro sparking discussion and debate all over the country. It was a symphony that attempted to do something no one had ever done before, that is, to marry together the genre of the Blues with that of symphonic music. At the time of its premiere and afterwards, it was quite a success, and until 1950, it was THE most performed symphony written by an American composer. After 1950, the symphony practically disappeared from concert stages, but due to the explosion of interest in Black American composers of the past and present, this brilliant symphony is making its way back into the repertoire of orchestras all over the world. The way that Grant Still constructed this meeting of two genres of music was ingenious and innovative from start to finish, and so today on the show we’ll explore all of the historical context of the symphony, what Grant Still was trying to do with his monumental new endeavor, and of course, all of the music itself. I'm also joined today by the great writer and linguist John McWhorter, who discusses the 4 Paul Laurence Dunbar poems Grant Still added to each movement as epigraphs, as well as their cultural context. Join us!

This is another episode where I highly recommend listening to Part 1 from last week before listening to this episode! It was a great honor to speak with the critic and cultural historian Jeremy Eichler about his remarkable new book "Time's Echo." In today's episode, we speak about Richard Strauss' Metamorphosen, as well as the complicated and hotly debated questions about Strauss' activities during World War II. We also talk about Shostakovich and his 13th Symphony, entitled "Babi Yar," a piece of memorial for a place where no memorial had stood for decades. Finally, we speak about Benjamin Britten and his War Requiem. We talk about Britten's devout pacificism, about his visit to the Belsen Displaced Persons camp after World War II, and why his War Requiem seems to have more connection with World War I than with World War II. It was truly a joy to talk to Jeremy about all of these different great composers, as well as the memories they created with their works. Join us!

I had the great pleasure and honor this week(and next week) to speak with the author of the new book Time's Echo Jeremy Eichler. The book chronicles four composers and their varied reactions to World War II and the Holocaust, including Schoenberg, Strauss, Shostakovich, and Britten. This week we talked about the historical symbiosis between Germans and German Jews, the concept of Bildung, a central idea in German culture throughout the 19th and early 20th century, Mendelssohn's role in creating a sense of "German" music, Schoenberg's remarkable prescience about what lay in the future after the Nazis took power in Germany, his remarkable Survivor from Warsaw, the first major musical memorial to the Holocaust, and the almost hard to believe it's so wild story of the premiere of the piece. This is truly one of my favorite books about classical music that I've ever read, so I highly recommend picking it up. I hope you enjoy this interview as much as I did!

If you haven’t listened to Part 1 of this episode about Mahler's 4th symphony, I highly recommend doing that, as every movement of this symphony builds to the "Heavenly Life" of the last movement. On Part 2, we'll be going through the 3rd and 4th movements. Mahler told his friend Natalie Bauer-Lechner that the 3rd movement of the symphony was created by ”a vision of a tombstone on which was carved an image of the departed, with folded arms, in eternal sleep.” As you can imagine based on that description, there is an unearthly beauty to the slow movement of Mahler’s 4th. Much like the Heiliger Dankgesang movement from Beethoven’s Op. 132 string quartet I talked about a couple of weeks ago, we often get the feeling in the slow movement of Mahler’s 4th that we are listening to music that is coming to us from the other side. As the slow movement comes to its end, we are introduced to the last movement, a sublime and peaceful song Mahler entitled "The Heavenly Life." This is a symphony that leaves you in a state like no other in the musical world, and so today we’ll go through that slow movement, investigating just how Mahler makes it so extraordinary, and then we’ll talk about the last movement, a movement that has divided listeners from the beginning due to its unusual text. I can’t promise we’ll find all the answers, but along the way, we’ll get to listen to some truly divine music. We’ll also get to hear Mahler himself playing - that’s right, Mahler himself! Join us!

After the truly heavenly slow movement of Mahler’s 4th symphony, a soprano emerges and sings a song literally called “The Heavenly Life.” It is a symphonic ending like no other, one that leaves the listener peaceful and contented after taking a long(but not as long as usual) and winding journey with Gustav Mahler and his 4th symphony. The 4th symphony is a symphony of moments, like the famous sleigh bells that begin the piece, and a symphony of long, massive, and momentous arcs, like in the timeless 3rd movement, which might be my single favorite movement of any Mahler symphony. But this symphony, so renowned for its contentedness and beauty also features complicated emotions, drama that clouds the blue skies, and a dark side that we never truly escape, perhaps not until the very end of the symphony. Mahler said that his symphony was “divinely serene, yet profoundly sad, it can only have you laughing and crying at the same time.” What a perfect way to define Mahler’s music, always full of dualisms, contradictions, ironies, and complexities, but that’s what makes Mahler’s music so irresistible; its ability to plumb the depths of not only the human spirit but also its psyche. Mahler’s music is truly musical therapy, and if there’s one of his symphonies that really exemplifies that, it’s this fourth symphony. With all that said, this is also his simplest and most easily grasped symphony in terms of its purely musical content. I’ve gotten a lot of emails in the past from folks who are skeptical or confused about Mahler and his appeal, so if you’re one of those people, than this symphony MIGHT just be the one that changes your mind. As always with Mahler, his symphonies get multi-part episodes, so this week I’ll go through the first two movements of the symphony, from the sleigh bells and brilliant sunshine of the first movement, to the devilish and ironic second movement. We’ll talk all about Mahler’s brilliant orchestration, his use(and deliberate misuse) of form, the pure beauty of this music, and the oddly negative reception that this symphony got when it was first performed. Join us!

If you joined me last week, you heard about the severe intestinal illness that Beethoven suffered from during the year of 1825.  Beethoven thought that he was near death; he was spitting up blood, in terrible pain, and regularly begged his doctor for help.  Ensconced in Baden, a Viennese suburb known for its nature and calm, Beethoven slowly and miraculously recovered from the illness, giving him 2 more years to compose.  These two years brought us the quartets Op. 130 Op. 131, Op. 135, a series of canons, sketches for a 10th symphony. and of course, Op. 132.   Obviously, even as he suffered from this illness, Beethoven knew that he had much more in him left to compose.  The 4 quartets he wrote upon recovery from this illness ALL rank in the top 10 of the greatest musical compositions ever written by anyone.  During the slow movement of Op. 132, Beethoven takes the opportunity to thank the Deity, who or whatever that was to Beethoven, for his recovery.  This 15-20 minute movement is, as I said last week, beyond superlatives, but I’ll do my best to quell my enthusiasm and look at this movements structure, its fascinating harmonic language, and of course, its spiritual dimension.  We’ll then take apart the final two movements of the piece, two movements that teach us so much about Beethoven as a composer, as a person, and as a performer.  No piece of Beethoven’s struggles for so long before finally reaching a glorious conclusion, but don’t worry, we’ll get there in the end. Join us to explore part 2 of one of the greatest masterpieces of music ever written!

I had long hesitated to write a show about any of Beethoven’s late string quartets.  These are pieces that professional quartets spend the better part of their careers grappling with, struggling with, failing with, and much more rarely, succeeding with.  They are some of the most extraordinary pieces of art ever conceived of.  5 quartets, Opus 127, Opus 130, Opus 131, Opus 132, and Opus 135, all written near or at the end of Beethoven’s life, arguably representing the pinnacle of everything Beethoven achieved. They explore not only every conceivable emotion, but they dig down into the core of those emotions, defiantly refusing to skim the surface and daring to ask and then answer the fundamental questions of life and death.  Everyone has a favorite Late Beethoven Quartet, but mine has always been Opus 132, and so this week I’m taking the opportunity to take the leap into Late Beethoven.  We’ll discuss Beethoven’s situation as he recovered from a life-threatening illness which he was sure was going to be his end, the unusual 5 movement structure of the piece, and this week, the first two movements of the quartet, the first of which, to me, defines everything that Sonata Form can do to express emotion and a narrative in a piece of absolute music. Join us!

At the top of the score for the Danish composer Carl Nielsen’s 4th symphony, he wrote: “Music is life, and like it, inextinguishable.” This could easily be the shortest podcast I’ve ever done. I could leave you with that quote and then play you the beginning of the symphony, and you would understand everything Nielsen wanted to portray in this remarkable music. But don’t worry, I won’t do that. Carl Nielsen’s music has never quite made it into the standard standard repertoire, but if there is one piece of his that is played more often than any other, it is his 4th symphony, subtitled The Inextinguishable. But as a whole, Nielsen’s 4th symphony is not easy to digest. It is a piece that is contradictory, in the sense that Nielsen uses an extremely small set of motives to write practically every note of music in the score, and yet sometimes the music can feel like a stream of consciousness. Nielsen himself wrote: “I have an idea for a new composition, which has no programme but will express what we understand by the spirit of life or manifestations of life, that is: everything that moves, that wants to live ... just life and motion, though varied – very varied – yet connected, and as if constantly on the move, in one big movement or stream. I must have a word or a short title to express this; that will be enough. I cannot quite explain what I want, but what I want is good.”  There is a James Joyce-esque sense of jump-cutting between different ideas, as if that inextinguishable life force is unaffected by earthly things like form and recognizable structure. But if you peek under the hood of this piece, you find that it is really in 4 movements, and the first movement is even in a kind of a Sonata Form. It has an intermezzo, a slow movement, and a rambunctious finale. In many ways, this is a conventional symphony, but in terms of the musical material and the way Nielsen decided to manipulate that material, it is anything but conventional. We’ll talk about all of this today, including the influence of World War 1 on the symphony and on Nielsen himself, and the remarkable music that throws us along like a relentless and boundless current of energy. Join us!

The stories, legends, and myths about the trials and travails of composers lives are legion, like Beethoven’s battles against fate, Mozart and Schubert’s struggles with finances, Brahms’ failures with women, Mahler’s troubles with just about everyone, and Shostakovich’s near fatal interactions with the government.  These stories tend to add to the general understanding of these composers, and in fact they tend to enhance their reputations.  We see their struggles in their music, and it makes us admire them more for overcoming them.   With Mendelssohn, and to some extent Haydn as well, we have the opposite case.  Mendelssohn grew up in a happy, wealthy German family, and it was only late in his life when he underwent any major struggles at all.  Whether this happy upbringing contributed to the character of his music is anyone’s guess, but Mendelssohn seems to always get the short end of the stick when it comes to reputation, and I think that his generally cheerful music has a lot to do with this fact.  But Mendelssohn is no second-rate composer.  As I mentioned in April with my show about Mendelssohn’s Octet, he was certainly THE greatest composer under 18 that we know of(and yes I’m including Mozart in that), and his best music ranks up there with the best composers in history.  And today, our focus on both the overture to Midsummer Night’s Dream, and the incidental music that Mendelssohn wrote 17 years later, allows us to enjoy the full breadth of Mendelssohn’s staggering talent.  This is not only clever and cheerful music. It is also fantastically orchestrated, perfectly structured, and in the case of the overture, it is full of invention and character that is simply mind-blowing from a composer who was just 17 years old at the time.  So today we’ll talk all about this, from the beauty and perfection of the overture to the incidental music that followed, meant to be performed alongside Shakespeare’s play. We’ll also talk about the role Shakespeare played in Germany at the time, and how Mendelssohn’s upbringing did indeed have a lot to do with the music he chose to write. Join us!

Elgar's Cello Concerto was composed in the shadow of World War 1. It was a piece that marked a profound shift in Elgar's outlook on life and music, and was his last major work before a long silence caused by the death of his wife Alice. It is a piece of remarkable passion for a composer like Elgar, and never fails to move the audience with its combination of grief, melancholy, nostalgia, rage, but also tenderness. Elgar as a composer had been passed by with the invention of atonality and with composers like Stravinsky and Schoenberg pushing the boundaries of where music could go. Elgar stubbornly stayed true to his Romantic impulses, but the concerto also displays some of the inescapable influence of those composers. It is one of the most powerful pieces of the 20th century, but one of the reasons we know the piece so well is an unforgettable recording made in 1965 by Jacqueline Du Pre. It is very unusual for a piece to be so associated with a single performer, but Du Pre truly made the Elgar a standard concerto for the cello and it is now a piece that every cellist makes a part of their repertoire. We'll talk about all this and more during the show today - join us!

The "love theme" from Tchaikovsky's Romeo and Juliet Fantasy-Overture is one of the most famous themes in the history of Western Classical Music.  The story it accompanies might be the most famous Western play ever written.   Just like Eine Kleine Nachtmusik seems to define the powdered wig era of classical music to the general public, the passionate theme from Tchaikovsky’s Romeo and Juliet seems to define romanticism in music because Tchaikovsky’s Overture-Fantasy captures Shakespeare’s masterpiece with a roiling and unstoppable intensity.  But Tchaikovsky’s setting of Romeo and Juliet, while probably the most famous, is by no means the only reimagining of the play by classical composers.  There have been nearly a dozen adaptations of Romeo and Juliet by classical composers, including overtures, ballets, suites, and operas.  Romeo and Juliet, just like it has been for actors, directors, and the audience, is an inexhaustible source for composers in a way that few pieces of literature or dramatic theatre have been in history.  So today we’ll compare just some of them for you - I’ll be looking at Tchaikovsky’s Romeo and Juliet Fantasy Overture, Prokofiev’s Ballet Romeo and Juliet, Berlioz’s choral symphony Romeo et Juliette, a brief look at Gounod’s opera Romeo and Juliet, and Leonard Bernstein’s Westside Story.  We’ll take a look at how these 5 composers inserted their distinctive personalities onto the music, leaving no doubt that this was Shakespeare, and Romeo and Juliet, through their eyes.  I’ll do this by giving a general overview of each piece, and then I'll zero in on two ideas - the portrayal of Juliet, and the portrayal of Tybalt’s Death(or fighting in general).  This way we can see how these composers handled these pivotal characters and moments, all in markedly different ways. Join us!

Very few cities have had a relationship with a single person, especially a foreigner, like the city of Prague and its love affair with Mozart. Here’s what Lorenzo Da Ponte, Mozart’s librettist for some of his greatest operas, said about it: "It is not easy to convey an adequate conception of the enthusiasm of the Bohemians for [Mozart's] music. The pieces which were admired least of all in other countries were regarded by those people as things divine; and, more wonderful still, the great beauties which other nations discovered in the music of that rare genius only after many, many performances, were perfectly appreciated by the Bohemians on the very first evening.” Mozart had been losing his popularity rapidly in Vienna, and so his trips to Prague were a boon to his self-esteem. He wrote in a letter, speaking of Prague’s euphoric reaction to his opera the Marriage of Figaro: "here they talk about nothing but Figaro. Nothing is played, sung, or whistled but Figaro. No opera is drawing like Figaro. Nothing, nothing but Figaro. Certainly a great honor for me!" Now whether or not Mozart actually wrote this 38th symphony FOR the city of Prague or not is disputed. It seems as if he finished the symphony before he was invited to come to Prague for the first time. All we know for sure is that the first performance of the piece was definitely in Prague, and it included a couple of details that point to Mozart writing it specifically with both the audience and the musicians of Prague in mind. But the most important thing about this symphony is that it marks the beginning of a late period in Mozart’s symphonies that sees him pushing at the bounds of symphonic form in a nearly Beethoven-like way. There is no symphony where that is more true than the one we’re going to talk about today, the 38th symphony. The sheer amount of invention alone in the first movement is enough to hold our attention for weeks, but we’ll talk about the whole symphony today, from its formal innovations, to its warmth and joy, and to the little clues that make us think that this symphony was a stunning and perhaps unprecedented gift from Mozart to the city that adored him so much. Join us!

Thank you to Nicole for sponsoring today's show on Patreon! Have you ever heard of Jean-Louis Duport? I imagine that unless you are a professional cellist, or someone who studied cello as a child, you probably haven’t. Even though my sister is a professional cellist, I had never heard of him before I was asked to make this show. Duport is a historical figure who has been almost completely forgotten, though he was part of a fascinating group of musicians who encountered Beethoven, Frederick the Great, and even Napoleon! He and his brother Jean-Pierre were two of the greatest cellists of their era, and Jean-Louis lives on for cellists as the writer of a set of etudes or studies that are still used by cellists all over the world to refine their techniques. But Jean-Louis Duport also wrote 6 cello concertos, pieces which show his profound connection with the instrument, as well as his mastery of the style of his time. Today on the show I’ll take you through one of those concertos, his 4th, but I’m also going to do something a bit different. Since this will be my first time encountering the music of Duport, I want to show you how I might approach this piece as a conductor learning it for the first time. I’ve been conducting professionally now for almost 15 years, so there aren’t a lot of pieces that are brand new to me anymore, but if I were to conduct this concerto, it would be totally new to me, which means that I approach this music in a totally different way than a piece I’d conducted a few times before. So today on the show we’ll go through the piece, as well as my process for how I would learn a work like this, from start to finish. Join us!

When we listen to the music of Johannes Brahms, we often are reminded of the image of the portly bearded Brahms at the piano, eyes closed in a soulful pose. Brahms’ works always, even in his youth, seemed to have a burnished maturity about them. As I’ve said many times on this show, Brahms’ music is often described as autumnal, and there’s a good reason for this, as its gentle melancholy is one of those things that never left Brahms even in his earlier works. But the piece we’re talking about today isn’t an early work, or a late work of Brahms. Actually, it’s both! Brahms’ B major trio is one of the rarest of rare pieces, in that it is published in two distinct versions, a version that Brahms wrote when he was just 20 years old, and a work that he heavily revised near the end of his career 35 years later, making changes that in some senses fundamentally recast the piece. At the same time, much of the original material is left in place, creating an unusual amalgam of the youthful and the mature. Brahms himself jokingly said that in the revisions of the piece, “I didn't provide it with a new wig, just combed and arranged its hair a little" Today on this Patreon sponsored episode I’ll take you through this piece in both of its versions, exploring the original trio and then its far more performed revision, trying to see why Brahms made the changes that he made, and what we can learn about his compositional process. We’ll also learn why Brahms’ B major piano trio is the answer to a famous(in the classical music world) trivia question! Join us!

There’s a joke among classical musicians that the only parts of a piece that matter are the beginning, the end, and one place in the middle.  I don’t think its something that anyone really believes in, but the value of the beginning of a piece in setting the scene cannot be ignored, and the absolutely stunning opening of the Sibelius violin concerto is no exception.  A soft carpet of violins slowly oscillating between two notes sets up the entrance of the violinist, who over the course of the concerto will do just about everything a violin is capable of doing, all in a concerto of both eye-popping difficulty, but also heartwarming AND heartbreaking warmth, passion and character. There is often what is described as the “Big 5” of violin concerti, which includes the concerti of Tchaikovsky, Beethoven, Brahms, Mendelssohn. The Sibelius violin concerto is the only 20th century violin concerto that has found its way into the Big 5 and there’s a reason for it.  All of those concerti synthesized the need for virtuosity with the imperative of writing truly great music.  But to me, and this might be a controversial opinion, no one did it quite like Sibelius.  We’ll hear all about the concerto, the circumstances that created its disastrous opening, and ask the question of what makes Sibelius such a distinctive composer, someone who sounds like no one else on earth.

Maurice Ravel the Magician, the Swiss Watchmaker, the aloof, the elegant, the precise, the soulful, the childlike, the naive, the warm, the radical, the progressive. These are all words that were used to describe a man of elegant contradictions throughout his life and into today. I talked a lot about Ravel’s skill with orchestration last week when we discussed Mussorgsky’s Pictures at an Exhibition, but Ravel's brilliance and creativity in terms of orchestral sound is absolutely unparalleled in musical history. But Ravel is somebody I’ve very rarely covered on the show, partly because he didn’t write very many large scale works that would cover a whole hour long episode. Well, it took 6 years for me to figure it out, but I realized a little while ago that I could cover two of Ravel’s shorter pieces and put them together on a double bill, so to speak. So today I’m going to tell you about Ravel’s most beloved and most despised piece, Bolero, and about my favorite piece of Ravel’s, La Valse. These are two pieces that could not be more different in their aims, in their constructions, and in their impacts on the audience. They are both thrillingly exciting, but in completely different ways. A good performance of Bolero should make you want to jump out of your seat with excitement, while a good performance of La Valse should terrify you to your core. Join us to learn all about it!

