The Concert: A Classical Music Podcast

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The Concert: A Classical Music Podcast
Canal: The Concert: A Classical Music Podcast
Por: A. López
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Descripción del podcast de The Concert: A Classical Music Podcast : Podcast realizado por el Museo Isabella Stewart Gardner que ofrece obras de música clásica con licencia Creative Commons. Entre los programas hay obras de Chopin, Schubert, Mozart y Beethoven.



142. The Power of Words
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
38:20 min | hace 13 días
Works for voice and chamber ensemble, and string quartet, performed by Rebel Baroque Orchestra with Derek Lee Ragin, countertenor, and the Borromeo String Quartet.Porpora: “Alto Giove” from PolifemoHandel: “Rompo i lacci” from FlavioBeethoven: String Quartet No. 16 in F Major, Op. 135, No. 16For any composer of vocal music, the text is an important and often driving force in determining musical content and structure. We begin this episode with two early examples from opera, Porpora’s gorgeous “Alto Giove” from his opera Polifemo—a beautiful prayer of thanks to Jove—and Handel’s fiery and melismatic “Rompo i lacci” from Flavio. Beethoven’s use of text is subtler, but just as important in his final string quartet, opus 135, number 16. At the beginning of the final movement, Beethoven scrawls a fateful-sounding title across the manuscript: “The Difficult Decision.” Alongside the beginning chords, he poses a question: “Must it be?” The quartet chews over the question for a while in the introduction until, all of a sudden, the key changes to F Major and Beethoven gives us his answer: “Yes, it must!” Historians and musicologists have batted around many theories as to what Beethoven meant by this ambiguous question and answer.
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141. Mozart's Sonatas, Through the Centuries
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
54:28 min | hace 27 días
Works for piano performed by Paavali Jumppanen.Mozart: Piano Sonata No. 12 in F Major, K. 332Mozart: Fantasy in C minor, K. 475, a nd Piano Sonata No. 14 in C minor, K. 457A funny thing happened on July 31, 1990 at the Eastern Baptist Theological Seminary in Philadelphia. Deep in a storage space, a controller scouring for historical records found the fourteen-page manuscript to Mozart’s Fantasy and Piano Sonata in C minor, an incredibly important autograph edition that later sold at auction at Sotheby’s for some $1.7 million. It’s a rather extreme example of the case that can be made for the enduring significance of Mozart’s music. We begin this episode with Mozart’s Sonata No. 12 in F Major. Those interested in historical performance practice will be delighted to know that Mozart’s own ornamentation of the second movement has been preserved in an extant first edition, offering a glimpse into the sort of embellishments a consummate player would have been expected to add. We then hear that discovery from the seminary vault: Mozart’s Fantasy and Sonata in C minor. Here, too, we find evidence of Mozart’s performance style: the manuscript found in the safe in 1990 offers an entirely different set of ornaments than the previously published edition. As pianist Paavali Jumppanen proposes, it’s likely that the composer himself played the piece a bit differently each time, and that flexibility is reflected in the changes visible between the different scores.
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140. The Other Schubert Quintet
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
57:23 min | hace 1 mes
Schubert’s Cello Quintet in C Major performed by Musicians from Marlboro.Schubert: Cello Quintet in C Major, D. 956, Op. 163Let s play a little word association game. When I say the words “Schubert” and “quintet,” what’s the next word that springs to mind? Perhaps “trout?” It’s fitting that the chamber work many of us may know Schubert for was inspired by one of his art songs, or lieder. Even towards the end of his all-too-brief lifetime, when he was in the prime of his career, Schubert was known more for his songs and piano pieces than his chamber and orchestral works. In fact, that “other” quintet—the one we’ll hear today, his cello quintet in C Major—was rejected by his publisher. A quarter-century went by before it was eventually published, posthumously. But that lack of recognition is no indication of the quality of the work. Today, the cello quintet is widely seen as one of the most important chamber works of the Romantic era, and the pinnacle of Schubert’s own output.
