‫Joshua Weilerstein‬ - Apple Podcasts

Sticky Notes: The Classical Music Podcast

Sticky Notes: The Classical Music Podcast

Joshua Weilerstein

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Beethoven String Quartet, Op. 59, No.2

I'm always tickled by composer trivia questions, like which standard canon works begin in a major key and end in a minor key? I'll give you one, but please comment others below: Mendelssohn's 4th Symphony. Well, how about this one: how many of Beethoven's 16 string quartets end in a minor key? The answer? Just one, Op. 59, No. 2, the subject of today's show. And that minor key is hugely important to this darkest of the three Op. 59 quartets, three towering achievements that changed the string quartet repertoire for good. Beethoven, as I've said many times on the show, was a revolutionary within limits, always expanding, rethinking, and reshaping what was possible without breaking anything beyond repair. But make no mistake: the Op. 59 quartets were revolutionary works. No one had written anything like them before in terms of scope, emotional intensity, difficulty, and complexity. In fact, like a few of Beethoven's greatest works, they were received with confusion and, in some cases, anger by musicians, audiences, and critics. Famously, the cellist of the first string quartet to receive the parts of Op. 59, No. 1 saw the Morse code-like, one-note theme of the second movement, threw the music aside, and stomped on it! These quartets were Beethoven going out on a limb, applying the intensity and drama of his Middle Heroic Period to a genre that had been at least partly the province of amateur musicians, but not anymore. Op. 59, No. 2, as I said, is the darkest of this group: four movements all centered around the key of E, and with the exception of the glorious second movement, all in minor, presenting a seriousness and directness of purpose that is powerfully compelling. This might be my favorite of the Op. 59 quartets, and so I'm very excited to dig into it with you today. We'll discuss the enigmatic and ecstatic aspects of this quartet, as well as Beethoven's own philosophical views on life, which come to light in the second movement, one of Beethoven's greatest creations. Recording: Cleveland Quartet

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Brahms Symphony No. 2 LIVE w/ The Aalborg Symphony

Brahms spent much of his adult life battling with his ambition to write the next great symphony and his terror at the shadow of Beethoven standing behind him. Brahms tortured himself for 14 years with his first symphony, and only published it when he was 49 years old. But when that symphony finally came out, it was a relative success for a new work, and with immense relief, Brahms quickly turned out another symphony in just 4 months. Brahms' first symphony was quickly dubbed "Beethoven's 10th" something that annoyed Brahms to no end. When told that the main theme of the last movement resembled the Ode to Joy, he notoriously responded, "any ass can see that!" But all the same, Brahms had been re-anointed as Beethoven's successor with the symphony, and so therefore his second symphony would also be given a Beethovinian name, Pastoral. The question since the symphony has been written has been this: just how pastoral and idyllic is this symphony? Many commentators see an unadulterated joy and gentleness in the piece, with some melancholy moments to be sure. But overall, the piece is as sunny as it seems on its surface, with just the typical battles between happiness and sadness that mark every symphony. But there's another school fo thought with this symphony, and that is that it is marked by shadows and tremors that go way beyond simple sadness and happiness, and that these shadows and tremors leave a mark that can't be ignored. I tend to believe in the second theory, but we're going to discuss this symphony with this framework in mind; whether this piece is as sunny as some people would have you believe, or if the shadows are the lasting impression we get as we walk away from the concert hall. We'll also discuss Brahms' innovations with form, and his evergreen ability to write some of the most stunning melodies on the planet. Join us!

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Rachmaninoff Piano Concerto No. 2

We humans seem to love comeback stories, and there is no comeback quite as compelling in the classical music world as Rachmaninoff's Second Piano Concerto. It was written three years after the disastrous premiere of his First Symphony, a premiere so catastrophic that it lives on in the annals of musical history, and is the essential starting point for understanding the Second Piano Concerto and how it came to be. The concerto revived both Rachmaninoff's career and his spirits, and it remains his most famous orchestral work. It is a towering masterpiece of Romanticism, overflowing with glorious melody after glorious melody, supported by virtuosic and sumptuous writing for the solo piano, and a deeply satisfying orchestral part that continues to make audiences swoon around the world. Today on the show, we'll begin with the story of Rachmaninoff's First Symphony, and then walk through this extraordinary concerto, highlighting what truly makes Rachmaninoff's music so special. Hint: it's not just the pretty melodies. Recording: Vladimir Ashkenazy with the Moscow Philharmonic Orchestra, Kirill Kondrashin cond.