Have you ever been to an art museum and wished that you had music to accompany your experience?  Music that made the art you were looking at more vivid, more immediate, and more emotionally intense?  Well, Modest Mussorgsky’s Pictures at an Exhibition is the piece for you.  Inspired by his late friend Victor Hartmann’s paintings and designs, Mussorgsky composed a series of 10 miniature pieces for piano based on Hartmann's works.  Unlike many other collections of miniature pieces that have thematic or structural connections, Pictures at An Exhibition doesn’t feature that at all, keeping with Mussorgsky’s often rebellious ways as a composer.  Instead, the music is connected by movements called Promenades, as if Mussorgsky literally walks you to the next painting at the exhibition. Mussorgsky’s remarkably imaginative piece is justly famous and often played by pianists, but what is perhaps the most fascinating thing about this piece is the creativity that it has inspired in other composers. Pictures at an Exhibition, or parts of it, has been arranged more than 50 times for any number of configurations of musicians. So today, we’re going to explore each picture in detail, talking about what Mussorgsky actually does to make these works of art come to life in such a compelling way.  At the same time, we’re going to compare the original piano piece to some of the arrangements, focusing of course on the most famous of them all, the explosion of color that is Maurice Ravel’s arrangement.  We’ll also talk about Mussorgsky himself, his compositional reputation at the time, and the brilliant creativity of this one of a kind piece.

Welcome to episode number 200 of Sticky Notes!! On December 22nd, 1808, a day that would live in classical music lore forever, Ludwig Van Beethoven sat down for his very last appearance as a solo pianist to play this new piano concerto, his 4th. This performance was not only the premiere of the new piano concerto, but the premiere of two new symphonies as well, the 5th and the 6th. It featured many other new works, and the concert itself lasted nearly 4 hours, all inside of the cold and dark Theater an Der Wien with an underprepared and underrehearsed orchestra. The concert, despite featuring 3 works that would go on to be some of the most performed works in the history of classical music, was not a success. It was too long and too cold, featuring too many premieres and too much difficult music. It was criticized severely in all quarters, and Beethoven considered the concert a failure. And even that new concerto, the one that surprised so many people with its supremely gentle character, didn’t catch on quickly at all. It wasn’t until 1836 when Felix Mendelssohn, who we have to thank for so many of these situations, revived the piece. Today it is known as one of the most beloved concertos in the entire piano repertoire, partly due to the fact that it is so surprising, but not for the reasons one normally would expect. In the 4th piano concerto, Beethoven turns his entire musical brand so to speak upside down. Instead of a blazing fire, we get a gentle warmth, instead of drama, we get tenderness. And instead of virtuosity, we get a practically transcendental level of simplicity. Other than the short second movement, which does give us some of the old Beethoven fire, it is one of the most tender creations of Beethoven’s entire career. Join us to learn all about it today!

What did Dmitri Shostakovich intend to portray in his music? There is probably no more debated a question in all of 20th century Western Classica lMusic than this one. On the surface, it seems to have an easy answer. Shostakovich portrayed his own thoughts and feelings in his music, just as any other composer would. And that is certainly true. Shostakovich, above anything else, was truly one of the great composers in history. HIs mastery of form, meldoy, strcuture, pacing, and his ability to find a near universal expression of grief and passion is practically unparalelled among composers. That much is clear to those of us who love Shostakovich’s music. But everything else, including that thorny question of what his music MEANS, is much, much, much less clear. Practically Shostakovich’s entire life was lived under the shadow of Soviet Russia, and naturally his musical career was lived under that shadow as well. This means that a sometimes impenetrable layer of secrecy, mystery, and doubt always lies under the surface of Shostakovich’s music. In 1960, Kruschev, who had been loudly trumpetting Shostakovich’s name to Western Press as an example of a free Soviet artist post the excesses of the Stalin regime, decided that Shostakovich should be the new head of the Russian Union of Composers. The catch was that Shostakovich would need to join the Communist Party in order to take the job. Shostakovich, who had long resisted becoming a full Party member, agreed. Shostakovich was clearly disappointed in himself, as his friend Lev Lebedinsky wrote this: “I will never forget some of the things he said that night [before his induction into the Party], sobbing hysterically: ‘I’m scared to death of them.’  Why does all this matter? Because just a few days after joining the Commhnist party and after meeting with his friends Isaac Glikman and Lev Lebedinsky, Shostakovich traveled to East Germany --  specifically to Dresden — to work on a film which would commemorate the destruction of the city during World War II. He was supposed to write music for this film, but instead, Shostakovich sat down, and in THREE DAYS, he wrote his 8th string quartet. He would later write to Glikman: “However much I’ve tried to draft my obligations for the film, I just couldn’t do it. Instead I wrote an ideologically deficient quartet that nobody needs. I reflected that if I die it’s not likely anyone will write a quartet dedicated to my memory. So I decided to write it myself. You could even write on the cover: ‘Dedicated to the memory of the composer of this quartet.” Today on the show we're going to explore this remarkable piece together - join us!

Have you ever wondered what it is that us conductors are really doing up there? Are we just waving our arms in time to the music? What role does the conductor actually play in a concert? How about a rehearsal? Do we also learn to be train conductors as well? Well, today's episode is about answering those questions! We'll talk about conducting on 3 different levels, including the basic level where we'll talk all about beat patterns, studying, rehearsals, concert programming, and more. We'll also talk about what I like to call the 30,000 feet level, where all of those basic decisions can help translate into musical ideas that inspire the orchestra and move the audience. And finally, we'll head to what the late great conductor Mariss Jansons called the Cosmic level, where true inspiration takes place. This can happen as little as once or twice in a lifetime in a concert, but when it does, there is nothing like it! We'll talk about all this, and more today - join us!

Marc-André Hamelin is one of the world's greatest living pianists. He is known as a virtuoso of the highest order and has made nearly 100 recordings spanning the gamut of the piano repertoire. In this conversation we talk about how Marc fell in love with Gershwin, piano rolls, Busoni, Godowsky, the nature of virutosity, Haydn, CPE Bach, programming, nerves on stage, and much much more! This was such a fun and wide-ranging conversation and I certainly learned a lot speaking with Marc about the piano. Join us!!

“This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal, which jealously stands watch lest our peace and well-being be full and cloudless, which hangs like the sword of Damocles over our heads and constantly, ceaselessly poisons our souls.” With this description, Tchaikovsky gave his patron Nadezhda von Meck a rare insight into the inspiration behind what he called the “nucleus” of his 4th symphony. Despite the fact that Tchaikovsky’s music is famously emotional, he usually did not like describing his programs using words. This is one of the contradiction of Tchaikovsky’s music for the modern listener: we have these letters where Tchaikovsky described the programs or stories behind many of his most famous pieces, and yet Tchaikovsky himself would not have necessarily wanted us to know them. Tchaikovsky’s 4th symphony is at the center of all of these contradictions. It is a symphony in the grand Romantic tradition of the symphony, with all of the technical trappings that a symphony requires. It is also a piece that reflects the growing trend at that time towards symphonic poems, especially in the massive first movement. It is also a piece that seems to be inspired directly by two events in Tchaikovsky’s life, his disastrous marriage, and his unique correspondence with Nadezhda Von Meck, his patron who he corresponded with for 13 years without ever meeting her. This relationship was at its beginning when Tchaikovsky wrote this symphony, and so strong were his feelings of companionship with her that he often wrote that this 4th symphony was not “my symphony” but “our symphony.” So today we’re going to go through this symphony on two levels, the technical, explaining all of what makes this symphony so tragic, powerful, exciting, and beloved, and also the historical, going into Tchaikovsky’s marriage to Antonina Miliukova, and his relationship with Nadezhda von Meck. We’ll also talk about the reception to this symphony, which, well, let’s just say it was anything but positive. Join us!

Last week we covered moments 1-15 in my top 25 favorite moments in classical music, going all the way up towards the end of the 19th century. This week we're going to explore 9 of my favorite moments from the wide world of 20th century music, and then, in a little twist, I'm going to look at 5 of my favorite moments from living composers. We're going to hear from Stravinsky, Mahler, Dawson, Barber, Shaw, Gruber, Widmann, Scriabin, Shostakovich, Debussy, Ravel, Chin, Skye, and more this week so join us to hear some amazing classical music moments!

What MAKES a moment in a piece of classical music? Sometimes it’s the result of careful pacing from a composer, the slow build to a powerful release. Sometimes it’s about surprise, a sudden explosion, or even a sudden extinguishing of sound. Sometimes it’s about a harmonic transition, where the music lifts off the ground or is brought down to earth. Sometimes it’s the culmination of over an hour of effort, finally reaching the top of the mountain. Music lovers of all stripes often talk about their favorite moments in classical music, and a few weeks ago I got a message from Sam asking me what some of my favorite moments were in music. I realized that over 193 episodes of this show, I’ve often talked about my favorite moments in the pieces that I’m specifically covering that week, but I’ve never made a list so to speak of my top moments in classical music, and so this week, I’m going to attempt to do that. One of the reasons I’ve avoided this topic is because it’s so difficult to set limits or boundaries around what moments I’ll talk about. Should I do a top 10? Should I do a top 100? Top 500? Which composers should I be including, dead or living? How can I do this without forgetting a bunch of great moments and inadvertently angering people who think I’ve left one out? Well, I hope I've found a way. 25 of my favorite moments from 25 different pieces, representing 300 years of music. This week we'll cover moments 1-15, with music from Bach to Rebel to Beethoven to Tchaikovsky and much much more. Join us!

From 1825-1827, Mendelssohn wrote 3 of his most beloved and most played works: his Midsummer Night’s Dream Overture, his String Quartet, Op. 13, and the piece were going to talk about today, his Octet. What is truly astonishing about these three pieces is that they were all written before Mendelssohn turned 18 years old. Mendelssohn was the greatest prodigy in the history of Western Classical Music, writing music so spectacular at such a young age that it almost overshadows his later, more mature, works. In my opinion, the greatest of these three towering early pieces from Mendelssohn is his octet. It is a piece of structural perfection, ingenuity, innovation, and most of all, it is a piece of such youthful enthusiasm that it is impossible to not put a smile on your face. We'll talk all about this piece today, from its soaring first movement, to its contemplative second movement, the brilliant third movement, and the bubbling last movement. Let's discuss this miracle of a piece together - join us!

I left you last week after Part 1 of Mahler’s 5th symphony, dazed and defeated.  There seems to be no hope, and no way out.  But as many of you know by now, Mahler reaches for the entire emotional spectrum in his music, and what Mahler builds out of the ashes of the first two movements is a complicated, difficult, and fascinating Part II, and a warm, sunny, and loving Part III.  Part II is a single movement, a massive 17 minute scherzo that serves as a bridge to Part III and also is practically a full piece on its own.  Part III of course contains the famous Adagietto, a love letter that leaves the listener full of questions that Mahler attempts to answer in the 5th movement, a sunny romp and the most unquestionably cheery movement that Mahler ever wrote.   Why does Mahler build the symphony this way?  How does a performer or an audience member deal with these hugely varied emotions?  And how does Mahler build his complicated scherzo, his apparent love letter to Alma, and his both highly unusual and highly traditional Rondo 5th movement? Join us to find out!

There is a thread of musical theory called Schenkerian analysis, based on the work of Heinrich Schenker.  Schenker believed that musical works could be boiled down to their fundamental structures and harmonies.  Entire works could be described with single chords.  If Schenker had applied his analysis to Mahler’s 5th symphony, he might have played just two chords for you: a C# minor chord, and then a D Major chord.  The reason why?  Over the course of 70 minutes, Mahler takes the listener on a wild journey, starting in C# minor with a lonely military trumpet, and then ending in a glorious D Major coda that might be the most unambiguously sunny thing Mahler ever wrote: But of course, how we get there is the most fascinating part of this monumental symphony.  Today, on Part I, I’m going to take you through Part I of the symphony, which encompasses the first two movements.  Next week, we’ll take a look at Parts 2 and 3 together, which take up the final three movements of the piece.  Part I of the piece represents both a shift in Mahler’s music, and a nostalgic remembrance.  As always with Mahler, there are multiple meanings to every phrase.  The opening of the symphony, which sounds so unusual, is itself based on a seemingly random moment of the 4th symphony.  The funeral march that dominates the first movement is based at least partly on a piece he was writing at the same time, the Kindertotenlieder, or Songs on the Death of Children.  And the second movement, one of the most unusual and complicated movements Mahler had ever written up to this point, quotes a motive from Schubert’s Death and the Maiden string quartet.  Clearly, death, a specter that always haunted Mahler, is alive and well in Part 1 of the symphony.  The first two movements of the symphony might be a perfect distillation of Mahler; they are passionate, wild, intense, but also tightly scored, precisely structured, and full of that constant push and pull between the past, the present, and the modern, that makes Mahler’s music both a product of its time, but also music that is always relevant to us. Join us!

I’m not sure there’s ever been a composer who changed as much throughout his or her life as Arnold Schoenberg. Schoenberg would become famous, or infamous, depending on who you talk to, for his invention of atonality; the equalization of all keys so that the system of harmony that had been followed, in one way or another, in Western music for nearly a thousand years, was banished.  This invention radically changed the course of contemporary classical music, and it remains controversial to this day. Some people think Schoenberg ruined classical music forever with this invention, while others say he liberated it from convention.  But all of these inventions were in the future for Arnold Schoenberg when he wrote his Verklarte Nacht, or Transfigured Night, for string sextet. This piece, written in just 3 weeks in 1899, is hyper-Romantic in every sense and burning with passion and yearning, as well as being almost hyper tonal throughout. It is based on a poem by the German poet Richard Dehmel called Transfigured Night and is an example of a composition that is inextricably linked to the text it was based on, despite the music being wordless. Almost every moment in the score can be linked to a line of Dehmel’s poem, which is just as full of passion and yearning as the music. So today I’ll take you through the piece and the poem in parallel, showing you the links between the two, and also trying to pick apart the remarkable complexity within Schoenberg’s writing, all of which serves to whip up one of the most emotionally dramatic and compelling pieces of chamber music ever written. If you’ve ever been a skeptic of Schoenberg, this just might be the piece for you. Join us!

Have you ever wondered what exactly goes on behind the scenes putting together an opera? Have you ever asked yourself how a director make decisions on how to interpret the libretto of an opera? Why do some productions look so completely different to others? What is "regie theater" and why it is so controversial? Well, all of these questions and more are answered by my guest today, the fantastic director, performer, and writer Tabatha McFadyen, who takes us through the process of directing an opera from first commission to first performance, a process that can take a few years of work! This was a fascinating conversationa and I myself learned a lot from it. Join us!

Clara Schumann, without a doubt, was one of the greatest pianists of all time.  Schumann’s playing didn’t just leave critics and audiences in raptures, it also left other composers amazed that their music could sound so beautiful. Liszt called her the Priestess of the Piano, Chopin adored her playing, and Mendelssohn brought her over and over again to Leipzig to play concerts with the Gewandhaus orchestra. She toured practically her entire life while raising a family of 8 children, and taking care of her husband Robert, who dealt with a series of mental illnesses that ended in his tragic and untimely death.  Simply put, Clara Schumann was a legend in her time. She was the first pianist to perform entire concertos and recital programs by memory, the first pianist to devote her work to both contemporary composers AND composers of the past, bringing Bach onto the recital stage. And on and on and on. But today I’m not going to focusing too much on Clara Schumann the pianist. I won’t be mentioning Brahms or Robert Schumann all that much either, except in biographical details. That’s because the focus of the show today is on Clara Schumann’s compositions. She only published 23 pieces during her life, a result of many factors, but what we do have of her work shows a brilliant and underrated compositional talent.  So today I’ll tell you about Clara Schumann’s turbulent and fascinating life story, and then take you through a few of her most wonderful pieces, including the piano trio and the 3 romances for violin and piano. We’ll also talk about why her body of work is so small, and why what we have of her music is so precious. Join us!

Stefan Dohr is one of the greatest french horn players in the world today. He has been the Principal Horn of the Berlin Philharmonic, one of the world's greatest orchestras, since 1993. In this really fun interview, Stefan and I talked about how he switched to the horn after starting out on the viola, his most memorable performances, what's it like to actually play in the Berlin Philharmonic, how to blend sound between the different sections of the orchestra, and much much more. Stefan is one of the most engaging and fascinating musicians out there so I think you'll get a lot out of this conversation. Join us!

Brahms was only 20 years old when Robert Schumann wrote his famous Neue Bahnen(New Paths) article that proclaimed Brahms as the future of music and the heir of Beethoven. Beethoven had only been dead for 26 years at this point, and his shadow still loomed large over every single composer living in Germany, and beyond. Brahms knew that the most concrete way he would be compared with Beethoven would be through a symphony, and so…he studiously avoided writing one. It’s not like he didn’t try. Brahms began sketching symphonies only one year after the Neue Bahnen article, but he kept revising the sketches, or more often, burning them as inferior products. This would go on for 23 more years, until 1876. Brahms was 43 when he finally completed his first symphony, and it was worth the wait. What Brahms came up with would inspire symphonists to this day, and would carry on the tradition that Beethoven laid out with both a respectful and loving look back into the past, with a clear eye forwards into the future. Today we'll dissect this piece in detail, taking it down to its foundational elements in order to see how Brahms created this masterpiece of a first symphony. Join us!

Just one year before Debussy wrote his legendary Prelude to the Afternoon of a Faun, he completed another groundbreaking work.  It was a string quartet, which he expected to be the first of many. But in the end, it would be the only one he would ever write. If you aren’t familiar with Debussy’s music, this quartet might be the perfect place to start. In the string quartet, Debussy mastered for the first time many of the things that would mark his later orchestral masterpieces, like La Mer, Images, and of course the Prelude to the Afternoon of a Faun. It is full of the virtuosity and brilliance of a young composer, the experimentation of one of the true radicals of his time, and the sensual beauty from a composer who said that music should exist above all to give pleasure to the listener.  Today I’ll take you through the piece, discussing Debussy’s Symbolist, NOT impressionist influences, his Brahmsian simultaneous embrace and destruction of musical form, and the vitality that carries you straight through one of the great string quartets of all time. Join us!

Martin Fröst very well may be the greatest living clarinetist. His brilliant sound, feats of virtuosity, eclectic taste, and amazing performing ability has made him a superstar in the classical music world. I recently worked with Martin in Spain and a month later we had time to sit down and record a conversation at his home in Stockholm. This was a fascinating and wide ranging conversation talking about Martin's early experiences with the clarinet, his view on concert programming and how classical music could change, and his inspiring look at his new venture in conducting. I had such a great time in this chat and I hope you will enjoy it as much as I did. Join us!