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139. Filling in the Blanks
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
43:52 min | hace 2 meses
Works for solo cello, and violin and piano duo performed by cellist Colin Carr, violinist Corey Cerovsek, and pianist Paavali Jump panen.Bach: Cello Suite No. 3 in C Major, BWV 1009Beethoven: Violin Sonata No. 2 in A Major, Op. 12, No. 2Sometimes, what isn’t there is just as important as what is. It’s a concept that carries across multiple artistic forms—in the visual arts, we call it negative space; in music, it’s rest. In this episode, we examine two pieces that take different approaches to this “negative space.” First, Bach’s third cello suite. There are many reasons the cello suites number among Bach’s most incredible achievements, but his use of implied harmony is surely among the most remarkable. While he does include some multiphonics (two notes sounded simultaneously), more often he relies on the solo lines to suggest the contours of the harmonies—giving us just enough information that our ears fill in the harmonies. In Beethoven’s playful second violin sonata, the instruments switch places after the first iteration of the theme, with the violin playing the melody—only to pass it off to the piano a few bars later. This back-and-forth continues until the very end of the sonata. Keep your ears open—we won’t give away the surprise, but suffice it to say the playful one-upmanship keeps up right through the final bar.
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138. From Bohemia, With Passion
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
46:20 min | hace 2 meses
Works for keyboard and string sextet performed by Charlie Albright, piano, and Musicians from Marlboro.Janá?ek: Sonata 1.X.1905Dv o?ák: Sextet in A Major; Op. 48, B. 80Today, we’ll hear from two important Czech composers: Dvo?ák, whose idiomatic Slavonic pieces were among the first to put Czech music on the Western classical “map,” and Janá?ek, whose inventive work brought it into the 20th century. We begin with Janá?ek’s Sonata 1.X.1905, an emotional epitaph written to commemorate František Pavlí, killed October 1st, 1905, in demonstrations in Brno. The demonstrators were calling on the government to open a university in the city; the peaceful protest turned violent when Pavlí, a carpenter, was bayoneted by soldiers. Janá?ek’s emotion about the incident, and also his reaction to it, is clear from the music. Next, we’ll hear Dvo?ák’s String Sextet in A Major. Written in 1878, around the same time as the wildly successful Slavonic Rhapsodies and Dances, the sextet, too, draws on traditional Czech forms and styles. The middle two movements are modeled on two such folk sources: the Dumka, a thoughtful and melancholy epic ballad, and the Furiant, a fiery Bohemian dance.
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137. Mozart’s Golden Age
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
55:38 min | hace 3 meses
Works for keyboard and string quintet performed by Katherine Chi, piano, and Musicians from Marlboro.Busoni/Liszt: Fantasie on Two Motives from Mozart's Marriage of FigaroMozart: String Quintet in C Major, K. 515The late 80’s were good to Mozart. In 1786, his opera The Marriage of Figaro premiered to widespread acclaim; the next year, Don Giovanni opened to similar accolades. The work we’ll hear on today’s podcast, his string quintet in C Major, K. 515, springs from that wonderfully productive time. For this delightful and sunny quintet, Mozart imaginatively adds a second viola to the standard string quartet. He uses this second interior voice to lovely effect in the third movement in particular, as a duet partner to the first violin. We’ll introduce the quintet, fittingly, with an arrangement of themes from Mozart’s then-recent operatic triumph, The Marriage of Figaro. Katherine Chi will perform the Fantasie on Two Motives from Mozart’s Marriage of Figaro. Composed by Liszt but left incomplete, the piece and was later completed and published by the famous pianist and Liszt enthusiast Ferruccio Busoni. A charming pianistic take on the opera, the piece quotes two arias: “Voi che sapete” and “Non più andrai.”