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Zemlinsky: The Mermaid

The story of Alexander von Zemlinsky's The Mermaid begins with a passionate love affair and ends in heartbreak of the most unabashedly big-R Romantic kind. In 1900, the young, fabulously talented, and famously beautiful Alma Schindler came to Zemlinsky's home to study composition. Wildly passionate feelings soon developed between them, and Alma wrote the following in her diary: "I would gladly be pregnant for him, gladly bear his children. His blood and mine, commingled: my beauty with his intellect. I would gladly serve him in his professional life, live for him and his kith and kin, breathe [for him], attend to his every happiness, serve him with a gentle hand. God give me the strength and the willpower to do so." The relationship lasted a little over a year, until one night when Schindler attended a party that happened to be frequented by a brilliant conductor and composer twenty years her senior: Gustav Mahler. The rest is history. Zemlinsky was devastated and poured his energies into a tone poem based on Hans Christian Andersen's The Little Mermaid. The source may seem surprising, but as we'll see later on, it proved to be the perfect vehicle for Zemlinsky to exorcise the tortured memories of this turbulent relationship. For a long time, however, the score was lost. It wasn't until the 1980s that the full work was reconstructed, and it has since become one of Zemlinsky's most frequently performed pieces. And it's not hard to see why. The Mermaid is a forty-minute tone poem that, from start to finish, overflows with fin-de-siècle romanticism, very much in the vein of Schoenberg's Verklärte Nacht (Transfigured Night). It is a work of irresistible beauty and passion, and it is being played more and more as Zemlinsky's name begins to take its rightful place in the standard canon of composers. Today on the show, I'll tell you a bit more about Zemlinsky in case you're not familiar with him, read more of the unbearably passionate letters and diary entries from both Zemlinsky and Alma Schindler, and, of course, walk you through the heartbreakingly beautiful music of The Mermaid, showing how Zemlinsky balances narrative and abstract form, and how he created this opulent, lush, and profoundly moving score. Join us!

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Handel Messiah w/ Aram Demirjian

A piece that I have been asked to cover probably a dozen times is Handel's Messiah. It's a piece I love, but a piece that I've never conducted or played, and so therefore I don't know it incredibly well. There are plenty of pieces like this in the repertoire, and so I've decided to start a new series on Sticky Notes, which will be to take pieces that I don't know very well and to bring on experts to help me learn about them. This series will be a bit sporadic, and won't disrupt the but I'm really excited to share the first episode in this series, all about the Handel Messiah, featuring my good friend and the wonderful conductor Aram Demirjian, the Music Director of the Knoxville Symphony! I really hope you enjoy this episode and that you have a Happy Holidays and New Year!

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Pergolesi Stabat Mater

Many aspects of Giovanni Battista Pergolesi's life seem relatively normal when it comes to composers of the Baroque era. He was prolific, died young, and his music became very famous only after his death. However, all three of these facts are complicated by the unique circumstances of Pergolesi's life. He was somewhat prolific, but dozens of pieces that were once attributed to him are no longer considered authentic, including much of the music that Igor Stravinsky made famous in his ballet Pulcinella. Pergolesi did not just die young; he died remarkably young, at the age of twenty-six, from tuberculosis. And the idea that he became famous only after his death actually made him unusual among composers of his time, when popularity during one's lifetime was the primary mark of success. Most composers quickly fell into obscurity after they died. In Pergolesi's case, the opposite occurred. There was a massive surge of interest in his music immediately after his death, which in some ways contributed to the museum-like atmosphere that classical music has today. Pergolesi was ahead of his time in many ways, and that brings us to the piece we are going to talk about today, his Stabat Mater. We will discuss what the Stabat Mater is in more detail later, but simply put, it is a musical setting of the poem Stabat Mater Dolorosa, which, in a rather clumsy translation, means "the sorrowful mother stood." This thirteenth-century Christian hymn and poem focuses on the Virgin Mary's suffering as she witnesses the crucifixion of Jesus. The text has been set to music by many composers, but Pergolesi's version, surprisingly given his relative obscurity today, has endured in a way that many settings by more famous composers have not. Today, on this Patreon-sponsored episode, we will learn a bit about Pergolesi's life, or at least what we know of it, and talk through this Baroque-era masterpiece. Join us!

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Beethoven String Quartet, Op. 59, No. 1

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!