By as early as 1909, composers like Mahler knew that tonality was reaching its breaking point, and composers like Debussy were experimenting with colors and ideas a composer like Brahms wouldn’t have dreamed were possible.  Strauss was shocking the world in his own right with his erotic and disturbing opera Salome. Mirroring the roiling tensions all over the world, music was pushing and stretching at its boundaries in ways that it simply hadn’t before.  The years from 1900-1914 were a powder keg for the world and also for music, and you could argue that Stravinsky’s Rite of Spring was the musical version of the explosion of that powder keg.  And it still has a profound impact on music today.  So as we go through Part II of the Rite of Spring, The Sacrifice - the narrative section of the piece - we’ll talk a little bit more about the riot that took place at its premiere, but also the reactions to the piece throughout the 20th century.  We’ll also look at the influence the piece had on composers from all across the musical spectrum.  In just 30 minutes Stravinsky changed the world of music forever and it still causes controversy today.  I once was at a performance of the Rite where two elderly patrons of the symphony sat behind me.  As one particularly violent section of the piece blasted away, I heard one of them lean over to the other and say, “If they keep playing this modern music all the time, I’m cancelling my subscription.”  This took place more than a 100 years after the premiere.  How does a piece remain modern for so long?  Are there any other parallels in musical history?  And how does Stravinsky build a narrative that slowly builds in intensity all the way to the sacrifice of the young girl and the beginning of spring? Join us!

The most famous thing about Igor Stravinsky’s Rite of Spring is the riot that took place at its premiere.  Perhaps its overcompensating for classical music's reputation for being a bit stuffy, but musicians and musicologists LOVE talking about the riot at the Rite of Spring, and I’m no exception.  But you might be surprised to know that the Rite Riot was by no means the only disturbance at a classical concert. There are myriad stories of chaos at concerts throughout musical history, but none of them are as famous as what happened on May 29th, 1913. We'll talk about the riot, why it happened, and its aftermath. We'll also discuss this groundbreaking piece, which was revolutionary in almost every way, while being more grounded in the past than you might think. As the great writer Tom Service says, “there’s nothing so old as a musical revolution.” Join us this week for part 1, the Adoration of the Earth!

If you listened to my show last week about Stravinsky’s ballet The Firebird, you know that Stravinsky’s life was never the same after the premiere of the ballet in 1910. Sergei Diaghilev, the founder of the Ballets Russes and Stravinsky’s greatest collaborator, said just before the premiere, “this man is on the eve of celebrity.” Diaghilev was absolutely right, as The Firebird made Stravinsky a Parisian household name practically overnight. Of course, immediately everyone wanted to know what was next. Stravinsky did too, and he was thinking that he needed to stretch himself even more, as even though the Firebird had caused a sensation, he still felt that it was too indebted to his teachers of the past like Nikolai Rimsky Korsakov and other Russian greats like Borodin or Mussorgsky. At first, Stravinsky dreamed of a pagan Rite, but quickly he changed course, wanting to write something that was NOT ballet music, and in fact would be a concerto for Piano and Orchestra. But instead of just a straight ahead abstract piece, Stravinsky had yet another story in mind. This time it was this: “In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts. The outcome is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.” Diaghilev visited Stravinsky in Lausanne Switzerland expecting to hear more about the pagan rituals Stravinsky had been so excited about, but instead Stravinsky played him this strange piano concerto. But Digahliev, ever the visionary, saw the potential in this story and in this music for dance as well, and convinced Stravinsky to turn the piano concerto into a ballet, and Petrushka was born. Within a few months, Petrushka was written, performed, and was yet another sensation. Today, we’ll talk all about the brilliant music that Stravinsky composed for the ballet, the integration of choreography and music, and the radical changes that this music heralded for the western music world.

In 1906, the impresario Sergei Diaghilev created a sensation in Paris with an exhibition of Russian Art. This was the first time a major showing of Russian art had appeared in Paris, and from this point forward, the city was obsessed with Russian art, literature, and music.  Diaghilev, ever the promoter, then put together the Ballets Russes, the Russian Ballet, in 1909, a company based in Paris that performed ballets composed, choreographed, and danced, by Russians.  Over the next 20 years, the Ballets Russes became one the most influential and successful ballet companies of the entire 20th century, and a young composer that Diaghilev plucked from obscurity named Igor Stravinsky had a lot to do with their success.    The first season of the Ballet Russes relied on the big names of Russian music, like Borodin, Tchaikovsky, Rimsky Korsakov, but Diaghilev was always restlessly searching for something new.  For many years, Diaghilev had wanted to bring not only new Russian art, but also new Russian music to the West, and now he had found the perfect combination -  Diaghilev brought together the Russian artist and writer Alexandre Benoit and the Russian choreographer Michel Fokine to create a Russian nationalistic ballet based on Russian folk tales and mythology.  He then took a risk, giving the commission for the music to Igor Stravinsky.  The result?  The Firebird, a ballet that provoked an ecstatic reaction, a score that would propel Stravinsky to worldwide popularity, 3 different orchestral suites played almost every year by orchestras all over the world, and a 19 year collaboration and friendship between Stravinsky and Diaghilev which only ended in Diaghilev’s death and resulted in 8 original ballets, including The Rite of Spring and Petrushka. But, let’s not get too ahead of ourselves.  All of this had to start somewhere, so lets explore the Firebird, in all of its different versions and orchestrations, along with the folk tales and stories that go along with it. Join us!

This February, I have the great honor of joining the Indianapolis Symphony for the North American premiere of Pavel Haas’ remarkable unfinished symphony. Pavel Haas, a Czech Jewish composer, wrote the existing music for his symphony between 1940 and 1941 before his deportation to the Terezin ghetto/concentration camp. He was a full participant in the well known cultural activities of the camp, but was unable to complete the symphony before he was murdered in Auschwitz in 1944. What Haas did manage to complete is not just a piece that is worth hearing as a historical curiosity, but is one of the towering testaments of both the time in which it was written, and of the unique and innovative Czech symphonic tradition. We are left with 1 fully completed movement, one fully sketched movement, and a "torso" of a third movement. The symphony was completed by the Czech composer Zdenek Zouhar after World War II. The story of Haas’ death, which we will learn about on the show today is, of course, devastating. Hearing his music reminds all of us of the individual voices that we have lost. The voices of the 6 million Jews, and 6 million others whom the Nazis murdered. But this music also reminds us of the proof that Pavel Haas lived. Haas was one of the truly unique composers of the 20th century, and while his tragic story cannot be detached from his music, the music itself transcends its time and acquires the universality of all great music. It Is truly an honor to be bringing this music to the North American stage for the first time, and at a time of rising Anti-Semitism around the world, I hope that his story, his music, and his voice, will reach far and wide. Join me to learn about this remarkable work.

Ask a non-classical music fan to name a piece of classical music. If they don’t say Beethoven 5, or the Ode to Joy, they probably will say The Four Seasons. They might not know that it was written by Vivaldi, but the Four Seasons are a set of pieces that have made that leap into popular culture in a way that almost no other classical composition has. The Four Seasons have been remixed, reimagined, rearranged, and recycled so many times that most classical musicians barely suppress an eye roll when they see them programmed or hear them mentioned. For some classical musicians, especially the ones that disdain anything to do with pop culture, the Four Seasons represent kitsch in classical music, an overplayed and overrated set of violin concertos that could easily be put away forever. But that’s a huge mistake on our part. For me, the Four Seasons are a masterpiece from a criminally underrated composer. They show a remarkable level of creativity, innovation, and ingenuity, and when you strip back the layers of accumulated traditions, all the remixes and “improvements” of them, you’re left with pieces that are way way way ahead of their time, and as exciting and fresh to listen to as they must have been when Vivaldi first wrote them. So today I’m going to take you through the Four Seasons - we’ll talk about Vivaldi’s place in musical history, program music and what that meant in Vivaldi’s time, and how music can portray nature. And I’ll try to convince any skeptical listeners out there that these pieces, far from being overplayed cliches, are actually underplayed, at least in their original form. Join us! Recording: Janine Jansen with Amsterdam Sinfonietta. Link to video here: https://www.youtube.com/watch?v=zzE-kVadtNw

You might be thinking, "Why on earth would anyone want to devote an entire podcast to etudes?" For most instrumentalists, etudes are the bane of our existence. They are studies, meant to develop technique on an instrument. Etudes are an essential part of any instrumentalists work, but they had never been known for their musical content. As a violinist, I had practiced dozens of etudes by Kreutzer, Rodé, Dancla, Sevcik, Schraideck, Kayser, Mazas, and more, lamenting the day I chose the violin as my instrument. But pianists have the same dreaded names, like Czerny for example. Chopin changed all of that. Chopin was the first composer to integrate musical content into his etudes, which meant that Chopin's etudes were both extremely difficult technical exercises, but they also were musically interesting enough to be performed live. LIke everything Chopin did on the piano, this was revolutionary, and Chopin's 27 etudes have been part of the piano repertoire ever since. We'll discuss some of these etudes today, along with the nature of virtuosity itself. We'll also spend a lot of time talking about Leopold Godowsky. Leopold Godowsky is not a name you’ve probably heard very often. But he was one of the great pianists of the end of the 19th century and the beginning of the 20th century, with legions of admirers including legendary pianists like Josef Hoffman, Arthur Rubinstein, Sergei Rachmaninoff, Claudio Arrau, and the composer Ferrucio Busoni. Godowsky’s pianistic gifts were well known, but what about his compositional ones? Well, to speak of one is to speak of the other. During the 1890s, when Godowsky was in his late 20s, he began making arrangements of famous piano works of Chopin and other composers music. Over the next 20 years, he became engrossed with Chopin’s legendary etudes, or studies, and began writing his own arrangements of them. Now Chopin’s etudes are extremely difficult just on their own, but Godowsky’s studies are on another level of difficulty.  In fact, Godowsky’s transcriptions are so difficult that many pianists don’t even dare to play them, though some, like the great Marc-Andre Hamelin, have made them an integral part of their repertoire. So today on the show, we’ll take a look at some of the studies on Chopin’s etudes, analyzing both the original Chopin etudes and then the changes that Godowsky makes to them. This will be a show as much about Chopin as it is about Godowsky, because you can’t understand Godowsky’s achievement without understanding the Chopin first. Join us!

In the late summer or early autumn of 1828, Schubert completed an extraordinary work, his String Quintet in C Major. 6 weeks later, he was dead. Nowadays this piece is considered to be one of the most sublime 50 minutes to an hour that exists in all of music. But when Schubert completed this quintet, he sent a letter to the publisher Heinrich Albert Probst, to ask him to publish it. Schubert wrote: ‘Among other things, I have composed three sonatas for piano solo, which I should like to dedicate to Hummel. I have also set several poems by Heine of Hamburg, which went down extraordinarily well here, and finally have completed a Quintet for 2 violins, 1 viola and 2 violoncellos. I have played the sonatas in several places, to much applause, but the Quintet will only be tried out in the coming days. If any of these compositions are perhaps suitable for you, let me know.’  The quintet was ignored by Probst, and we don’t know if Schubert ever heard that rehearsal of his quintet.  When Schubert died, it was utterly forgotten until 1850, over 20 years after Schubert had put these notes down on paper. The well known at the time Hellmesberger quartet discovered the quintet, began performing it, and finally, in 1853, the piece was published for the very first time. Slowly, as so many great works of art do, it caught on, until today it is one of the most beloved works in the entire Western Classical music universe. But it’s not an easy piece to talk, or to write, about. Long associated with Schubert’s impending death, though we have no evidence that he knew he was dying when he wrote the piece, it is often seen as a work full of shadows and shades, despite its C Major key and often ebullient character. Writers, thinkers, and podcasters I should add, have often found it difficult to put their finger on the fundamental character of this remarkable piece, which I actually find to be an asset, not a problem to be solved. Schubert’s music is so beautiful because it speaks to everyone in a different way. Unlike Beethoven, who grabbed you and shook you and told you to listen to what he had to say, Schubert invites us in, has us sit down for while, and lets us take part in his remarkably complex emotional world. Today we’ll explore why Schubert wrote a string quintet at all, how he uses that extra cello in such beautiful ways, Schubert’s sense of melody, his expansive scope, and so much more. Join us!

Film music began as a solution to a problem. Early film projectors were really loud, therefore something was needed to cover up all the noise.  In addition, silent movies apparently seemed a bit awkward without any musical accompaniment.   Enter, usually, a pianist, who would improvise musical accompaniments to the events on the screen. None other than Dmitri Shostakovich got his first job as a cinema pianist, honing his improvisatory skills, and sometimes receiving cat calls and boos for his fantasy filled musings that tended to stray away from the action on the screen. Music in the silent film era had to help the audience in pointing out important moments to the audience,  enhancing the emotional effects of the story, and most importantly, it had to give a certain musical line to every character, giving to them the emotional depth that the audience couldn't get since they weren’t going to hear their voice.  To do this, early film composers turned to the idea of the Leitmotif, an idea developed by the opera composer Richard Wagner. This idea would take hold even once "talkies" took over the screen, with composers such as Max Steiner, Charlie Chaplin, and others setting the stage for a century of brilliant music, by composers like Bernard Herrmann, John Williams, Dmitri Shostakovich, Rachel Portman, Hans Zimmer, Erich Wolfgang Korngold, Christopher Willis, and dozens and dozens more. Today on the show we'll talk about this development of film music, and also hear some of the greatest and most recognizable film music ever written. We'll also talk about why film music is sometimes looked down upon in the classical music world, and how we might begin to change that perception. Join us!

Along with Antonin Dvorak and Bedrich Smetana, Leos Janacek is known as one of the three great Czech composers. He was born in Moravia, part of the Austrian Empire at the time, and became passionately interested in studying the folk music of his Moravian culture. After World War I, when the empire collapsed and Moravia became incorporated into the new country of Czechoslovakia, those nationalistic sentiments only increased, and Janacek was the perfect person to express those feelings through his music, seeing as his interest in the folk music of his homeland had been a lifelong passion for him. Enter the Sinfonietta, written in 1926, commissioned by none other than a Gymnastics festival! A sinfonietta is usually a smaller scale piece than a symphony, shorter, with a lighter orchestration and a lighter touch. But Janacek was always a rebel, and his Sinfonietta is a symphony in all but name, featuring an absolutely massive brass section that lustily performs the nationliaistic fanfares that Janacek gleefully adds  to the music. The Sinfonietta is an expression of patriotic love for Janacek’s homeland, but it is also a piece that shows off so many of the things that make Janacek such a unique and underrated composer, his love of short fragmented melodies, his shocks and surprises, his innovative use of orchestration, and more. If you're not familiar with Janacek's music, the Sinfonietta is the perfect entry point, so come join us on this Patreon-sponsored episode!

The center of Western Classical Music, ever since the time of Bach, has been modern-day Germany and Austria.  You can trace a line from Bach, to Haydn to Mozart to Beethoven to Schubert to Schumann, Brahms, and Wagner, and finally to Mahler. But why does that line stop in 1911, the year of Mahler’s death? Part of the answer is the increasing influence of composers from outside the Austro-German canon, something that has enriched Western Classical music to this day. There was also World War I getting in the way.  But after the war, one could have expected that this line would continue again.  The 1920’s in Germany and the rest of Europe were a time of radical experimentation, a flowering of ideas, a sort of wild ecstasy of innovation across all the arts. So why don’t we hear of these Austro-German experimenters and innovators anymore?  Because of Adolf Hitler, Joseph Goebbels, and their Entartete, or Degenerate music.  Hitler’s worst crime was by no means his suppression of dozens of German, Austrian, and Eastern European composers, but it is a fact all the same that from the end of World War I until 1933, classical music in Germany and Eastern Europe(especially Czechoslovakia), was flourishing, with composers such as Zemlinsky, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann taking up the mantle of the giants of the past and hoisting it upon themselves to carry it forward.     The Nazis silenced, exiled, or  killed off many of these musicians during the twelve years of 1933-1945, and those voices are forever lost, but the music they wrote before, during the War and the Holocaust, and after it, some of it masterpieces quite on the level of their predecessors, has been preserved.  So why then are these composers not better known? I’ve chosen 12 composers, all of whom were writing music at the highest level.  Some of them may be familiar to you, but many probably won’t be.  And through all of their trials and tribulations, one of the things I want to emphasize throughout these stories, even the bleakest ones, is that so many of them found the will to be able to compose this heart-rending, beautiful, and often optimistic music all as they witnessed unimaginable horrors. It may seem empty when the end for many of these artists was so horrific, but these compositions and the men and women who were behind them are a true testament to the resilience of the human spirit.  These artists created a life for their friends, neighbors, and fellow inmates in concentration camps.  They wrote music they knew would almost certainly not be heard in their lifetimes, from an urge that could not be destroyed, even by gas chambers. Join us to learn about them this week.

David Krauss is the Principal Trumpet of the Met Opera orchestra, and in this conversation, we talked about his beginnings on the trumpet, the differences between playing in a symphonic orchestra vs. an opera orchestra, how to manage the vast distances between singers, the conductor, the orchestra, and the brass section, the specific skills an opera orchestra player has to have, and some funny/terrifying stories about on stage moments we both would rather forget! We also talked about David's podcast, Speaking Soundly. This was a really fun conversation and I hope you enjoy it as much as I did!

Note: This episode will be a lot more enjoyable if you listen to Part 1 first! As we turn towards the final three quartets of the set, we’ll see a lot of the same characteristics of the first 3; a perfect classical era proportionality, strong influences from Haydn and Mozart, and that perfect blend of vividly drawn but just very slightly restrained characters that marks Beethoven’s early period. But we also will see something else. We will see C Minor, Beethoven’s favorite key to depict drama and anxiety, we will see music that is almost impossibly charming and Mozartian coming from a composer as irascible as Beethoven, and then we will arrive at Op. 18 No. 6, perhaps the most emotionally complex and forward looking of the 6 Op. 18 quartets. We’ll take our same birds eye view of each of these quartets, as we did last week, but I will also do two more deep dives. We'll take apart the first movement of Op. 18 No. 4, and the last movement of Op. 18 No. 6, which is the movement that for many is the highlight of these quartets. Along the way, we’ll enjoy all of the quirky details of these three mini masterpieces, and see how Beethoven was starting to break the mold and set out onto his own path, one note at a time. PS: All recordings used on the show for the last two weeks were done by The Cleveland Quartet - recordings of the complete quartets are available at clevelandquartet.com

In 1798, Beethoven, all of 28 years old, was about to begin a project that would take him to the last days of his life, a project that would result in some of the most far-reaching, most cosmic, most life-affirming, most dramatic, and simply put, some of the greatest music he, or anyone else, ever wrote. This project that Beethoven was beginning was his first set of string quartets. Beethoven wrote/published 16 string quartets during his life, and they are both a superhuman achievement and yet also a testament to the ability of a single person to create music of vast complexity and the deepest of emotions, all for just 4 musicians. To really understand Beethoven’s quartets, and his achievements with them as he progressed through his life, we have to start at the beginning. Beethoven was very rarely in the shadow of anyone during his life, but when it came to the string quartet, Beethoven still felt very much indebted to two of his colleagues, Haydn and Mozart. Haydn had essentially invented the genre of the string quartet, and by 1798 was beginning the massive project of cataloguing and writing out his 68 string quartets. Mozart had died only 7 years earlier, leaving us with some of the most pristine and gorgeous entries in this still relatively new at the time genre of instrumentation.  Beethoven’s music is often separated in to early, middle, and late periods, and these string quartets are always placed into the early period, which makes sense considering his later works, but also belies the fact that Beethoven had already accomplished quite a bit by the time he turned 30! It’s safe to say that these pieces come near the end of this early period, where Beethoven was still working out how to embrace the classical traditions that he admired so much in composers like Mozart and Haydn, while also finding his own path as the creator of brand new traditions, smashing the rule book along the way. So this week, I wanted to take you through an overview of these amazing works. We’ll talk about the genre of the string quartet itself, what Haydn and Mozart had essentially codified when Beethoven wrote his Op. 18s, and of course, what Beethoven did with this genre, even at this early stage, which is often absolutely astonishing in its creativity, intensity, and just plain excitement.