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1. Beethoven: Before and After
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
46:57 min | hace 3 meses
Beethoven: Violin Sonata No. 3 in E-flat Major, Op. 12, No. 3Beethoven: Piano Trio in D Major, Op. 70, No. 1 (“Ghost”)In this program, we hear two Beethoven pieces for strings and piano: a tuneful early violin sonata and the famous “Ghost Trio,” written 12 years later. Beethoven wrote the sonata when he was living in Vienna, and “Viennese Classicism,” epitomized in the music of Haydn and Mozart, was all the rage. At the time, Beethoven’s early works were being met with success and enthusiasm, and he was touring Europe as a pianist. More than a decade later, as Beethoven wrote the “Ghost Trio” in 1809, he was rapidly losing his hearing, and he knew that the degeneration that would cause his eventual deafness was probably untreatable. In spite of, or perhaps even because of, this profound change in the way he heard sound, his music showed incredible innovation. In the “Ghost Trio,” so named for the spooky-sounding chromaticism in the second movement, the piano becomes an equal partner of the string instruments, and snippets of musical material are reused creatively, rather than repeated verbatim. This dramatic musical makeover shows Beethoven’s growth as a composer through the lens of his works for strings and piano.
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2. Mozart Mini-Marathon
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
43:58 min | hace 3 meses
Mozart: Violin Sonata No. 21, K. 305Mozart: Sinfonia Concertante for violin and viola, K. 364Join us for two performances celebrat ing the 250th birthday of music’s most notorious prodigy, Wolfgang Amadeus Mozart. These concerts, recorded live during our Mozart Marathon in January 2006, feature some of our favorite soloists as well as the Gardner Chamber Orchestra, the museum’s resident ensemble. To start, violinist Corey Cerovsek and pianist Jeremy Denk perform Mozart’s delightful violin sonata in E minor. Then, Corey is joined by violist Kim Kashkashian and the Gardner Chamber Orchestra for a fiery rendition of Mozart’s violin-versus-viola showdown, his Sinfonia Concertante. Mozart himself was a violist, like our Music Director (and violist) Scott Nickrenz. Perhaps when he wrote this piece he was trying to settle the age-old rivalry between violists and violinists. Mozart challenges the technical boundaries of both instruments and asks the question: can a violist keep up with a violinist? Can a violist keep up with a violinist?
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3. Schubert: Inspired by Song
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
53:07 min | hace 3 meses
Schubert: Der Hirt auf dem Felsen (“The Shepherd on the Rock”) for voice, clarinet, and piano, D. 965, Op. 129Schubert: String Quartet No. 14 in D minor, D. 810 (“Death and the Maiden”)This week’s program features two chamber music pieces, one with voice and one without, both written late in Schubert’s life, and both inspired by his love of song. “The Shepherd on the Rock” is longer than most of Schubert’s 600 songs, at about fifteen minutes, and in many ways is more like a chamber music piece than a song. The narrator, a shepherd singing of his far away beloved, moves from wistfulness to despair to hope. In the final section, as the narrator sings of faith in the coming springtime, the clarinet and voice echo each other’s ascending lines, acting as chamber music partners rather than as soloist and accompanist. The string quartet “Death and the Maiden,” uses a song as inspiration for an entirely instrumental work. The second movement of this quartet is a set of variations on the theme from Schubert’s song “Death and the Maiden.” By using the melody of the song, he evokes its story, too. In “Death and the Maiden,” a young woman pleads with the personified “death” to spare her life, but as death seductively promises rest and peace he seems to calm her fears, perhaps luring her away. The use of this melody perhaps also reflects Schubert’s own confrontation with death. As he was writing the quartet, he was hospitalized and in poor health. He died only a few years later, at age 31. In 1824, he wrote to a friend, “Each night, when I go to sleep, I hope I will not wake again.”
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4. Schubert's Songs, With and Without Words
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46:50 min | hace 3 meses
Schubert: Impromptu in G-flat Major for piano, D. 899/3, Op. 90, No. 3Schubert: Winterreise (“Winter Journey”), D. 911, Op. 89 , Part IThis week’s program focuses again on Schubert, and his gift for a singing melody. In the first piece, the lyrical melody in the pianist’s right hand is a tune that could easily be the vocal line of one of Schubert’s songs. The left hand devotedly accompanies the tune, providing harmonic support and rhythmic motion. This idea, of a melodic line supported by an evocative piano accompaniment, figures prominently in Schubert’s songs, including the other piece on the program: Winterreise. This song cycle was written late in Schubert’s life, during a serious illness, and the narrator in the songs contemplates and confronts death throughout. In a particularly poignant moment halfway through this excerpt, in the song “Der Lindenbaum,” the narrator finds a brief respite under the branches of a Linden tree. But, as in much of Schubert’s song, there is perhaps a somewhat unsettling correlation between rest and death. The poems tell the story of a winter’s journey through the cold and snowy woods. You can find the complete translations at http://www.recmusic.org/lieder/assemble_texts.html?LanguageId=7&SongCycleId=4, so you can follow the story. Be sure to check back for podcast #6, and the conclusion of Winterreise.
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5. Chopin's Piano Fireworks
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
30:47 min | hace 3 meses
Chopin: Twelve Etudes, Op. 10When you hear Chopin’s etudes, you can tell that he was a virtuosic pianist himself, and intimately familiar with the piano. Etudes are short but challenging studies meant to stretch the pianist’s technical boundaries and develop his technique. But Chopin’s etudes challenged not only his own playing ability, but also his compositional ingenuity. Chopin wrote the first of these etudes when he was only 19 years old, and they were published when he was just 23. Written for the Parisian salons where Chopin played and socialized, these pieces are quite at home in the environment of the Gardner Museum, where Isabella Gardner hosted intimate musical soirees and entertained eminent artists and thinkers. Today, this legacy of patronage, active connection with art and artists, and discourse about the arts continues, with Artists-in-Residence working in the museum and musicians filling the museum with music every Sunday. Like the salons of Paris, this lively artistic setting is the sort of place one might have first heard these etudes back in 1833.
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6. Schubert's Songs With and Without Words, Part II
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
38:25 min | hace 3 meses
. Schubert: Impromptu in F minor, D. 935, Op. 142, No. 4 . Schubert: Winterreise (“Winter Journey”), D. 911, Op. 89, Part IITh e program begins with another of Schubert’s Impromptus for piano, this one in F minor. We then return to the second half of the song cycle Winterreise, beginning with the song “Die Post.” In this song, our narrator sees the arriving mailman and hopes, wistfully and maybe foolishly, that he will bring a letter from his beloved. But as the narrator journeys on, his hopes gradually dim, “falling,” he says, “like autumn leaves from a tree.” “I am finished with dreaming,” he later sings. And by the end of the cycle, he has lost all hope that his love will be returned.
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7. Bach's Sonatas for Two
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
33:26 min | hace 3 meses
. Bach: Sonata No. 5 in F minor, BWV 1018 . Bach: Sonata No. 6 in G Major, BWV 1019Johann Sebastian Bach was a prolific composer, who wrote hundreds of works, probably many more than have survived to this day. During the years when he wrote these sonatas, however, he was particularly busy. Bach had just begun a new job in Leipzig, and his time was consumed with writing choral music for four major churches in town. These sonatas for violin and harpsichord are among the few chamber music pieces that survive from this time period. They are particularly notable, though, because in them Bach lay the groundwork for a new kind of chamber music. With these sonatas, Bach elevated the role of the harpsichord from accompaniment to musical partner, a trend that would continue and develop throughout the Romantic era, more than a hundred years later.