In almost every one of the past shows I’ve done about Shostakovich, the name Joseph Stalin is mentioned almost as much as the name Dmitri Shostakovich, and of course, there’s a good reason for that. Shostakovich’s life and music was inextricably linked to the Soviet dictator, and Shostakovich, like millions of Soviet citizens, lived in fear of the Stalin regime, which exiled, imprisoned, or murdered so many of Shostakovich’s friends and even some family members. Post his 1936 denunciation, Shostakovich’s music completely changed. Moving away from the radical experimentation he had attempted with his doomed opera Lady Macbeth of Mtensk, he adopted a slightly more conservative style, which he hoped would keep him in good stead with the authorities. But the piece I’m going to tell you about today, his monumental first violin concerto, is a bit different. It was written just after World War II, between 1947 and 1948. And yet, it was not performed until 8 years later. Shostakovich himself withdrew the work and kept it “in the drawer” along with his 4th string quartet and his song cycle From Jewish Folk Poetry. When the piece was finally performed by its dedicatee, David Oistrakh, it was a massive success, and it remains one of the best ways to “get into” Shostakovich’s music. It is a huge work, in 4 grand movements, and Shostkaocvich himself described it as a “symphony for violin solo.” It features all of the qualities that make Shostakovich’s music so exciting, powerful, heartbreaking, and intense, while also allowing the listener, for the most part, to remove politics from the equation. While there are certainly encoded messages in the piece, one of which we’ll get into in detail, this is a piece that is as close to pure musical expression as any of Shostakovich’s post 1936 works, and so today I won’t be mentioning Stalin all that much, I won’t be mentioning the Soviet government every other sentence, and instead, we’ll explore what makes this concerto so fantastic, so emotionally powerful, and so rousingly exciting. Join us!

Everyone knows Gershwin’s Rhapsody in Blue.  Even if United Airlines hadn’t made the piece ubiquitous, it seems like the one piece of classical music almost everyone knows besides the beginning of Beethoven’s 5th symphony is Rhapsody in Blue.  But did you know that Gershwin wrote a second rhapsody for piano and orchestra?   We know Shostakovich’s later works for their intensity, drama, and depth, but did you know that Shostakovich was a completely different composer when he was a young man?  That he wrote funny, sarcastic, and wildly experimental music?   How about Heinrich Ignaz Franz Biber and his Battalia a 10?  Or Ethel Smyth’s string quintet? Or the music of Teresa Carreno? Leonard Bernstein used to talk about the infinite variety of classical music because there’s simply an endless treasure trove of great and often totally unknown classical music out there.  So today, I want to take you on a bit of an archeological expedition, exploring 10 pieces you’ve (probably) never heard of, but really have to listen to.  My list includes some very recognizable names, including Ravel, Gershwin, and Shostakovich, but also some names you might know less well, like Anton Arensky, Milosz Magin, and Teresa Carreno. Join us and discover something new!

In 1929, the conductor Nicolas Slonimsky contacted the American composer Charles Ives about performing one of his works. This was a bit of a surprise for Ives, since he had a checkered reputation among musicians and audience members, if they even were familiar with his name at all. In fact, he was much more famous during his lifetime as an extremely successful insurance executive! Ives mostly composed in his spare time, and his music was mostly ignored or ridiculed as that of a person suffering from a crisis of mental health. Most of his music was never performed during his lifetime, and even today, he is thought of as a great but extremely eccentric composer, and orchestras and chamber ensembles often struggle to sell tickets if his name appears on the program. But for those who love Ives, there is an almost evangelical desire to spread his music to the world. I’m one of those people, and I’m finally fulfilling a pledge to myself to do a full show devoted to a single work of arguably the greatest and most under appreciated American composer of all time, Charles Ives. The piece I chose to talk about today is Three Places in New England, or the New England Symphony, a piece that is a perfect amalgam of what makes Ives such a spectacular composer - his radical innovations, his ahead of his time experiments, his humor, his humanity, his warmth, and the staggering creativity that marked all of Ives’ great works. We’ll start with a little biography of Ives in case you’re not familiar with him, and then we’ll dive into Three Places in New England, and by the end, I hope , if you’re not already, that I will have converted you into an Ives fan for life! Join us!

In the mid 19th century, the way to make yourself famous in France as a composer was to write operas. From Cherubini, to Meyerbeer, to Bizet, to Berlioz, to Gounod, to Massenet, to Offenbach, to Saint Saens, to foreign composers who wrote specifically for the Paris Opera like Rossini, Verdi and others, if you wanted to be somebody, especially as a French composer, you wrote operas, and you wrote a lot of them. But one composer in France bucked the trend, and her name was Louise Farrenc. Farrenc never wrote an opera - instead she focused on chamber music, works for solo piano, and three symphonies that were in a firmly Germanic style. Writing in a style that was not en vogue in her home country, along with the obvious gender imbalances of the time, meant that you might expect that Farrenc was completely ignored during her life. But that’s not the case. She had a highly successful career as a pianist, a pedagogue, and yes, as a composer too. But after her death, her music was largely forgotten. Bu in the last 15-20 years there has been a concerted effort at bringing Farrenc’s music back to life, part of a larger movement to rediscover the work of composers who were unfairly maligned or treated during their lifetimes and after. One of Farrenc’s greatest works, and the one we’re going to be talking about today, is her 3rd symphony in G Minor. On the surface this is a piece in the mid-to-late German Romantic symphonic tradition, with lots of echoes of Mendelssohn and Schumann, but there’s a lot more to it than that. So today on this Patreon sponsored episode, we’ll discuss how Farrenc’s music fit into French musical life, how a symphony was a still expected to sound in 1847, and of course, this dramatic and powerful symphony that is only now beginning to find its rightful place on stage. Join us!

In 1922 a review appeared in the French newspaper Le Figaro: “We cannot describe the cries of admiring joy let loose by an enthusiastic public. In the immense oeuvre of Camille Saint-Saëns, The Carnival of the Animals is certainly one of his magnificent masterpieces. From the first note to the last it is an uninterrupted outpouring of a spirit of the highest and noblest comedy. In every bar, at every point, there are unexpected and irresistible finds. Themes, whimsical ideas, instrumentation compete with buffoonery, grace and science. ... When he likes to joke, the master never forgets that he is the master.” You would think that this review came after a triumphant performance for Saint-Saens, and that he basked in the glory of the major success of what would become perhaps his most well known work, the Carnival of the Animals. But it just wasn’t the case. In fact, this review appeared after a performance of the piece given after Saint-Saens death, and there was a reason for that. Saint-Saens, after 3 private performances of the piece, forbade it from being performed publicly during his lifetime. Why? Well, he was concerned that this lighthearted piece would diminish his standing as a serious composer. Even in the mid 1880s when this piece was written, Saint-Saens began to evince the conservatism, musical and otherwise, that would mark his later career, to the point that he wanted Stravinsky declared insane and said this about Debussy: "We must at all costs bar the door of the Institut against a man capable of such atrocities; they should be put next to the cubist pictures." Why was Saint-Saens so opposed to modernism? Why was he so concerned with his reputation as a serious composer, to the point that he suppressed this wonderfully creative piece? And just what makes the Carnival of the Animals so fantastic and so much fun to listen to, as well as being so vivid in its portrayals of the animals it represents? Join us to find out!

Welcome to Season 9 of Sticky Notes! We're starting with a bang this season with Brahms' incomparable 4th symphony. This symphony takes the listener on a journey that unexpectedly ends in a legendarily dramatic and stormy way. What would compel a composer like Brahms to write an ending like this? Was it a requiem for his place in music? For Vienna? For Europe? Or was it the logical conclusion to a minor key bassline he stole from a Bach Cantata? This is the eternal question when it comes to Brahms - logic or emotion? Well, usually the answer is a bit of both, and today we're going to go through this remarkable piece with all of this in mind. Join us!

"I think Mozart just really loved people." - Jan Swafford. For the Season 8 Finale, I had the great pleasure of welcoming back Jan Swafford, the great writer on music, who has written a spectacular new biography of Mozart. In this conversation, we talked about who Mozart really was as a person, some of the myths that defined him during his lifetime and into the present day, and of course, the incomparable music that Mozart was able to create, sometimes on a whim or in a single afternoon. This is a conversation about a man who understood people perhaps better than almost any composer, and a musician who scraped and struggled during his life while achieving immortality through his creations. Please note that this will be the last episode of Season 8 and Season 9 will begin on September 8!

George Gershwin’s story is like the story of so many American immigrants.  His mother and father, Moishe and Rose Gershowitz,  were Russian Jews who came to New York City in the 1890s looking for a better life and to escape persecution at home. Soon they became the Gershwines, and in 1898, Jacob Gershwine was born. Later on he changed his name to sound just a little bit more American, and the name George Gershwin was on its way to immortality.  In just a few short years, the Gershowitz’s had become the Gershwins, and the story of George Gershwin was beginning to be written.  On today’s show we’ll talk about some of Gershwin’s greatest works, including his Concerto in F, Rhapsody in Blue, and Porgy and Bess, but we’ll also talk about the collision between Classical and Pop music, a Russian Jew imbibing the purely American form of Jazz, and Gershwin’s place in the modern classical and jazz repertoire, and in America. Join us!

If you want to understand how a symphony works, look no further than the works of the Father of the symphony, Joseph Haydn. In 1790, a concert promoter and impresario named Johann Peter Solomon showed up un-announced at the Vienna home of the great composer Joseph Haydn.  He immediately told Haydn: “I am Solomon from London and I have come to fetch you.”  What Salomon and Haydn were about to embark upon would be one of the greatest successes of both of their lives.  Haydn would end up making 2 visits to London, presenting an adoring audience with 12 symphonies, almost all of which are still regularly performed today.  But the most famous one is the one we’re going to be talking about today, the 94th symphony, nicknamed “Surprise” or in the slightly drier German version: “the one with the Drumstroke.”  The piece is famous for this surprise, which is now so well known that it rarely surprises anyone, though we’ll get into just how you might be able to do that in 2022.  But the entire piece is a masterpiece in its own right, and so today we’ll discuss all of the tricks and traps Haydn pulls with his audience, leading to one of the most enjoyable symphonies of his entire catalogue.

Derrick Skye is one of the most creative, innovative, and brilliant composers of our time. His orchestral work, Prisms, Cycles, and Leaps is a musical thrill ride spanning influences from literally all over the world, from West African Music, Balkan Folk Music, Hindustani Classical Music, all the way to Appalachan Folk harmonies. I had the great pleasure of talking my way through this piece with Derrick, exploring the mind-bogglingly complex rhythmic patterns, the melodic lines that blend cultures and harmonies, and the infectious joy of this unique piece. If you're not familiar wiith Derrick's music, trust me, take the time to get to know him and his music in this interview/analysis - you won't regret it!

There is one composer who I’ve never devoted a full show to that fills me with the same devotion and ecstasy as the people who claim that Wagner almost immediately dissolves them into tears. His music is widely played, but it has never been totally embraced by the wider classical music audience. There are a variety of reasons for this, but his uniquely 20th century language of tonality mixed with atonality mixed with something completely different from anyone who has ever written music makes it sometimes difficult to pin down his vast contribution to the world of music. His music is as deeply connected to his religious faith as any composer in history, and yes, that includes Bach. His music is as deeply connected to Nature as any composer who ever lived, and his music is tied directly to the colors he saw as he played and listened to it. His name is Olivier Messiaen, and he is one of the greatest composers of the 20th century. I wish I could describe to you the otherworldly feeling I get when I listen to his music, but for a very long time, I shied away from it.  Perhaps the reason is that it’s extremely hard to talk about Messiaen’s musical outlook without talking about his religious faith. I’m a non-religious Jewish person, so the depths of devotion that Messiaen describes regularly as his inspirations were and are foreign to me. And yet, the first time I heard his L’Ascension, every single hair on my body seemed to stand on end. I was completely blown away by these ravishing harmonies, how light seemed to shine off of them, how Messiaen translated his religious devotion into sound. I’ve not talked about Messiaen’s music on the show because it’s not easy to grapple with, but I can’t wait any longer. Today I’ll tell you a bit about Messiaen’s life, his upbringing, his musical and religious revelations, and then I’ll discuss some of his greatest pieces using three frameworks - religion, nature and specifically birdsong, and color. Join us!

Bucolic. Sunny. Cheerful. Joyous. Folksy. Ebullient. Thrilling. These are all words that I found while researching Dvorak’s 8th symphony. Dvorak’s gift for writing the most gorgeous of melodies is on full display in his 8th symphony, a piece that has been charming listeners ever since its very first performances. It is, on its surface, an uncomplicated piece, bursting at the seams with melody after melody after melody, almost mirroring one of Brahms’ greatest one-liners, where he referred to his summer country home as a place where melodies were so heavily present thatt one had to be careful to avoid tripping on them! The overriding characteristic of this 8th symphony is joy, from its childlike key of G Major, to its raucous use of folk music, and even its smiling through tears slow movement. Very often on this show I try to take pieces that are quite complicated and break them down for you to show you how to follow their twists and turns despite their complexities. But today, I’m going to do the opposite. Today, I’m going to take a piece that is, on its surface, quite simple, and I’m going to show you how this symphony is not quite as simple as it seems. It is a piece full of invention and of the scintillating energy of trying out new ideas. As Dvorak said, he would try to make this symphony ”different from the other symphonies, with individual thoughts worked out in a new way.” So today on the show we’re going to talk about how this symphony is different from other symphonies, and also how Dvorak constructs his chains of melodies that add up to the joyful whole of this piece, though tinged with the melancholy that is almost always present with Dvorak. Join us!

How does a composer capture the spirit of a country, especially if it's not his native land?  Mendelssohn, in his Italian Symphony, gives us one of the best examples of someone doing just that, giving us a tightly integrated, yet highly independent set of 4 snapshots from his travels all over Italy.  And yet, despite the piece being called the Italian Symphony and being indelibly associated with the country, the symphony remains a relatively traditional 4 movement German classical symphony.  What we hear then is a brilliant amalgamation of a symphony and a tone poem that is among the first of its kind.  The symphony tells no story, has no narrative, and yet, when we finish the breathless Tarantella that ends the piece, we feel like we’ve been flicking through a photo album of Felix’s vacation, smiling (mostly) all along the way. Today we’ll talk all about how Mendelssohn builds this symphony and how each movement captures such a distinctive character, while remaining Mendelssohnian to its core - kind, warm-hearted, and full of bubbling energy. Join us!

Today I’m going to be talking about one piece, but in two different ways.  I’m going to start today with an in-depth look at Brahms’ Piano Quartet in G Minor, an early piece of his that reveals an incredible sense of drama, drive, and creativity. This is very different music than I’ve talked about before with Brahms as this is decidedly the work of a young composer, without all the burnished maturity of Brahms’ later music. This is also a great opportunity to revisit the bedrock of the Classical and Early Romantic eras, Sonata Form, a form that makes so many pieces from those eras intelligible and clear.  But I’m also going to be talking about another piece. Well, it’s the same piece, but to some people, it sounds so completely different that it constitutes a completely new piece entirely. To some others, myself included, it almost constitutes an entirely new Brahms symphony. What I’m talking about is the composer Arnold Schoenberg’s arrangement of Brahms’s Piano Quartet for a massive orchestra, filling the stage with instruments that Brahms never would have even conceived of! You don’t often think of Schoenberg and Brahms in the same breath, but Schoenberg was a devotee of Brahms’ music, and often defended him against those who called him a crusty old conservative composer. But Schoenberg was still Schoenberg, and this arraangement of the quartet reflects that in a lot of ways. So along with an exploration of Sonata Form, I’ll save a look at the Schoenberg arrangement for the end of th show, since this is a great chance to look at orchestration and how a composer takes a piece written for 4 people and transforms it into a piece for 100. So today we’ll dive into this vast and complex piece, and along they way we’ll visit Schoenberg’s fascinating and sometimes downright wacky arrangement.  Join us!

In 1964, the popular 20th century composer Luciano Berio was commissioned by Mills College in California to write a piece for voice and chamber orchestra. What Berio came up with is one of his most remarkably creative works, which is really saying something considering the innovative and constantly evolving way that he wrote music. Berio once said:  “My links with folk music are often of an emotional character. When I work with that music I am always caught by the thrill of discovery… I return again and again to folk music because I try to establish contact between that and my own ideas about music. I have a utopian dream, though I know it cannot be realized: I would like to create a unity between folk music and our music — a real, perceptible, understandable conduit between ancient, popular music-making which is so close to everyday work and music.” The words "thrill of discovery" are at the core of what makes the Folk Songs so wonderful and easy to listen to. They combine a modernist classical aesthetic with songs that are of such beauty that it is hard not be overwhelmed by them. Berio took 11 folk songs from 5 different regions of the world, from places as far away as the United States and Azerbaijan, and transformed them. He wrote: “I have given the songs a new rhythmic and harmonic interpretation: in a way, I have recomposed them. The instrumental part has an important function: it is meant to underline and comment on the expressive and cultural roots of each song. Such roots signify not only the ethnic origins of the songs but also the history of the authentic uses that have been made of them.” Today on the show I’m going to take you through these 11 songs, going on a historical expedition to find some of their roots and to get as close to the original songs as I can, and then looking at how Berio re-worked these songs into this cycle that consistently stuns people with its beauty and creativity. If you’ve never heard these pieces before, get ready, because Berio will take you on a remarkable journey. Join us!

It’s very easy to compare Sergei Prokofiev to Dmitri Shostakovich.  They are the two most famous representatives of Soviet and Russian music of the 20th century, they lived around the same time, and their music even has some similarities, but at their core, you almost couldn’t find more different people than Prokofiev and Shostakovich.  Shostakovich was neurotic, nervous, and timid.  Prokofiev was confident and cool.  Shostakovich was tortured by the Soviet government, and while Prokofiev certainly had his runins with Stalin and his crones , his life wasn’t so inextricably linked to the Soviet Union, besides the fact that he had the bad luck to die on the same day as Joseph Stalin, which made it so that there were no flowers available for his funeral. Prokofiev was able to travel, and see the world, generally without nearly as much interference as Shostakovich faced.  These two lives are reflected in two very different musical approaches.  Shostakovich's wartime symphonies are full of terror and violence, whlie Prokofiev wrote that his 5th symphony was a hymn to the human spirit. We don't know how much that reflects his true feelings, but its undeniable that there is a certain "optimism" to this symphony that both thrills and unsettles listeners to this day. It is also filled with traademark Prokofiev cynicism and sarcasm, and so we are left, as always, with a contradiction. What did Prokofiev mean with this symphony? Join us as we try to find out!

Imagine writing a concerto that prompted Beethoven to remark to a friend: “we’ll never be able to write anything like that.  Or a piece that prompted Brahms to call it: “a masterpiece of art, full of inspiration and ideas.”  Or had scholars and musicologists raving, saying things like: "not only the most sublime of the whole series but also one of the greatest pianoforte concertos ever composed" or "whatever value we put upon any single movement from the Mozart concertos, we shall find no work greater as a concerto than this K. 491, for Mozart never wrote a work whose parts were so surely those of 'one stupendous whole'."  I could go on and on, but the simple end to this story is that Mozart’s C Minor Piano Concerto has been considered one of the great achievements of humanity ever since it was premiered on either April 3rd of April 7th of 1786, performed by Mozart himself.  While we don’t know exactly how long it took Mozart to complete this concerto, it could not have taken more than a few months, and it came amidst him writing his 22nd and 23rd piano concerti, both masterpieces in their own right, and it was written just as Mozart was putting the finishing touches on his comic magnum opus, The Marriage of Figaro.  It’s almost a cliche at this point, but its one of those rare cliche’s that really deserves to be repeated:  If Mozart had written just one of those 4 pieces, his name would have been etched in history. Instead he was working on all 4 at the same time! Today, we’re going to be talking about the astonishing harmonic language of the piece, it’s skeletal manuscript, and how performers deal with the contradictions and quite frankly, missing pieces of this concerto. Join us!

Today I’ve got a pretty special show for you. It’s set up in two parts, with the first part featuring an interview, and the second part will be a more typical Sticky Notes analysis of a specific piece. Why did I set up the show this way this week? Well, I had the opportunity a few months ago to work with an extraordinary scholar and musician, Dr. Samantha Ege, who is the Lord Crewe Junior Research Fellow in Music at Lincoln College, University of Oxford,  and is also one of the foremost scholars on the music of Florence Price. Florence Price is a composer who has been receiving a lot of attention over the last 5-7 years. As the first African American woman to have a major piece performed an orchestra, her first symphony was performed in 1933 by the Chicago Symphony, Price has become one of the most prominent figures in the revival of music written by Black composers as orchestras and performers not only in the US but all over the world attempt to diversify their programming. Price is part of a group of composers from the early twentieth century who were the first nationally successful Black composers. This group included luminaries such as William Grant Stiill, William Levi Dawson, and Nathaniel Dett, among others, and all of these composers have had their works rediscovered during this period, a truly exciting development that has brought a lot of neglected music back onto the concert stage. I’ve wanted to do a show devoted to Florence Price for a while, but when I got the chance to perform Florence Price’s Piano Concerto in One Movement with Dr. Ege, I knew I had to ask her to come on the show to tell the incredible story of this wonderful American composer. So the first part of the show is devoted to an interview with Dr. Ege going through Price’s background and talking about her writing style and approach to music. This was such a fun interview - Dr. Ege is a great teacher and I learned a ton about Price that I didn’t know about beforehand. The second part of the show will be an analysis of one of Price’s most rarely played, but in my opinion, one of her best, orchestral works, Ethiopia’s Shadow in America. Join us!

Mahler once said this to Bruno Walter, his protege and great advocate of Mahler’s works: "What one makes music from is still the whole—that is the feeling, thinking, breathing, suffering, human being”   You could almost just stop there with the last movement of Mahler 9.  This is music so full of feeling, thinking, breathing, suffering, but also of also acceptance and consolation, that words fail to describe its emotional impact. But as always with Mahler, this isn’t merely an emotional outpouring, a dumping of his innermost feelings onto the audience. It is a superbly paced, beautifully written movement, and despite its 25 minute length, and very stable and slow tempo, the movement does the seemingly impossible and feels both endless and compact at the same time.   So today, while of course we’ll talk about the emotional content of the music, I want to focus a bit more on how Mahler writes this music to make it so effective, and how he finds a way to reach the peaks of expression and the epitome of using silence as music. And finally, we'll explore how and to whom Mahler says goodbye to at the end of this symphony, as everything fades away. Join us!

It's easy to forget that Mahler, for all of his ubiquitous success nowadays, was much better known as a conductor during his life than as a composer.  He had basically one major success in his compositional career: a performance of his 8th symphony in Munich in 1910 that finally seemed to give him the approval he craved from the audience.  But for much of his compositional life, Mahler was misunderstood. His symphonies were either too long, too dense, too confusing, too esoteric, too vulgar, too banal, lacking in sophistication, or had too MUCH sophistication - the list goes on and on.  Mahler famously said in regards to his music that “my time will come” and it certainly has come, with regular performances of his music all around the world.  But as we discuss the third movement of Mahler’s 9th symphony today, I want to keep reminding you that Mahler was really not a popular man.  Even as a conductor, he had bitter enemies that drove him out of his position as the Director of the Vienna Court Opera in 1907.  As a person, he could charitably be described as difficult, with moments of kindness followed by bouts of stony silence or fierce rages.  Mahler was a complicated man, and it's perhaps in this third movement that we can learn so much about this side of Mahler that doesn’t get talked about as much - that bitter, sarcastic, nasty side of him that many choose to ignore, preferring to focus on the love and warmth that he instills into much of his music.  In the third movement of his 9th symphony, Mahler seems to be letting out some of his rage and anger at the Viennese public, concerned in his mind only with intrigue and gossip, and those critics who trafficked in open Anti-Semitism in order to bring him down from his lofty perch.  But amidst all of this, Mahler continually grasps for order throughout the movement, only to find it ripped away from him.  This is the shortest movement of Mahler’s 9th symphony, but it is also the most dense.  So today, we’ll talk about that bitter pill that is this movement, a movement that is nevertheless relentless in its search for beauty, form, and order. Join us!

Remember where we ended in the first movement of Mahler's 9th symphony? After a 27 minute farewell which touched on the two poles of rage and acceptance, while filling in every conceivable emotion in between, we ended in total peace, calm, and acceptance .   There is a lot about this symphony that is traditional - it has four movements, it's tonal(for the most part), it uses(mostly) traditional forms, but there is one thing about the symphony which is extremely unusual: the fact that it is bookended by two slow movements.  A traditional symphony takes the form of a moderately fast first movement, either a slow movement or a fast dance movement for the second movement, the same for the third(almost always the opposite of whatever the second movement was), and a fast last movement to send the crowd home happy.  Mahler,  using a form that he never used before, and would never be used again by any composer, writes a slow first movement, then 2 fast dance movements, followed by a slow final movement.  It's a fascinating formal design, but one that presents a lot of problems to solve; how do you contrast the two middle dance movements?  How do you create a sense of excitement when you’ve just finished a 27 minute slow movement which could easily be its own piece?  And perhaps most importantly, how do you conceive of the arc of a 16 minute dance movement, one that seems almost shockingly simplistic in its basic harmony and melody.  Well, Mahler finds a way through a combination of genuine joy, sarcasm, bitterness, and irony, emotions we will certainly be talking about as we take apart this second movement.

Two events, occurring on the same day, drove Mahler to the brink. His daughter Maria died at the age of just 4, and Mahler himself was diagnosed with a heart condition that would prove to be fatal. He became consumed even more so than he ever was before with the idea of death, the afterlife, and all the philosophical trials and travails that came with these thoughts.  These ideas of death did not come only from his own sense of loss and grief; they were about his place in history, and how he would be remembered. The 9th symphony explores all of these questions in a remarkably powerful way. The symphony sets up two poles: acceptance and struggle, and then wavers between them for its duration, vacillating between desperately clinging to life, and accepting and letting go.  Leonard Bernstein famously said that the symphonies' 4 movements represent 4 ways for Mahler to say farewell, but they could just as easily be 4 movements for Mahler to say he will be here forever. Join us today for part 1 to discuss the first movement of this monumental symphony!

Shostakovich is one of the easiest composers to do podcasts about because his life and his music is full of such incredible stories. But as easy as it is, it's also complicated. Shostakovich's music is sometimes heard as a musical history book, a testament, which it often is, but we should never lose sight of the fact that Shostakovich was a composer first, not a politician.  So today we're going to be looking at the 4th quartet in two contexts, the historical and the musical, and then try to see how one works(or doesn't) with the other.   How do you incorporate religion into music, and how do you handle the heavy burden that was laid down to you by masters of the String Quartet like Haydn, Mozart, Beethoven, and Schubert? How do you write political music without getting in trouble with the authorities? How do you speak out against injustice when it can put you in grave danger? Shostakovich, as always, has the answers. Join us!

Barber’s Adagio seems to access a deep well of sadness, heartache, passion, and nostalgia in the listener that is very difficult to explain.  As dozens of commentators have noted, there is nothing in particular in the piece which is particularly remarkable.  There are no great harmonic innovations, no formal surprises, nothing NEW, at all. In fact, the music was completely anachronistic for its time.  Despite all of that, or perhaps because of it, Barber’s Adagio has become perhaps the most well known piece of American classical music in the world.  It became even more famous after its use in the Vietnam War Movie Platoon.  It was played at the funeral of Franklin Roosevelt and Robert Kennedy, and was performed to an empty hall after the assassination of John F Kennedy.  A deeply emotional performance of the piece was done at the Last Night of the Proms, a traditionally celebratory affair, on September 12th, 2001.  Simply put, this piece has come to symbolize SADNESS in music.  But would it surprise you to hear that the Barber Adagio for Strings wasn’t originally for string orchestra at all?  That it was the second movement of a string quartet, sandwiched by movements that were much more modernist and “forward-thinking” than its slow movement?  Would it surprise you that sadness might never have been the intention of Barber in the piece?  Well, let’s take a closer look at Barber’s Adagio this week - how the piece works, what originally surrounded it, it’s different arrangements, and its tempo. Join us!

There are many reasons why Schubert’s Unfinished Symphony remains a mystery to this day -  the literally unfinished form, the unusual way of the symphony's emergencee into public consciousness, and probably most importantly, the character of the music itself, which seems to inhabit a different realm altogether, whether in its brooding first movement or the heavenly second movement.  When Schubert’s half-finished symphony was discovered, it had been sitting in a drawer of the minor composer Anselm Huttenbrenner for 43 years, unmissed and unheard by anyone.  The score was discovered by the conductor Johann von Herbeck.  Herbeck naturally considered the moment where he first held the score unforgettable, quickly organized a performance, and 37 years after Schubert’s death, the Unfinished symphony was heard for the first time.  But, the truth is that the fact that the symphony is unfinished isn’t really that special.  Composers started and failed to finish works all the time, whether they were songs, symphonies, operas, cantatas, or something else.  Most of those pieces are either ignored or are regarded as interesting curiosities by none but the most hardcore classical music lovers.  So why is this one different?  Why do these two movements rank up there with Bach’s Art of Fugue, Bruckner’s 9th symphony, Mozart’s Requiem and C Minor Mass, as pieces that are still performed today despite their unfinished nature.  Today, we’re going to find out.  We’ll explore the two existing movements of the symphony, take a look at the fragment of the third movement that Schubert started, stopped, and then tore out of the score, and also the speculative last movement, theorized by some enterprising musicologists.  But all along, we’ll marvel at Schubert’s lyricism, his endless creativity, and the powerful character of this unique symphony. Join us!

Brahms’ two piano concertos could not possibly be any more different.  The first, written when Brahms was just 25, is dramatic, stormy, and impulsive.  This makes sense seeing at it was written practically as a direct response to the attempted suicide of his friend and mentor Robert Schumann.  The second, written 22 years later when Brahms was a seasoned and mature composer at the height of his abilities, was not, as far as we know, inspired by any specific event.  It is a warm, almost sun-tanned piece, but it also does something that makes it both the perfect piece to analyze on a show like this, but also makes it a rather elusive one that takes some baking to really understand and appreciate.  What Brahms does in the 2nd piano concerto is to distill everything that makes Brahms really Brahms into one 50 minute piece of music.  There’s continuous development, gorgeous melodic lines, contrasts of character, stern willful music immediately followed by tenderness, Hungarian music, light music - it’s ALL there - but here’s the key - it’s not an events based piece.  What I mean by that is that its not like Brahms moves from one character or personality trait to another like he’s putting together mismatching clothes.  Instead, he integrates all of these different facets of his music into the whole - one moment you are hearing stern and powerful music, and the next, almost without realizing, you are into some of the most tender music he ever wrote.  This is the power but also the complexity  of Brahms’ 2nd piano concerto.  Join us to learn all about it!

How do you orchestrate a painting? How do you take the detail and the visual imagery of a painting and translate that into something that is so vivid that even if you’ve never seen the painting before in your life, you can picture it as clearly as if it was right in front of you? Most people look at a painting for no longer than a minute or two at a museum, so how do you sustain that image over nearly 20 minutes of music? Well, to answer all of these questions, all you need to do is look at Rachmaninoff’s brilliant tone poem, The Isle of the Dead, which he wrote in 1908.  In 1907 Rachmaninoff saw a black and white reproduction of a painting by the Swiss artist Arnold Bocklin entitled The Isle fo the Dead. This painting had cause a storm of interest all across Europe. Vladimir Nabokov said that prints of the painting were found in every home of Berlin, Sigmund Freud owned a copy, as did Lenin. Bocklin painted 5 different version of the piece, but they all had the same theme - a desolate haunting image of a large rocky island, with a solitary boat with a coffin approaching it. It is said that the painting portrays the mythological river Styx, and even reproduced on the computer, it is a striking image. From that encounter, Rachmaninoff sat down and created one of his most underrated and enduring compositions, the masterful Isle of the Dead, which features a gigantic orchestra that very rarely shows off its full power, a rhythmic character that is both inevitable and unstable, and an unsettling and haunting theme that followed Rachmaninoff throughout his life, the Dies Irae. We’re going to talk all about this brooding and mysterious piece on this Patreon sponsored episode this week - join us!

While the inspiration for the show today is likely obvious, I’m also very happy to get the chance to share this wonderful music with you, separate from the current horrors going on right now. Here’s a little quiz for you - name a Ukrainian composer. Were you stumped? Well, so are many people by that question. Despite a long line of brilliant composers throughout history, the music of Ukrainian composers has not entered the standard repertoire, except if you consider the contemporary composer Valentin Silvestrov. But Ukrainian music has a long and fascinating history, from the so called Big Three of the 18th and 19th centuries who were heavily influenced by the legendary Austro German composers but wrote in a highly unique style, to the nationalistic and folk inspired music of Lysenko, to the wild experimentation of Lyatoshinsky in the 20th century, all the way to the contemporary era  and the post modern work of Silvestrov.  Today on the show I’m going to take you through a history of Ukrainian classical music, and all along the way I’ll share the stories and the music of 6 of the most important Ukrainian composers.  You’re going to hear some of the most fascinating and touching music around, and you’re going to wonder how it’s possible that you haven’t heard this music before. Join us! Link: https://www.youtube.com/watch?v=UqdwQ4eCTHM (Documentary on Ukrainian Composers by Natalya Pasichnyk)

In 1888, Tchaikovsky’s 5th symphony was premiered. It was enthusiastically received by the audience, and by Tchaikovsky’s friends. But Tchaikovsky’s nemesis, the critics, were not so happy with the piece.   One utterly tore apart the symphony, writing after a performance in Boston: "Of the Fifth Tchaikovsky Symphony one hardly knows what to say ... The furious peroration sounds like nothing so much as a horde of demons struggling in a torrent of brandy, the music growing drunker and drunker. Pandemonium, delirium tremens, raving, and above all, noise worse confounded!” Another wrote: “Tchaikovsky appears to be a victim of the epidemic of the Music of the Future, that in its hydrophobia, scorns logic, wallows in torpor, and time and again, collapses in dissonant convulsions. Of basic inspiration in these people, who present interest at most as pathological cases, there is very little indeed.”  Usually this is the moment where I quote Sibelius’ brilliant: “no one ever built a statue to a critic” line, but for once, Tchaikovsky somewhat agreed with his critics. He wrote to his legendary patron Nadezhda von Meck: “I am convinced that this symphony is not a success. There is something so repellent about such excess, insincerity and artificiality.” Though he later changed his mind, the last movement of the symphony was always problematic for Tchaikovsky, and its been problematic for many performers and audience members to this day. Is the ending a profound expression of triumph over fate? Or is it hackneyed, over the top, and as Tchaikovsky said, excessive? Perhaps it’s the controversy over its ending, or perhaps something else, but ever since its premiere, Tchaikovsky’s 5th has been one of the most dependable audience favourites around the world. Today I’m going to take you through the genesis and the composition of this wonderful and polarising symphony. Join us!

In 1902, the great French composer Gabriel Faure said this: “It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.  As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different." Faure’s requiem is part of a long tradition of master composers addressing death through Requiems. Mozart, Brahms, Verdi, Britten, Berlioz, Beethoven(to a certain extent), and many many other composers all tried their hands at the Requiem, some of them keeping to Requiem Mass traditions, and some striking out completely on their own. Most notably, Brahms barely followed the traditional Requiem mass at all, preferring to use his own favorite biblical texts. Faure was also a composer who followed his own beat throughout his life, and perhaps one of his best known works is his modest and humble Requiem, which omits the fire and brimstone of famous requiems like Verdi’s, and focuses more on what he called the ‘happy deliverance’ of death.  What results is a remarkably inward looking piece, with only 30 or so measures sung at the loudest possible dynamic. It’s a piece that only lasts around 35 minutes, and was actually first performed as part of a liturgical funeral service.  Faure’s Requiem is music of mysticism and comfort, brilliantly conceived from start to finish in Faure’s own unique way. We’re going to talk a bit about Faure the man and the composer today, since it ties in so much to how he conceived of this requiem, and then of course, all about the Requiem itself on this Patreon sponsored episode. Join us!

The year is 1910. Imagine that you are a young composer, and the music world is in flux all around you. Mahler is dying, and with his death many agreed that the great Austro-German symphonic tradition that stretched from the late 18th century with Haydn all the way through Mozart, Beethoven, Brahms, Mendelssohn, Schubert and more, was over and done with. Wagner’s music dramas had inspired an entirely new style of music, and composers like Strauss, Liszt, and Berlioz had blown open the possibilities of what music could portray. But even their experiments had seemed to have reached a breaking point. For many composers, there seemed to be nowhere to go.  As the great Swedish conductor Herbert Blomstedt said: “There was nothing to be done all the great melodies had all been written - what could one do. There was so much wonderful music but composers had to regroup and develop their own language and that wasn’t easy in 1910. Stravinsky found his own method inspired by Russian culture, Bartok was similar, Hindemith went to Baroque and the Renaissance. Schoenberg’s idea was: it’s all nonsense, we need to start from the beginning. Every composer has to make a new start.”  Over the next few weeks, I’m going to talk about composers who struggled with these questions, and the first one on the list is the most important Swedish composer Wilhelm Stenhammar, who started out his life as a disciple of Wagner, but in the end rejected that influence and created a style all his own, which is perhaps best exemplified in his second symphony, which features the sounds of Swedish folk music, harmonies that stretch back not into the classical era but into the Medieval period, and a powerful resolve to not be like Wagner, but also to not even approach the idea of sounding like Schoenberg either. Stenhammar wrote to a friend as he began writing his G Minor symphony: “In these times of Arnold Schoenberg, I dream of an art far removed from him, clear, joyful and naïve.” We’re going to discuss all of these roiling tensions this week, so please join us for a look at this underrated symphony!

Rimsky-Korsakov, above anything else, is regarded as a master of orchestration, the art of creating orchestral sound and color. As Rachmaninoff said about Rimsky-Korsakov’s music: "When there is a snowstorm, the flakes seem to dance and drift. When the sun is high, all instruments shine with an almost fiery glow. When there is water, the waves ripple and splash audibly throughout the orchestra … ; the sound is cool and glassy when he describes a calm winter night with glittering starlit sky." Nowhere is this gift more on display than in one of Rimsky-Korsakov’s seminal works, Scheherezade. But this work is far more than only orchestration. It is a shining example of a number of complicated facets of both Rimsky-Korsakov’s and Russian Nationalist music of the time. It also displays so many of the contradictions that marked this era of classical music, and in particular, Russian classical music. Rimsky-Korsakov originally gave the piece a clear narrative, but then withdrew it angrily, saying that any programmatic narrative was merely meant peripherally, and “I meant these hints to direct but slightly the hearer’s fancy…All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other…” And that word, oriental, a complicated word in our modern times to be sure, plays a huge and unavoidable role in this piece. This was a time when Imperial Russia occupied lands in Central Asia, and when the Russian public became obsessed with so called “oriental” literature and music. Composers drew liberally on these sources for their music, and Rimsky Korsakov’s mentor, the great composer Mily Balakirev, heavily encouraged Russian composers to use these sources as a way to set their music apart from German composers of the time. A group of composers, the not at all egotistically named “Mighty Five” Balakirev, Mussorgsky, Rimsky-Korsakov, Borodin, and Cesar Cui, almost all became famous through their use of Central Asian and Middle Eastern themes and stories. But no piece has captured the imagination of listeners around the world more than Scheherezade, a piece that drew upon the collection of Middle Eastern folk tales known and One Thousand and One Nights, and features some of the most legendary melodies in the history of Western Classical Music. We’re going to talk about all of this today on this Patreon sponsored episode, so please join us!