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8. Mozart: Not Just a Prodigy
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
50:34 min | hace 3 meses
. Mozart: String Quartet No. 14 in G Major, K. 387 (“Spring”) . Mozart: Flute Concerto No. 2 in D Major, K. 314Because Mozart wrote and played music so well from such an early age, there is a commonly held view that he always composed with extraordinary ease, that his works were the product of a sort of divine inspiration. But scholars now realize that, while Mozart did write extraordinary music, it was not always so simple for him. In the dedication of Mozart’s string quartets, he calls them the “fruits of a long and laborious endeavor.” Characterized by adventurous chromaticism and intricate fugal textures, the string quartet “Spring” was not a simple thing for Mozart to write. Neither, apparently, were the flute concertos. Mozart’s second flute concerto, commissioned in a set of three concertos (the third was never completed), is actually a re-working of his earlier concerto for oboe. But, the resulting piece was so beautiful, and so perfect for the flute, that no one pointed out that the piece had been cribbed from the oboe concerto until 1952. Though these were perhaps harder pieces for Mozart to write, the time spent perfecting them seems to have paid off; both are now considered masterpieces of the repertoire.
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9. Beethoven's Violin Virtuosos
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
01:01:08 min | hace 3 meses
. Beethoven: Violin Sonata No. 4 in A minor, Op. 23 . Beethoven: Violin Sonata No. 9 in A Major, Op. 47 ("Kreutzer")The “Kreutze r” Sonata is loved by audiences for its thrilling range of emotions and displays of technical daring. For violinists, though, the piece is extremely difficult. Beethoven was urged to write the piece by English violinist George Bridgetower, and the two played the premiere together. Beethoven was so thrilled with Bridgetower’s playing that he actually ran across the stage to embrace him in between movements in the middle of the concert. Elated with their successful debut, Beethoven dedicated the piece to Bridgetower after the recital. Later that evening, though, Bridgetower made a disparaging remark about a woman Beethoven knew. Enraged, Beethoven withdrew the dedication, instead dedicating the piece to Rudolphe Kreutzer, a famous Parisian violin virtuoso, giving the sonata the name it’s had ever since. Ironically, though, Rudolphe Kreutzer never actually performed the “Kreutzer” sonata. Upon receiving the manuscript in Paris, he declared the piece impossible to play. In this program, we’ll hear violinist Corey Cerovsek prove him wrong.
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10. Parlor Orchestra
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
28:20 min | hace 3 meses
. Chopin: Scherzo for piano No. 1 in B minor, Op. 20 . Chopin: Nocturne for piano No. 13 in C minor, Op. 48, No. 1 . Liszt: Mephis to Waltz No. 1 for piano, S. 514 (arr. Busoni)Chopin and Liszt were two of the greatest pianist/composers of the Romantic era, and both got their start at intimate salons and private soirees, where a pianist would play for the small group gathered. A dazzling technique was particularly prized at these recitals. As the piano itself evolved to be capable of making a bigger sound, pieces written for the instrument increasingly called on the pianist to sound like an entire orchestra, with a range of dynamics, emotions and articulations. As master performers, Chopin and Liszt knew exactly what the piano could do. Liszt’s “Mephisto Waltz” is a particularly good example of the orchestral sounds of Romantic piano music. The waltz depicts a story from “Faust,” in which Mephisto takes up a violin at a countryside inn. We hear his fiddling in the music, complete with tuning and death-defying leaps of virtuosity. As the dance ends, nighttime falls, and a nightingale sings in the far-off woods.
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11. Mozart's Haydn Quartets
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
01:00:08 min | hace 3 meses
. Mozart: String Quartet No. 16 in E-flat Major, K. 428 . Mozart: String Quartet No. 19 in C Major, K. 465, “Dissonant”Both st ring quartets featured in this podcast were published as part of a group of six string quartets Mozart dedicated to Haydn, and Haydn’s influence shows. The first quartet on the program, number 16, takes a great deal from Haydn’s string quartets. The first movement begins with a slow, somewhat mysterious, introduction, and moves on to a good-humored romp, full of Haydn’s playful style. The third movement, the minuet, also delights in unexpected hesitations and interruptions. But, while the quartet is inspired by Haydn, it remains distinctively Mozart in sound. The second quartet on the podcast, the “Dissonant” quartet, begins with an even more surprising introduction. The tonality of the piece comes into focus only after this ambiguous start, the source of the “Dissonant” nickname. After this disorienting introduction, the quartet picks up a bright, spirited allegro, now securely in C Major. The minuet of this quartet again recalls Haydn, with its witty rhythmic and harmonic surprises. But its “dissonant” introduction foreshadows something much more modern, even to listeners two and a half centuries later.