In May of 1937, R. Nathaniel Dett’s oratorio “The Ordering of Moses” was premiered by the Cincinnati Symphony. The performance was carried live on national radio by NBC, but about 3/4’s of the way through the piece, the broadcast was halted due to unspecified scheduling conflicts, the origins of which remain mysterious and highly speculated on. And since its premiere, The Ordering of Moses has been performed only a handful of times, and never, as far as I can tell, outside of the United States. Well, that is going to change this February, as I’ll be conducting the UK premiere of the Oratorio with the City of Birmingham Symphony Orchestra and Chorus and soloists Rodrick Dixon, Chrystal Williams, and  Eric Greene. Today on the show I’m going to tell you all about Dett’s remarkable story, his passionate advocacy for black folk music and spirituals, and the profoundly moving music that runs all the way through The Ordering of Moses. You won’t regret jumping into this rarely heard and rarely talked about gem of a piece, so come join us!

“I never really thought of them as walls. I thought of them more as boundaries. Walls are a much more serious matter. You're not supposed to be able to get through, while boundaries at least you can crossover and I think the whole crossover thing is basically what the history of music in the second part of this century is about. It's about crossing over these boundaries.” If there’s one quote that could sum up the music of the composer Ingram Marshall, it might be this one. Last week I talked about Sibelius and our inability to place him in the typical classical music eras of Romantic or Modernist music. Well, Ingram Marshall’s music follows very much on that discussion, and it’s no surprise that Sibelius is one of Marshall’s favorite composers. I imagine most of you listening to the show today are not familiar with Ingram Marshalls’ music, so today on this Patreon Sponsored episode, I’m going to briefly give you a background on this remarkable modern composer, and then we’ll finish the show with both an interview and an analysis of Marhsall’s work Flow with the great composer Timo Andres, who studied with Marshall and had some great insights on his music. You won’t regret diving into the remarkable work of Ingram Marshall, so come and join us!

Sibelius never gets mentioned on “most” lists, the most innovative, modernistic, romantic, beautiful, conservative, ugly, violent, peaceful etc. In fact, no one is ever sure where to put him on these lists, and that’s partly due to that lifespan that began when Brahms was 32 and ended when Pierre Boulez was also 32 years old. And this uncomfortable place between Romantic and Modernist is exactly why Sibelius is, to me, one of the most interesting topics to cover on this show - and the perfect vehicle to explore Sibelius further is the 5th symphony, one of the most remarkable fusions of modernism and romanticism I’ve ever heard.

Last week I told you the story of the genesis of Shostakovich’s 5th symphony. We talked politics, but we also talked about just the music itself. Today, I’ll take you through the second half of the symphony, again first from a musical point of view. But by the end of the piece, the political conversation and the debate over the ending itself becomes unavoidable. There is no other piece whose character or even tempo is as debated as the ending of Shostakovich’s 5th, so we're going to have it out! Join us!

Shostakovich’s life and career was so wrapped up with his relationship to the Soviet government that it is sometimes hard to appreciate that, all else aside, he was one of the great 20th century composers. His 5th symphony is the meeting point between Shostakovich's music and the political web he was often ensnared in, and it is a piece that is still being vociferously debated. This week we’re going to tell the story of the piece’s genesis, and then we’ll explore the first two movements of the symphony.

If you’re not a violinist, you might not be familiar with the name Eugene Ysaye. But this violinist and composer was called “The King of the Violin” at the turn of the 20th century. Ysaye’s biggest compositional achievement was inspired by a performance by the legendary Joseph Szigeti in 1923. Enraptured, Ysaye went into his studio and 24 hours later (!), he emerged with 6 solo violin sonatas, each dedicated to one of his favorite violinists. Dive in with us this week to learn all about these amazing works!

This week, on part 2 of this look at Mahler 1, we're going to take a deep dive into the third and fourth movements of this massive and massively ambitious symphony. We'll talk about Frere Jacques, bizarre woodcuts, Klezmer bands, cries of wounded hearts, the most touching consolation, terror, rage, standing horn sections, and one of the most exhilarating endings of any symphony. Mahler's 1st symphony was one of the most ambitious statements a young composer ever made, so let's finish the journey together!

No one makes a grand statement quite like Gustav Mahler, and his first symphony, nearly an hour long, was one of the boldest statements ever made by a young composer. Today I’ll take a look at the history behind the early inspirations behind the piece, Mahler’s turbulent life, and the first two movements of the symphony. As the great Bernard Haitink said, Mahler had a talent for suffering, but this symphony is often full of a naivete and joy missing from Mahler's later works. Join us to find out more!

There are composers whose influence outstrips their popularity. The Baroque composer Heinrich Schutz falls into this group, due to his total focus on writing sacred vocal music. But for those who know his music, he is essential. He was the most important German composer before Bach and was vital to the development of music. Today I’m going to take you through some of Schutz’s greatest musical achievements, including his Muskalische Exequien, the piece that very likely inspired the Brahms Requiem. Join us!

Bartok’s Music for Strings Percussion and Celeste is a perfect encapsulation of Bartok’s musical output. Each movement provides us with a magnifying glass into some of the qualities that made Bartok one of the greatest composers of the 20th century. But for how spectacular a piece it is, it isn’t played as often as it should be, partly because of its extreme difficulty. Today, I’m going to talk you through what is perhaps Bartok's greatest piece, the unforgettable Music for Strings, Percussion, and Celeste.

Arrangements of Bach's music have been happening essentially since his music was “rediscovered” by Mendelssohn in the 19th century. But Mozart and Beethoven arranged Bach's music too, and Bach himself would recycle works for different groupings of instruments. Today, I'm going to take a look at some of those arrangements, and what kind of insights we can gain into Bach's music, the styles of the times in which these arrangements were done, and even(!) whether we might prefer these new flavors. Join us!

Mendelssohn was only 20 years old when he wrote to his friend Karl Klingemann: "...I am going to Scotland, with a rake for folk songs, an ear for the lovely, fragrant countryside, and a heart for the bare legs of the natives.” Over two months in 1829, Mendelssohn traveled through much of the Scottish Highlands, and it was on this trip that he found the inspiration for his beloved Scottish Symphony. But is this symphony all about Scotland? And how should we interpret this symphony in 2021? Join us this week!

Rachmaninoff’s music is often described as many different kinds of chocolate cake, but this piece, if it's chocolatey at all, would be that 85% dark chocolate - more bitter than sweet. It might be Rachmaninoff’s greatest orchestral work, and one that is inextricably linked to his tumultuous life. Throughout the Dances we hear references to war, to nostalgia, to Rachmaninoff's past failures, and so much more. This is one of the underrated masterpieces of the 20th century - join us to learn all about it!

In 1956, Dmitri Shostakovich wrote: “I am now writing my 11th symphony, dedicated to the First Russian Revolution...I would like in this work to reflect the soul of the people who first paved the way to socialism.” Soviet loyalists were thrilled with the piece, but his friends were disappointed at this seemingly blatant act of propaganda. But quickly, a new and more subversive narrative emerged about this sprawling, cinematic, and elementally powerful symphony. Find out all about this masterpiece this week!

Wagner is probably the most admired AND the most reviled composer in Western Classical Music history. I've always been uncomfortable with Wagner's music, so I decided to sit down with the wonderful conductor(and my brother-in-law), Rafael Payare to try and understand how to embrace Wagner. We talk about emotional manipulation, the length of his operas, and of course, his almost pathological anti-Semitism. We also talk about Richard Strauss in this light-hearted and, I hope, illuminating conversation!

Elgar told us all about how the inspiration for his first great success: “I began to play, and suddenly my wife interrupted by saying: “Edward, that’s a good tune!... ‘What is that?’ I answered, ‘Nothing – but something might be made of it." This little improvisation turned into one of Elgar’s greatest pieces, a piece that made him a legend. This week we'll explore this hymn to good humor, joy, and profound friendship. We'll also explore why this piece is called "Enigma." Join us to dive right in!

Almost everyone classical music fan has a memory of the first time they saw Fantasia. The brilliant combination of music and visuals made lifelong classical music fans out of millions of people. There's no audio only version of Fantasia, so this week I chose 7 brand new pieces that are a perfect entry point into classical music. These pieces represent composers from 6 countries and span 300 years of music. You'll hear from composers both familiar and brand new and I can't wait for you to dive right in!

It's 1905 and you've just come to the premiere of Debussy's La Mer. The orchestra begins playing, and a magical and completely unique journey begins. Gone are the peaceful and placid portrayals of water in music of the past. Instead, you hear strange harmonies and a diffuse language that seems to revel in ambiguity. In fact, it sounds more like an impression of the sea than anything. This is the story of Debussy’s La Mer, one of the most beautiful, strange, and compelling pieces of music ever written.

Mozart’s Jupiter Symphony is a piece that can practically define the classical era symphony. Mozart pulls out every trick in the compositional book and practically sums up everything written before him. It is a symphony full of musical cliches, self-references, and in some cases, flat out thefts from other composers. But as always with Mozart, the thrill of his originality shines through at every moment. Today we’ll explore just how Mozart created this masterpiece of art and musical architecture. Join us!

Schumann’s life was marked with severe mental health issues. In 1844, Schumann suffered one of his worst breakdowns yet. He was dizzy, weak, had vision problems, couldn’t sleep, and couldn't listen to music. By 1845 Schumann slowly began to recover and the first wholly new work he produced was a symphony in C Major. As Schumann said, “I began to feel more myself when I wrote the last movement, and was assuredly better....still, it reminds me of dark days.” Today, we'll talk all about this huge symphony!

Brahms spent much of his life battling with his ambition to write great symphonies and his terror at the spectre of Beethoven looming over him. His first symphony was a success, and with immense relief, Brahms quickly turned out a second symphony in just 4 months, a bit less than the 14 tortured years it took him to craft the first. At first glance this symphony sounds pastoral and idyllic, but there are plenty of clouds in this seminal masterpiece, something we'll discuss throughout the show. Join us!

The 1950s featured a musical battle, pitting composers like Boulez, Carter, and Babbit against Bernstein, Copland, and Messaien. But how did the Post World War II movement towards total serialism and the avant-garde came about? And how did even the most forward thinking of artists become caught between the two camps of the tonalists and the serialists? We'll talk all about this today, as the battles between these two camps have ensnared almost every composer and continue to this day. Join us to learn more!

This week we're talking all about atonal music! I'm going to tell you all about the history of this controversial development in classical music, its development, and perhaps most importantly, I’ll try to find a way to help you enjoy this music in all of its complexity, intensity, and yes, beauty. Part 1 is focused on 12 tone music and the beginnings of this powerful movement that transformed 20th century music, and according to some, ruined it. If you're ready to give atonal music a shot, join us!

From the end of WWI until 1933, classical music in Germany, Austria, and Eastern Europe was flourishing, with composers such as Zemlinsky, Weill, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann writing spectacularly innovative and thrilling music. The Nazis exiled or murdered many of these musicians while in power, but their music lives on. I've never found researching an episode so moving, enraging, and inspiring. Join us this week in this journey of rediscovery - you won't regret it!

In 1901, in the throes of the Finnish Independence movement, Jean Sibelius composed his legendary 2nd Symphony. Sibelius’ close colleague, the conductor Robert Kajanus, said that the symphony "strikes one as the most broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent." But is the symphony actually about Finnish Independence? Or was it simply, as Sibelius said, “a confession of the soul”? Join us for a deep dive!

Within three months of his arrival in New York, Antonin Dvorak was enamored with the sound of American music. Quickly he put forth what was at the time a controversial idea: "In the Negro melodies of America I discover all that is needed for a great and noble school of music..." This inspiration is threaded through almost every note of the New World Symphony, with a healthy dose of Dvorak's Bohemian roots and Germanic tradition as well! Join us as we explore this legendary masterpiece from every angle.

Havergal Brian’s ambitious Gothic Symphony has been called many things - massive, ambitious, barbaric, incompetent, insane, moving, brilliant, awful, torture, and much more. It is almost never performed due to the forces it requires and its two hour duration. Today on the show I’ll tell you about the background to this monumental work, and then I’ll try to walk you through the structure of this symphony. Like a Gothic cathedral, there are lots of corners to get lost in, but I'll try to keep you on the path!

With the rise of Wagner, the symphony seemed to be left for dead. But one composer in particular, Anton Bruckner, decided to take the plunge back into the symphonic genre, though he did it with a markedly Wagnerian touch. His most popular symphony? The 7th. We’ll talk about the connection between Wagner and Bruckner throughout the show, but we’ll also explore Bruckner’s distinctive orchestral sound, and how his music seems destined to be performed in a cathedral, always looking up into the sky in wonder.

Gabriela Lena Frank is currently serving as Composer-in-Residence with the storied Philadelphia Orchestra and was included in the Washington Post's list of the 35 most significant women composers in history, I've always been a huge fan of Lena Frank's music, and I was so thrilled to talk with her about how she approaches writing, the sense of fantasy that is so present in her work, the Gabriela Lena Frank Creative Academy, and her fascinating NY Times article about Beethoven's deafness. This is a fun one!

In 1961, a poem appeared by the young poet Yevgeny Yevtushenko, entitled Babi Yar. The first line of this poem is: “There are no monuments over Babi Yar.” In September of 1941 at least 33,771 Jews were murdered at the Babi Yar ravine in Ukraine; the largest single massacre of Jews to that point in WWII. Shostakovich, moved by the bravery of Yevtushenko's poem, set it and 4 other Yevtushenko poems and created his 13th symphony. This is one of those unforgettable pieces - join me to learn all about it.

Never heard of Tom Wiggins? You're in for a treat with this episode! Tom Wiggins was a fantastic 19th century pianist and composer who was ruthlessly exploited by his owner/guardian on account of his race and his mental condition. He was known as one of the greatest performers of his era and yet was never paid for his work. I sat down with Deirdre O'Connell (The Ballad of Blind Tom) to talk with her about Wiggins' life and work. Also included are clips of his music, performed by the pianist John Davis.

The Bach Chaconne is one of the great masterpieces of Western Classical Music, and today we're going to be diving straight into this monumental work. We'll talk about the legends behind its composition, the work itself, different interpretations of the piece, and its many many arrangements. As Brahms wrote about the piece: “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings." Join us to discuss this towering artistic achievement!

I had the chance to sit down with virtually with the legendary Wynton Marsalis for a conversation about Jazz, comparing jazz and classical pieces, why so many classical composers writing jazz fail and vice versa, and about his massively ambitious Blues Symphony. About halfway through the show Wynton takes you straight through the first movement of his symphony and I got the sense that I was living the dream of every artist hearing with perfect clarity how a composer conceived of their ideas. Don’t miss it!

The cycle is complete! Would it surprise you to find out that Beethoven’s 9th Symphony wasn’t his last piece? Would it surprise you that he was actually considering an all instrumental movement for the last movement? Or how about that the second performance of the piece was given to a half full hall and it took decades for the piece to become popular? Or how about the famous words “All men will become brothers?” What did that phrase mean to Beethoven? We'll talk about all this and more in Part 2!

More has been written about the meaning of Beethoven’s 9th than any other symphony. There are more recordings of it, more performances of it, and more uses of its most famous theme, the Ode to Joy, than any other piece. But what is often talked about less than the political and social ramifications of the piece, is the music itself - this shocking, roiling, and inspired music that seems to inject itself right into our bloodstream. This week we talk about the first two movements of this massive symphony.

In 1812, Beethoven's life was in ruins. He was embroiled in court battles, pining away for his "Immortal Beloved," and profoundly depressed. His musical response is one of his funniest, most charming, and most "classical" symphonies - the 8th. This is an underappreciated work that confused audiences of the time because it sounded almost experimental. So in the same vein, I'm going to reprise my live commentary experiment from my Marriage of Figaro episode and talk you through the entire symphony! Enjoy!

The composer Carl Maria Von Weber called it the work of a madman. Clara Schumann’s father, Friedrich Wieck, called it the work of a drunk. Beethoven’s 7th has been popular ever since its premiere, but as you can see, not everyone loved it. It is a piece that has defied explanations about its meaning ever since its premiere. Today, we’ll discuss this overwhelmingly joyous, raucous, even wild piece, its obsessive rhythms, its repetitiveness, and of course, that very nearly indescribable second movement.

Beethoven once said: “No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear.” There's no better example of Beethoven's love of nature than in his 6th symphony, where he takes simplicity to new heights, transforming the motivic cells that relentlessly drove his 5th symphony into motifs of bucolic joy. It still astounds me that the 5th and 6th symphonies were written simultaneously. Join us to learn about this most beautiful symphony..

They are the most famous 8 notes in all of Western Classical Music. If you walk down the street and ask someone to name a piece of classical music, they will surely say Beethoven 5. But why? What's the deal with the 5th? Well, today we’re going to take a deep look at this ubiquitous piece, exploring lots of different facets of this symphony. It is a monumentally important work because in many ways Beethoven 5 serves as the fulcrum between the classical and romantic eras. Join us to find out all about it..

Beethoven often gets the reputation of being a composer of extreme seriousness, shaking his fist at the heavens while dealing with a litany of medical ailments and heartbreak, and there is some truth to that as well. But the 4th symphony, a very strange and mysterious introduction aside, is a piece of almost unadulterated joy. It is another side of Beethoven: bouncy, funny, silly, and quite simply, happy. How and why did he write such a happy symphony? How does music become “happy?” Join us to find out..

Two of the most famous chords in classical music propel us into this revolutionary, wild, and remarkable symphony. At the time, the Eroica symphony was the longest symphony ever written. At the time it was definitely the loudest symphony ever written! It delved into emotions that symphonies had studiously avoided in the past. Simply put, it changed the musical world forever. So how and why did Beethoven conceive of such a huge work? Is the piece really all about Napoleon? Join us to learn the story...

We continue the Beethoven cycle this week with his underrated 2nd symphony. Written at the height of Beethoven's despair over his increasing deafness, you might think that the symphony would be a dark and stormy one, but instead Beethoven writes one of his most relentlessly cheerful pieces. He even invented a whole new type of movement called a scherzo (joke) to heighten the mood. How do we account for this incongruity between life and art? We'll talk about all this and more as the journey continues..

Today begins a pretty massive project for Sticky Notes - a complete Beethoven cycle over the next few weeks! We start of course with Beethoven's 1st symphony. Some people tend to think of Beethoven’s 1st as a cautious foray into the symphonic world, but I couldn’t disagree more. It is a bold, confident leap into the genre, a genre that Beethoven would end up changing for good. All of the elements that make Beethoven's symphonies so fantastic are already present in this symphony, so let's begin the journey!

Imagine compressing a 3 or 4 hour opera into 8 minutes of music. You’ve just imagined an overture! Overtures are an integral and beloved part of the opera and concert experience, and the best overtures live on as separate pieces from the work they are attached to. These overtures feature music so wonderful that they become immortal miniature masterpieces. So today I'll take you through 10 of my favorite overtures, from William Tell, to Don Giovanni, to Candide, to Romeo and Juliet, and many more. Enjoy!

Bach's Cello Suites are now an indispensable part of the cello repertoire, but this wasn't always the case. After Bach's death, they were forgotten. But starting in the 1890s, a cellist named Pablo Casals began playing the Suites, and the rest is history. Bach left very few clues on how to play these suites, and so many cellists interpret the Suites extraordinarily differently. Today we're going to take a look at 6 cellists and talk about how they interpret these enigmatic, sacred, and inspiring pieces.

Have you ever wondered how music gets from the manuscript to the printed page? Today we’re talking about Haydn, and a project by Henle Publishers to reissue all 55 of Haydn’s piano sonatas with fingerings from 55 different pianists! I talked with the editor in chief at Henle, Norbert Müllemann, and also the brilliant pianist Stephen Hough, one of the 55 pianists chosen for this project. We talked about editing, putting fingerings in, and how interpretation is affected by these decisions. This is a fun one!

Bach, Handel, Vivaldi, Purcell, Monteverdi. These are some of the biggest names in the history of Western Classical Music, and they were all writing in one of the most innovative periods in musical history - the Baroque Era. Spanning from ca.1600 to ca. 1750, Baroque music is truly the bedrock of the Western Classical Music tradition all the way through the Romantic Era. We'll discuss the earth-shattering impact of this, along with all of the composers who led the way to a new way of thinking about music.

Acts III and IV of the Marriage of Figaro are complicated in many ways. They are difficult for the singers, for the conductor, and especially for the director. So in honour of the many experiments that have been made with the second half of this opera, I’m going to try an experiment as well. I’m going to take a performance of the opera, and play you the entire 3rd and 4th acts while doing live, unscripted commentary on it. Think of it as opera meets ESPN. Make sure to check out Part 1 first and enjoy!

Frederica Von Stade needs no introduction. She is one of the legends of our time, and one of the most beloved singers in the world. She has made over 60 recordings and has appeared with all of the world's great opera companies. She is also spearheading a new project called The People's Choir of Oakland, focusing specifically on the homeless population. We talked about the People's Choir, and also touched on her career, including her experiences with Bernstein, Karajan, Abbado, and more. This was a blast.

In the late 16th century, a new art form emerged, borne out of a desire to re-engage with Greek dramas of the past. This art form was incredibly ambitious; it would involve music, words, and dance, all written to entertain court patrons and their subjects. Soon, this new idea had a name: Opera. Today, we’ll do a brief overview of how opera developed all the way up until Mozart’s time. Then, I’m going to take you through Acts I and II of Mozart’s opera The Marriage of Figaro, my desert island piece. Enjoy!

There are indelible images associated with the musical Renaissance period. This 200 year era saw an astonishing growth in productivity, an expansion of education, both musical and otherwise, and repeated religious upheavals. The music of this period existed both as a catalyst and as a reaction to all of these momentous events in history. We’ll talk all about this fascinating 200 years of musical history in the 2nd of this ongoing series of each of the periods of Western Classical Music in 60 Minutes.

William Dawson is not a household name to classical music lovers. But for one week in 1934, he was the talk of the classical music world. The legendary Leopold Stokowski and the Philadelphia Orchestra had chosen to program a new symphony by Dawson entitled "Negro Folk Symphony." It was broadcast nationwide and the audience reaction was ecstatic. But the piece soon disappeared and it is only in the past few years that it is performed more often. Today, I'll take you through this absolutely amazing symphony.

Clayton Haslop might not be a name that is familiar to all of you, but I bet you anything that you've heard his playing. He has appeared as concertmaster on over 1000 TV Shows and Movies, such as Titanic, A Beautiful Mind, The Matrix, Ratatouille, Star Trek, The incredibles, UP, and others. His story took on an extra resonance when he began suffering from Focal Dystonia. Taking a cue from the guitarist Django Reinhardt, Haslop relearned the violin with just two fingers. In this conversation, we talk about studying with Nathan Milstein, Neville Marriner, and Haslop's journey back to playing.

It might surprise, or even shock you, to learn that a piece that crackles with joy and excitement like Bartok's Divertimento was written in November of 1939. But the circumstances of the Divertimento are among the most unusual in the history of 20th century music. Bartok's Divertimento is a perfect amalgam of his style; a wholehearted embrace of folk music, old forms, and in the slow movement, a large dose of terror. This is a truly underrated piece that allows us to explore Bartok from every angle. Enjoy!

When we hear Medieval music performed live, it speaks to us in a different way than almost any other music. It seems to have just appeared, as is, from the earth itself. Medieval music was originally passed down by oral tradition but soon a desire for standardization led to musical notation, rhythmic notation, and the seeds of so much music to come. Medieval music might be the most mysterious of all the eras of classical music, so let's dive right in, with Medieval Music in (almost) 60 minutes.

December 23rd, 1806 should have been one of those dates etched into musical history; it was the premier of a new violin concerto by Beethoven, performed by one of the great soloists of the day. But the performance was a relative failure, and the concerto languished in obscurity for decades. Why did it fail? How did it get re-discovered, and how did it slowly become one of the most beloved pieces ever written? We'll explore all that today as well as every nook and cranny of this remarkable concerto!

Symphonie Fantastique, which was written just 3 years after Beethoven’s death, redefined what music could portray. Its color, fire, narrative arc, vulgarity, descriptiveness, and drug-induced hysteria put it in a class of its own in the classical music world. As Leonard Bernstein said: "Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral.” Today we’ll get to know the story behind Symphonie Fantastique, and also talk about this piece and all of its brilliant innovations.

Welcome to Season 7 of Sticky Notes! I'm often asked: “I want to get into classical music, but where do I start?” Today is my attempt to answer that question! Western Classical Music is an umbrella term that stretches over 1500 years of music, and there is an infinite variety to choose from. Today, we'll take a quick look at all 6 "periods" of classical music, from the Medieval, to the Renaissance, to the Baroque, to the Classical, to the Romantic, and the Contemporary. This episode is meant for beginners as well as lovers of classical music!

The pianist Andras Schiff on Schubert: “There is a folk song like simplicity in Schubert’s Music; his music is never crowded. He does not want to impress you or overwhelm you. He tells you a very simple story and invites you by very simple means to come and join him and share his thoughts.” It's hard to describe an hour long piece as simple, but Schiff's description applies to this massive, majestic, and yes, simple(in the best way) symphony. This week, we'll talk all about this mesmerizing symphony.

A few years ago, I was at a performance of the Rite of Spring. Sitting behind me were some rather conservative audience members. As one particularly violent section of the piece blasted away, I heard one of them say, “If they keep playing this modern music I’m cancelling my subscription.” How does a piece remain modern for so long? In Part 2 of the Rite this week, we explore this question, as well as dig into how Stravinsky builds a narrative that results in the sacrifice and the beginning of Spring.

It's possible that the Nutcracker is the most recognizable Western Classical Music in the world, so what could one say about this ubiquitous piece? Well, from the adaptations of the original story, to the composition process, to the premiere, to the music itself, and to what the Nutcracker means to classical institutions, there’s a lot here! At the end of the show, I also make a plea on behalf of ballet companies worldwide, and look forward to next year, when we can all enjoy this wonderful classic again.

You might be surprised to know that the famous riot at the premiere of Stravinsky's Rite of Spring was by no means the only disturbance at a classical concert in history. But it is the most famous. This week, we'll explore the who, what, when, where, and WHY of this riot, and go through Part 1 of the Rite of Spring. We'll talk about folk music and Stravinsky's use of it, rhythm, orchestration, color, and much more as we grapple with a piece that sounds just as revolutionary in 2020 as it did in 1913.

Welcome to the Season 6 Finale of Sticky Notes! Mahler titled the last movement of his 3rd symphony "What Love Tells Me." This movement is my favorite movement of any Mahler symphony. It is a profoundly heartfelt chorale that traverses peaks and valleys of ecstasy and despair in equal measure. We'll talk all about this emotionally complex movement and how it relates to the other 5 movements in the symphony. At the end of the show, I took a moment to reflect on the previous year of shows. Please join me!

The middle four movements of Mahler's 3rd symphony were central to his mission - that is, to portray the entire world in one symphony. And when I say entire world I really mean it. In these movements, Mahler musically portrays what the flowers, nature, man, and angels tell him. These are some of the most colorful, kaleidoscopic, fascinating, and difficult movements in all of Mahler, and we'll talk all about them. We'll also try a new experiment where I take you through how I study a piece like this - enjoy!

For this Thanksgiving week we’re doing another re-upload from the archive! Today we’ll look at Copland’s Appalachian Spring, a ballet that has captured the imagination of listeners worldwide and seems to be the marker of the “American” sound in Western Classical Music. We’ll look at some of the differences between the two versions of the piece, talk about why it sounds so American, and listen to some fascinating rehearsal footage with Copland himself! This is one of my favorite past episodes - please enjoy!

This week I spoke with Harry Christophers, who wears many different hats in his jobs as Artistic Director of the Handel and Haydn Society, and as the Founder and Director of The Sixteen, one of the world's most renowned choirs. I spoke with Harry about A Choral Odyssey, a new program debuting TONIGHT on thesixteen.com. The show explores great choral repertoire while exploring the venues in which it was first created. We also talked about choral conducting vs. orchestral conducting, and much much more.

Mahler on his third symphony: “Just imagine a work of such magnitude that it actually mirrors the whole world—one is, so to speak, only an instrument, played on by the universe. . . . My symphony will be something the like of which the world has never yet heard! . . . In it the whole of nature finds a voice.” As one of the grandest symphonies ever written, Mahler’s 3rd symphony truly does embrace the world of nature in every possible way. This week we discuss the first movement, a 36 minute long colossus!

Jessie Montgomery is an acclaimed composer, violinist, and educator. Her works are performed frequently around the world by leading musicians and ensembles. Her music interweaves classical music with elements of vernacular music, improvisation, language, and social justice, placing her squarely as one of the most relevant interpreters of 21st-century American sound and experience. We had a great conversation touching on her upbringing, improv in classical music, her wide range of works, and much more!

First of all, if you’re American, I hope you’re listening to this while standing in line to vote!  Western Classical Music does not have the reputation for political activism that other kinds of music have, but that doesn’t mean composers haven’t made political statements all throughout history with their music. Today we’ll go through some of the most politically charged pieces in Western Classical Music History, all the way from the music of Joseph Haydn to the music of today. Don't forget to vote!!

This week continues my project of reuploading seasons 1-5 in new and improved sound quality! The opening of Mozart's 40th symphony is one of the most recognizable tunes in the whole repertoire, but to this day we don't know what it is about or even why Mozart wrote it. But even though it can be frustrating to not know these answers, it's also exciting and potentially rewarding to go searching for answers on our own! Today we'll talk all about this dramatic piece, and all of its many twists and turns.

This week I got to cross off a Sticky Notes bucket list item by interviewing the best-selling author and critic Alex Ross. We talked about his incredible new book Wagnerism, discussing Wagner’s influence on just about every artist/thinker of his time and into the future, his anti-semitism, and more. We also talked about how people understood Wagner, and how they understand him today. Talking to Alex Ross allowed me to understand how one composer's music could create so much beauty, and so much destruction.

Today is the beginning of a new project to re-upload older episodes in new and improved sound quality! First up is a story I can't believe Hollywood hasn't told in decades - the story of Johannes Brahms and Clara Schumann. Perhaps it’s because of its complex, ambiguous, and unsettled ending, but for whatever reason, it has been a story somewhat lost to history. So today we'll look back at the lives of Johannes and Clara, accompanied by pieces they both wrote during the time that they knew one another.

In one of the most famous reviews in this history of Western Classical Music, Eduard Hanslick torched the Tchaikovsky Violin Concerto, saying that the violin was "beaten black and blue." This review wounded Tchaikovsky to his core, and he wasn't sure if his concerto would ever see the light of day again. Luckily for him, and for us, the piece continued to get performed, and it is now one of THE most beloved pieces in the whole repertoire. Today we'll talk through this extraordinary concerto - join us!

Bruckner's symphonies are a world unto their own. They are epic works that are also full of a trademark humility that is present in the work of no other composer. Bruckner's 4th Symphony, the "Romantic," has remained one of his most popular and beloved works. We'll talk through the "Bruckner Problem" that has plagued this symphony since it's premiere, but mostly we'll talk through this majestic symphony, from the solo Horn that begins it, to an ending that “rises in solemn quiet above all earthly desiring.”

In 1919, the impresario Sergei Diaghilev came up with the idea of having Stravinsky write a ballet inspired by 18th century music by composers like Pergolesi. The result, Pulcinella, began a transformation of Stravinsky’s music. Stravinsky would later say: “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible." Today we'll talk through Pulcinella - a brilliant and funny piece that shows Stravinsky in a totally new light. Get ready for a fun ride!

William Grant Still was a man of firsts. He was the first African American to to conduct a major symphony orchestra in the United States. In 1931, his first symphony became the first complete symphony ever performed by a major orchestra, and until 1950, that symphony was the most performed American symphony by ANY composer. Still’s music reflects a remarkable breadth of styles, structures, and orchestral colors, and it’s a great pleasure to take you through some of his most emblematic works today.

In 1783, Mozart wrote a letter to his father. He wrote, in part: "On Tuesday, November 4th, I am doing a concert in the theatre here and, as I have not a single symphony with me, I am writing a new one at break-neck speed, which must be finished by that time.” The date of that letter was October 31st. In 4 days, Mozart completed one of his most beloved symphonies, the "Linz." We'll talk all about this brilliant work and how Mozart was able to write such a coherent and beautiful piece in such a short time.

This week I had the huge honour to speak with the composer, vocalist, violinist, and producer Caroline Shaw about her music and her performing career. Caroline is one of the most exciting composers around these days, and it was a special thrill for me to try to get inside of her compositional head in this conversation. We talked about her meteoric rise as a composer, her beginnings as a musician, how it feels for her to have her work performed, and the fascinating connection between speech and song.

I’m sharing today’s mini episode for two reasons - the first is that I wanted to show all of you who are not subscribed on Patreon what I put up there every week. Every Thursday, I do a sort of deep dive on a specific passage that I didn’t have time to get to in the main show. Sometimes its a specific passage or orchestration that I particularly love, or sometimes it’s looking at a specific movement, like today’s episode on the 25th Variation of the Goldberg Variations.  I really enjoy doing these episodes, as they really allow me to get right into the nuts and bolts of how a passage is put together. The second reason I’m sharing this episode today is that I need to make the announcement, the happy announcement, that I am very likely to be beginning to conduct again after a period of 5 months.  In September the Lausanne Chamber Orchestra and I are planning a Beethoven Cycle where we play all 9 symphonies in 11 days, the perfect way to shake the rust off!  But the partial resumption of my conducting schedule means that I will no longer have time to make two episodes a week. SO we’re going to return to the pre-pandemic schedule of a new show every Thursday BUT I’m also going to continue making these mini-episodes, so if you would like to check those out, do check out the Patreon page at patreon.com/stickynotespodcast.

In 1741, Bach published a piece called “Aria with diverse variations.” Little did he know that the piece would become one of the most beloved and nearly mythical works in all of Western Classical Music. The piece I’m talking about is now referred to exclusively as “The Goldberg Variations.” Today we'll talk through these remarkable variations, and as a special bonus, I was joined by Jeremy Denk, Mahan Esfahani, Inon Barnatan, and Vivian Hornik Weilerstein for a virtual panel discussion about the Goldbergs.

This week I had the pleasure of speaking with Annik Lafarge, author of “Chasing Chopin,” a book being released Tomorrow, August 11th, wherever books are sold. This is really a wonderful book and you’ll hear in this interview all of Annik’s abiding enthusiasm about Chopin which comes through so beautifully in the book. We talk about Chopin’s pianos, Chopin as a symbol of Poland, the famous Funeral March, Georges Sand, and traveling to places that Chopin lived and worked. In essence, this is an immersion into Chopin and his music, and I’m sure you’ll enjoy this fascinating interview - Chopin’s debut on Sticky Notes!

In February of 1865, Johannes Brahms received a letter from his brother saying: “If you want to see our Mother again come at once.” Brahms rushed off to Hamburg but was two days too late. He had long thought about composing a requiem but this seemed to be the catalyst for him to finally write one. And it is a requiem like no other. Selecting biblical but secular texts himself, Brahms created what he called a "Human Requiem," a piece that is a balm and a comfort to the living as they mourn the dead.

Dalia Stasevska is a wonderful conductor whose career has skyrocketed in the past few years. She is the Principal Guest Conductor of the BBC Symphony and is the incoming Chief Conductor of the Lahti Symphony in Finland. We had a really great talk about getting into music, learning conducting from two legends in the field, Jorma Panula and Leif Segerstram, and about the sometimes lonely life of a conductor. Dalia is one of my favorite people to talk to in the music world and I’m sure you’ll enjoy this!

I had the great pleasure of speaking with my friend Yundu Wang about her doctoral thesis exploring the connections between language and music. This research gets into thorny questions about the relationship between national origin and the way we interpret music, and also into questions of identity, stereotyping, and prejudice. I find this research particularly compelling and fascinating, and I hope you will too! Yundu's wonderful blog can be found here: https://blog.yunduwang.com/2020/05/12/an-introduction/

Mahan Esfahani is a world-renowned harpsichordist who has said that it is his mission to rehabilitate the harpsichord as an instrument for modern audiences. In this conversation, we talked about Beethoven, playing modern music on the harpsichord, and nearly starting a riot over the music of Steve Reich! We also discussed the battles WITHIN the early music movement over performance practice. Mahan is one of the most fearless and outspoken voices in classical music so I think you'll really enjoy this one!

Albert Camus once wrote: “when I describe what the catastrophe of man looks like, music comes into my mind—the music of Gustav Mahler.” The last movement of Mahler 6 is a symphony within a symphony. It is a difficult movement to understand, and even the way it ends is full of the emotional complexity that marks Mahler’s music. I'll take you through this movement today, through its peaks and valleys of ecstasy and despair all the way to the hammer blows that cut our hero down as he strives ever upward.

It was such a pleasure to welcome back the great John Heiss to discuss more encounters with some of the greatest composers of the 20th century. We started off with a survey of Schoenberg’s music and how best to approach each period of his life. John is one of the premiere experts on Schoenberg so don't miss this! We then talked about his personal experiences with Shostakovich, Varese, and Berio. Talking with John was like going back to class again - a class I’m so thrilled to share with you here today.

There are few controversies like the ones surrounding the order of the inner movements of Mahler 6. Musicologists and conductors battle with each other about what Mahler meant and what his wife knew, and they also are at each other's throats about which order WORKS better logically in the symphony, regardless of Mahler's intentions. There's an answer to the first part, but not to the second, and that's just one of the things we'll explore today as we look at the inner workings of these remarkable movements.

Ryan Bancroft is a conductor who has seen a meteoric rise ever since winning the Malko Competition for Conductors in 2018. In this conversation, we talked about programming post-pandemic, and also about our common entry into the conducting world, and all of the pressures and joys of that kind of rocket boost to your career. At the end of the show, we discussed the absolutely amazing and underrated Negro Folk Symphony of William Levi Dawson. This was a such a fun conversation and I hope you enjoy it!

Mahler's 6th Symphony is one of his most complex and ambitious pieces, though it retains a firmly classical structure throughout. It has notorious performance problems such as the order of the middle movements, and the symphony within a symphony final movement. It is also one of Mahler's most emotionally profound pieces, embracing life, death, and the struggles between these two forces. In the first movement, Mahler sets up the stakes for the battles to come and it's this movement we discuss today.