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12. Bach's Keyboard
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
30:05 min | hace 3 meses
. Bach: Sonata for violin and keyboard No. 4 in C minor, BWV 1017 . Bach: Italian Concerto for harpsichord, BWV 971Bach was a tale nted keyboard player, performing as an organist in many of his church jobs and playing many other keyboard instruments at concerts and social gatherings. He was quite interested in new developments in keyboard instrument-making, and the birth of the two-manual harpsichord was possibly the inspiration for his Italian Concerto. Before this instrument, the harpsichord could only play at one dynamic level, a sort of medium-loud. The only way a composer could create a range of volume was to write more or fewer notes. With this new instrument, though, there were two manuals, on different levels, and they made possible a new variety of dynamics. Taking full advantage of this innovation, Bach set out to write a full concerto, usually an orchestral piece, for harpsichord alone. In the Italian Concerto, he simulates the exchanges between solo instruments and the full orchestra using the new double-manual harpsichord. The result, for the harpsichord player, and the listener, is an incredibly complex piece. Particularly in the final movement, you may need to remind yourself that you’re listening to only one person playing only one instrument!
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14. One Degree of Separation: Vivaldi and Brahms
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
35:40 min | hace 3 meses
. Vivaldi: Concerto for flute, oboe, violin, bassoon, and basso continuo in D Major (“La Pastorella”) . Brahms: Sonata for cel lo and piano No. 1 in E minor, Op. 38They say every person on earth is connected by, at most, six degrees of separation. This week in our 14th episode of “The Concert,” we’ll listen to some Vivaldi and Brahms, two composers from totally different times and places who are connected by just one degree of compositional separation—Johann Sebastian Bach. Vivaldi was a very prolific composer, and many of his works were relatively unknown after his lifetime. As Vivaldi became increasingly popular, though, people started to realize what an influence he’d had on Bach. It’s no secret that Bach, in turn, had a great influence on Brahms. In the second piece on this program, Brahms’ cello sonata in E minor, you’ll particularly hear the influence of Bach’s fugues in the final movement. And maybe you’ll even hear a trace of Vivaldi’s counterpoint.
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15. Write What You Know: Beethoven and Mozart
En el Podcast  The Concert: A Classical Mus.  en  BSO y Clásica
43:09 min | hace 3 meses
. Beethoven: Sonata No.14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”) . Mozart: String Quintet No. 5 in D Major, K. 593Gener ations of writing teachers have passed down the familiar edict: write what you know. In this week’s episode of the concert we’ll hear two composers who heeded that advice. Beethoven made his recital debut as a pianist at just eight years old, and he studied and played the instrument all his life. Being a baroque keyboard player was a bit like being a modern jazz pianist today; you were expected to have a strong foundation in harmony, so that you could improvise variations or play in ensembles, where the keyboardist created his part from a harmonic score a lot like a jazz lead sheet, rather than having a completely notated part. And it can’t be coincidence that in this famous piece, the Moonlight Sonata, the emphasis is on harmony. It’s the beautiful, undulating harmonies underneath the melody that we remember. Mozart also played both violin and keyboard, but when playing chamber music with his friends the instrument he favored was the viola. And in the Mozart piece on this program the instrument he adds to the standard string quartet is an extra viola. This added richness in the middle range, combined with a string player’s ear for long, singing melodic lines, show Mozart’s inner violist.
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