Eric and Colin Jacobsen are co-founders of the The Knights. The orchestra has claimed a spot over the last 10 years as one of the most dynamic and adventurous orchestras in the world. Colin and Eric are some of the most interesting people in classical music and so we talked about a lot of things, including founding an orchestra, what they felt was missing in the classical world, what it means to play chamber music in an orchestra, and of course, the current situation and what it means for the future.

Saint-Saens considered his 3rd symphony his greatest work: “I have given all that I had to give. What I have done I shall never do again.” Later in his life, Saint-Saens would be known as an arch-conservative, but at the time he was writing the Organ symphony, Saint-Saens was enamored with the formal and structural innovations of the music of Liszt. Today we’ll explore the dualism between the piece’s Romantic aspirations and Classical grounding, plus of course, the role of the organ in this Organ Symphony.

I had a chance to sit down with the award winning duo of organist Alcee Chriss and filmmaker Stacey Tenenbaum for a fascinating interview about the organ, competitions and more. We talk about Chriss' experience at the Canadian International Organ Competition, the pressures of performing and whether Jazz works on the organ, and I got a chance to pepper Tenenbaum with some questions on filmmaking, and her process of understanding the organ from the point of view of a total outsider. This is a fun one!

Beethoven’s Triple Concerto might be his most heavily criticized work. Musicians look down on it, critics always complain about it, conductors hate conducting it, orchestral musicians hate playing it, and yet it still gets performed fairly regularly. But I’m here today, thanks to Brooke who sponsored today’s show on Patreon, to say that I think all of this criticism of this much maligned piece is totally unfair. I love the Beethoven Triple Concerto, and I think I can convince you to as well.

John Heiss teaches composition, flute, and music history at the New England Conservatory. I first encountered Mr. Heiss in his legendary Schoenberg/Stravinsky class at NEC and have been an admirer of his ever since. Mr. Heiss spearheaded visits to NEC from composers such as Milhaud, Messiaen, Stravinsky, Lutoslawski, and Ligeti, the subjects of today's conversation. You'll notice I don’t say much - today is like coming to class with a master teacher, an experience I'm so glad to be able to share with you.

Just a glance at a biography of Le Chevalier should have every movie producer salivating. He was the son of a 17 year old slave and her white owner. He was an expert athlete, known as the greatest fencer in all of France. He led a legion of black troops to fight during the French Revolution. On the musical side, he was a virtuoso violinist and wrote some truly wonderful music that is only recently being rediscovered by mainstream institutions. Join Sticky Notes as we explore his remarkable life and music.

First, I want to let my listeners know that Thursday will begin a new commitment to exploring the works of minority composers. It's long past time to begin doing that. For today, please enjoy this thoughtful and deeply entertaining conversation with the great pianist, composer, and writer Stephen Hough. Hough is one of the great pianists of our time and is also a deep thinker about classical music of yesterday and today. I had so much fun with this conversation, recorded about three weeks ago. Enjoy!

Bartok's 44 Violin Duos are a triumph of Bartok's devotion to the folk music of Eastern Europe. 42 of the 44 are based on field recordings Bartok collected in his travels, many of which you will hear today. The social duoing project, where I played all 44 duos with 44 violinists from around the world, was started as a result of the pandemic, but was also made possible by this forced pause in travel and work. Enjoy!

Jan Swafford was such a fantastic guest last time that I thought we had to have him back on! During these past two weeks, we discussed how so much of the revolutionary music in the history of classical music was influenced by storytelling, whether it was Monteverdi, Beethoven, Berlioz, Wagner, Debussy, Ives, Stravinsky, or Schoenberg. This week, on Part 2, we discuss the final 4 composers, including one of the most beautiful descriptions of Ives I've ever heard. Don't miss this episode! You won't regret it.

Sibelius' 7th Symphony is a piece that is barely a symphony at all, and yet it carries symphonic logic throughout. It's only 20 minutes long, in one movement that never stops evolving, with a form that has sparked many debates, and with an ending that is as shocking as any in the Western Repertoire. Simply put, it is Sibelius at his best, and so today we’ll take apart this incredibly complex piece, talking about its form, its stunning metric modulations, its inspiration, and of course, its abiding emotion.

Jan Swafford was such a fantastic guest last time that I thought we had to have him back on. This week(and next week), we discussed how so much of the revolutionary music in the history of classical music was influenced by storytelling, whether it was Monteverdi, Beethoven, Berlioz, Wagner, Debussy, Ives, Stravinsky, or Schoenberg. This week, on Part 1, we discuss the first 4 composers on the list, trying to understand the chicken or the egg question of which came first? The story? Or the revolution?

Respighi occupies a strange place in musical history. He is almost never considered to be one of the “greats,” though his mastery of orchestral color is never doubted by anyone. Today on this Patreon sponsored episode, we’ll look at his Pines of Rome. We’ll talk about Respighi’s extremely detailed program notes, his Strauss like gifts at portraying real life in his music, and the fact that Respighi, for all his innate conservatism, was actually the first composer to use electronic music in one of his works.

Zsolt Bognar is a Renaissance Man. He is a pianist, a writer, a thinker, and the host of Living the Classical Life, an amazing show where Zsolt sits down with some of the leading lights of the classical music world. Today I turned the tables and interviewed him in a wide-ranging conversation that touched on some of our favorite musicians and composers, our experiences wearing many hats in the classical music world, and of course, how we’re dealing with quarantine life. This was a really fun conversation and I hope you enjoy it as much as I did!

At the end of 1893, Mahler could not find a way to end his 2nd Symphony. But the funeral of Hans Von Bulow, a conductor who Mahler worshipped even though Von Bulow hated Mahler’s music, gave Mahler what he called "the flash that all creative artists wait for." In one of the most sprawling, dramatic, and narratively based movements he would ever write, Mahler embraced a kind of universal humanism that is inspiring to this day. We'll talk about this movement and the radiant Urlicht movement that precedes it.

Today I was thrilled to have with me Matthew Szymanski of the Phoenix Orchestra and Aram Demirjian of the Knoxville Symphony on the show to talk about what classical music as a whole is going to need to do to respond to the current situation with COVID-19. This is a weedsy conversation that digs into streaming, the future, and the sobering realities of audience-free concerts. If you want to hear 3 musicians grappling in real time with this crisis and how we will come out of it, this is the show for you.

Today we explore the two middle movements of Mahler's 2nd symphony. These movements were meant as intermezzi, and are both memories in their own way. The first is a nostalgic, wistful, and extraordinarily simple(for Mahler) Austrian Landler. The second is a bitterly cynical and ironic retelling of a story from Mahler's favorite collection of folk poetry, Des Knaben Wunderhorn(The Boy's Magic Horn). These are the movements listeners sometimes struggle with the most, so let's uncover their secrets together!

We're taking a brief detour from Mahler 2 today to discuss Debussy's legendary Afternoon of a Faun, a piece written in the same year as Mahler's 2nd symphony. It's easy to forget how revolutionary this piece was at the time, but composers from Stravinsky to Schoenberg to Boulez to Messiaen were galvanized by this 10 minute masterpiece which Boulez said "breathed new life into the art of music." This is a piece that changed musical history for good, and today we'll find out exactly why it had such an impact.

“What next? What is life and what is death? Will we live on eternally? Is it all an empty dream or do our life and death have a meaning? We must answer this question, if we are to go on living.” These words form the basis of Mahler's epic second symphony. This week, on Part 1, we'll talk about the first movement of the symphony. We'll explore Mahler's multiple programs for the piece, the structure of this huge movement, and of course, the powerful emotions underpinning every single note Mahler ever wrote.

If you ever wanted to be a fly on the wall for a slightly nerdy conversation between a conductor and a composer who also happens to be a great writer and thinker about classical music, this week's show is for you! This is a wide-ranging, free-flowing conversation that covers the composition process, understanding Beethoven from a composer's perspective, the intimacy of Brahms, and the wackiness and earnestness of the music of Ives. I hope this hour will be as fun an escape for you as it was for me!

Every great composer has an origin story. Every composer started somewhere. I'm fascinated with a composers first works because they tell us so much about who they are going to become. In some cases, composers were writing masterpieces before they turned 18! And some were late bloomers, giving some hope to the rest of us! Today we look at composers 5-10: Beethoven, Schubert, Bruckner, Shostakovich, and in my Patreon exclusive mini-episode, Prokofiev. You'll hear some truly astonishing music this week!

Have you ever wondered what the real differences are between modern and historical performance? Why do historical performances sound so different from modern ones? This week, we take a deep dive into historical performance with the baroque violinist Augusta McKay Lodge. We talk the differences in the sound worlds between modern and historical performance, and also try to resolve the "Cold War" between modern and historical performers. This was a truly fascinating interview, so I hope you'll enjoy it!

Every great composer has an origin story. Every composer started somewhere. I’m fascinated with a composers first works because they tell us so much about who they are going to become. We can see in so many of these works a germ, a seed of an idea that will blossom into masterpieces. In some cases, composers were writing masterpieces before they turned 18. And some were late bloomers, giving some hope to the rest of us! Today we look at composers 1-5: Mozart, Rameau, Haydn, Mendelssohn, and Korngold.

This week I was proud to join the Phoenix Orchestra's livestream at twitch.tv/thephoenixorch for a quarantined conductor's roundtable featuring Matthew Szymanski, Aram Demirjian, and Gemma New. We discussed what it is that conductor's do, the art of rehearsing, batons, the psychology of working with large groups, our craziest stories from doing the job, and much much more. This was such a fun experience and we're going to be doing it again very soon. We hope you enjoy it and will join us for the next one!

Bartok did not have an easy life in the US, and he was constantly both homesick and horrorstruck by the news from across the ocean. The final three movements of his Concerto for Orchestra display some of that heartbreak, but also the life-affirming joy that Bartok found in his final creative resurgence. Today we’ll talk about the devastating 3rd movement, the odd fourth movement, a movement that is playful, heartbreaking, and satirical all at once, and finally we’ll explore the ecstatic final movement.

In 1944, Bartok, dying of Leukemia and weighing only 87 lbs, was commissioned to write a new orchestral piece. He had not written any music for years, and was barely clinging to life. The commission sparked a creative resurgence for Bartok, resulting in his most beloved piece, the Concerto For Orchestra. This week, on Part 1, we'll talk about the first two movements of the piece, from the alternately brooding and exhilarating first movement, to the second movement, a genuinely funny and charming diversion.

I've been coming back to this symphony again and again over the past couple of weeks. The story of the composition and Leningrad performance of Shostakovich 7 is one of the most remarkable stories of human perseverance, symbolism, and collective action in history. This is a story I haven't told yet on the show, but it couldn't be more relevant today. It is a story about overcoming tragedy. It is a story about hope. It is a story that I think should inspire all of us as we go through this situation together.

Never fear everyone, the podcasts are still coming during this crazy time! This week I'll take you through 7 of Beethoven's greatest overtures, pieces that distill Beethoven's storytelling abilities, compositional mastery, and blazing fire all down into just a few minutes. We'll also get a chance to explore Beethoven's creative process, and the development of the Overture itself. Come check out the Coriolan, Egmont, and Leonore Overtures 1, 2, AND 3 plus the overtures to Fidelio and Prometheus. Stay safe!

On today's Patreon-sponsored episode, we'll explore the enigmatic masterpiece known as the Schumann Cello Concerto. This is a piece that has been relentlessly criticized ever since it was written, and yet it remains a part of every cellist's repertoire all over the world. What accounts for this contradiction? This week we'll attack these criticisms head on, and also marvel at the melodic inspiration and formal innovations that run through this underrated gem from a deeply underrated composer.

Brahms' 3rd symphony is his most underrated symphony. It is a nearly perfect piece that transcends the traditional symphonic narrative over its 40 minute journey. So why doesn't it get performed as often as the other 3 symphonies? This week we dissect the symphonies' origins(hint: it has something to do with Clara Schumann), it's unique cyclical structure, and the motto that runs through the entire work. There are few symphonic hikes more satisfying than Brahms' 3rd symphony, so let's start up together!

This week I was joined by the wonderful composer Christopher Willis for a wide ranging and fascinating conversation.  Willis, who wrote the music for The Death Of Stalin, Mickey Mouse Shorts, Veep, and the new movie the Personal History of David Copperfield, divulged many secrets about the film composing world in this fascinating interview. How does music correspond to actions on screen? What is the process of how film music is created? All these questions and more are answered today!

Rachmaninoff remains extremely popular as a composer. But at the same time, a kind of condescending attitude continues to linger about Rachmaninoff’s music. People say it sounds like movie music, it's too sentimental, etc. etc. In fact, Rachmaninoff’s music is as well put together and as innovative as any composer of his time, just in a different way. And the third piano concerto is no exception. Today we'll debunk the myth of Rachmaninoff the mediocre composer, with one of his most brilliant works.

This week, I'm interviewing 3 people who are making real change in the classical music business. Today, I talk with Aubrey Bergauer, the former Executive Director of the California Symphony, and Lorenzo Brewer, the founder of Nkoda, the Spotify of sheet music. We'll talk about the simple yet radical changes Bergauer made during her tenure, and Brewer's belief in the accessibility of sheet music. I think these interviews will appeal to anyone interested in change, the future, and music itself.  https://medium.com/@AubreyBergauer nkoda.com

At long last, it's the Sticky Notes mailbag!  I'm joined by a special guest to answer around 20 questions such as, "What is the best way to learn how to compose?" or "Is there a simple explanation in classical music itself for this love that I feel which makes me miss a beat when I listen to it and that can reduce me to tears?" I'll also be answering questions about conducting, programming, musical theory, and much more. I had such a great time doing this, and I hope you enjoy it!

This week we're diving into one of the great movements ever written in Western Music with the slow movement of Beethoven's Op. 132 quartet. This is a movement that explores Beethoven's contradictory religious beliefs, his core optimism despite all that happened to him during his life, and his fascination with religious music. We'll then look at how Beethoven concludes this epic piece, using sketches of music that started out as being part of his 9th symphony, but not in the way you might expect. Enjoy!

I’ve long hesitated to write a show about any of Beethoven’s late string quartets.  These are pieces that quartets spend the better part of their careers grappling with, struggling with, failing with, and much more rarely, succeeding with.  They are some of the most extraordinary pieces of art ever conceived of.  5 quartets, Opus 127, Opus 130, Opus 131, Opus 132, and Opus 135 - all written near or at the end of Beethoven’s life, these pieces represent the pinnacle of everything Beethoven achieved, yes, even far beyond his symphonies in this conductors opinion.  They explore not only every conceivable emotion, but they dig down into the core of those emotions, defiantly refusing to skim the surface and daring to ask and THEN ANSWER the fundamental questions of life and death.  Everyone has a favorite Late Beethoven Quartet, but mine has always been Opus 132, and so this week I’m taking the opportunity of getting a Patreon sponsor request from Maria for a piece of chamber music to take the leap myself into Late Beethoven.  We’ll discuss Beethoven’s situation as he recovered from a life-threatening illness which he was sure was going to be his end, the unusual 5 movement structure of the piece, and this week, the first two movements of the quartet, the first of which, to me, defines everything that Sonata Form can do to express emotion and a narrative in a piece of absolute music.

I was thrilled to be joined by Joshua Roman, cellist, composer, and curator. The core of our discussion centers on building an orchestra from the ground up. That is, not taking over an existing orchestra, but starting one completely from scratch. How would this look in 2019? Joshua has been thinking about this for years so it was fascinating to hear him discuss this and many other topics. Thanks again for all of our support and here's to another 100 episodes!

Of all the interviews I've done this year on Sticky Notes, this might be my favorite.  I sat down a few weeks ago with Deborah Borda, the new CEO and President of the New York Philharmonic, to talk about the future of not only the New York Philharmonic, but also classical music in general.  We also talked about the connections between the artistic and social imperative of a classical music organization, Gustavo Dudamel, and the importance of listening to our communities.  This was a truly inspiring conversation, so I hope you enjoy it as much as I did!

This week on Sticky Notes, I'm really happy to welcome Glenn Dicterow, the former concertmaster of the New York Philharmonic, to the show.  Glenn was a concertmaster for an incredible 42 years, giving him thousands of great stories, memories, insights, and thoughts about leading, conductors, violin-playing, and orchestral life.  Thanks so much for listening, and I hope you enjoy it!

Part 2 of The Week of the Voice is here with the incredible bass-baritone Eric Owens!  We talk about the joy of getting to play bad guys in opera, his professional-level oboe playing(!!), conducting, the future of classical music, and the art of getting into character.  If you've never heard Eric Owens sing before, you're missing out, but it's also a treat to hear him speak on any topic.  Thanks for listening!

Welcome to the Week of the Voice!  Join conductor and host Joshua Weilerstein, back from a brief illness-inspired hiatus(!), as he welcomes in the amazing Mezzo-Soprano Sasha Cooke for a chat about Mahler, about singing opera versus recitals, preparation, text, traveling, contemporary music, and improv comedy!  This is the first of TWO interviews this week, so please stay tuned for an interview with the incredible bass-baritone Eric Owens, coming out on Thursday!  Thanks for listening!

Join conductor and host Joshua Weilerstein as he welcomes the legendary cellist and humanitarian Yo-Yo Ma for a full-length interview!  In the interview, we discuss what it means to be a musical citizen, how to create change through music, why Yo-Yo went down this path, how he discovered so many different styles of music, and much much more.  I really hope you enjoy this interview of such an amazing artist - thanks for listening!

Join conductor and host Joshua Weilerstein for a conversation with the world-renowned pianist Emanuel Ax!  We cover crossword puzzles, growing up in the Soviet Union, moving to Canada, and then to New York, selling baloney sandwiches, his first big break, the value and the drawbacks of competitions, his reputation as the nicest guy in classical music, the evolution of conductors, his timpani debut(!), and a lightning round!  I hope you enjoy it!

Concluding a week-long focus on Composers of Color, join host Joshua Weilerstein as he welcomes Eun Lee, the founder of The Dream Unfinished, an activist orchestra using classical music as a platform to address issues of racial and social justice.  We talk about how that works, and how and why the project started.   Their concert is this Sunday, June 11th at Cooper Union University, and it's an event you shouldn't miss!

Join your host, conductor Joshua Weilerstein, as he welcomes Aram Demirjian, the Music Director of the Knoxville Symphony, and Matt Szymanski, the Founder and Music Director of Phoenix, to discuss an article that roiled the classical music scene just a few years ago: Baldur Bronnimann's "10 things to change about classical concerts."  The article caused a firestorm of criticism and comment when it was released, and we're here to discuss, mull over, turn inside out, and evaluate each idea, from whether the audience should be allowed to clap between movements, to whether you should be allowed to Tweet during performances.  This was a fascinating discussion and I hope you enjoy it!  Please consider going to Baldur's site to follow along as we discuss each idea: http://www.baldur.info/blog/10-things-that-we-should-change-in-classical-concerts/

He needs no introduction - one of the greatest artists of our time, Itzhak Perlman joins Sticky Notes to talk about teaching, playing, conducting, keeping things fresh, vibrato, style, taste, food, childhood, and so much more.  Then, at around 42:00, Toby Perlman joins us to talk about the Perlman Music Program, my introduction to the Perlmans, and an incredible place for musicians to learn and feel safe and supported.  Thanks again for listening!

Join conductor Joshua Weilerstein and his parents(!), the esteemed performers and teachers, Donald and Vivian Weilerstein, as they discuss how they met, their first time playing music together, teaching philosophies, parenting philosophies, and much much more!

Join conductor Joshua Weilerstein as he takes a deep dive into Shostakovich's monumental 10th symphony.  We'll analyze the music, the history behind the music, and much more, all in an easily digestible and accessible way.  This podcast is for beginners all the way to experts.