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Gustav Holst: The Planets

Mr. Holst, wherever you are, I apologize in advance for what I'm about to say. From my research, I know you resented this fact, but unfortunately, I think it's true. Here it is: despite the large catalogue of music Gustav Holst composed, much of it wonderful, he is essentially a one-hit wonder in the classical music world, à la Pachelbel, Dukas, Mascagni, and others. His one hit is a big one, though: an epic, seven-movement suite entitled The Planets. As I said, Holst was not happy about this in the slightest. He was a prolific composer and someone who devoted himself fully to his subjects. He considered other works he wrote better than The Planets, and yet, in the end, we hear very little of his other music, though since the 1980s some of it has been performed more frequently, particularly in the UK. But The Planets is truly a hit: the reason we know Holst's name today, and one of the most frequently performed pieces in the entire Western classical canon. Holst took a novel approach to his depiction of the planets. They are not ordered by their astronomical distance, but by musical cohesiveness. Nor do they depict the planets in a scientific sense; instead, they present a deeply personal astrological interpretation, something we'll explore as we discuss the piece. The orchestration is massive yet subtle, with colors unique both to the work itself and to Holst's output more broadly. It is easy to listen to and straightforward, while also somehow intensely complex and varied. It is powerful, Romantic, thrilling, joyous, mysterious, terrifying, and ultimately cosmic in both conception and execution. This is one of those pieces that people love without necessarily giving it the full respect it deserves. So today on the show, we'll learn a little about Holst's life, what led him to write The Planets, and why this piece grabs hold of us and doesn't let go throughout our journey through the stars. Join us!

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Franck Symphony in D Minor

In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us!

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Barber Violin Concerto

There are so many great apocryphal stories in the long history of classical music, from the reason Tchaikovsky wrote his Sixth Symphony to what famous composers supposedly said on their deathbeds, to my favorite story: how Joseph Haydn's Symphony No. 96, The Miracle, got its name. Apparently, during the premiere of the symphony, a chandelier fell, but miraculously didn't hit anyone. Hence, The Miracle Symphony. The chandelier did, in fact, fall, but we now know it happened during the premiere of Haydn's Symphony No. 102, which has no nickname. Coincidentally, or perhaps not so coincidentally, the 96th Symphony is performed far more often than the 102nd, likely because of its nickname, even though it's the nickname of the wrong symphony. The Barber Violin Concerto has a great and true story behind it. But before certain information was revealed in 2010, the story everyone knew was quite different. The original version goes like this: Barber had completed the first two movements of his Violin Concerto and sent them to the soloist scheduled to premiere the work, Iso Briselli. Briselli didn't like the concerto, claiming it wasn't virtuosic enough, and asked Barber to write something more difficult. Barber, perhaps with an evil laugh, obliged and returned with the third movement. When Briselli received it, he realized he couldn't play it because of its extreme difficulty and ultimately withdrew from the premiere, which instead went to violinist Albert Spalding. It's a perfect "Icarus flying too close to the sun" kind of classical music story, but as it turns out, it isn't the full story. In 2010, letters were released between Barber, Briselli, and the real instigator in this little operetta, Briselli's violin teacher, Albert Meiff. I'll get into the whole story later, but it's a good one, even if it's not quite as cinematic as the legend. More important than the dispute over its last movement is the remarkable beauty and creativity of this masterful 20th-century concerto. Barber's Violin Concerto is one of my favorite pieces to play and to conduct, and it has charmed audiences ever since its premiere. It features Americana music of a kind only Copland could equal, as well as a heartbreaking oboe solo that might be one of the greatest moments in the history of American classical music. And then there's that pesky third movement, a challenge to every violinist (and orchestra) and a movement that remains controversial for many reasons.

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Beethoven Symphony No. 5

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!

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Beethoven Piano Sonata in B♭ major, Op. 106, "Hammerklavier" - Part 1

Beethoven once wrote to his publisher: "What is difficult, is also beautiful, good, great, and so forth. Hence everyone will realize that this is the most lavish praise that can be bestowed, since what is difficult makes one sweat." If this credo manifests itself most powerfully in any one of Beethoven's works, it might be the piece we'll talk about today, the piano Sonata Op. 106, nicknamed, "Hammerklavier." It is the longest Sonata Beethoven ever wrote, which essentially means that it was the longest sonata anyone had written up to that point. It marks one of the pivot points between Beethoven's so-called heroic period and his late period, where his music became even more cosmically beautiful than before. It is certainly his most ambitious Sonata to that point, and his most difficult. The scale of the Hammerklavier sonata is hard to describe; in around 45 minutes of music, Beethoven explores the full gamut of human emotion. The intensity, the difficulty, and the concentration that this sonata requires from the pianist and listener alike has led to many people, as the pianist Andras Schiff says, to "respect and revere this Sonata, but not love it." Most of the articles and analyses of this sonata that I found in researching this show emphasize its difficulty, its scale, its obsessiveness, and its impenetrability. But I must say that when I talk to musicians abut this piece, their eyes light up. Yes, this sonata is difficult, but what have we just learned from Beethoven? What is difficult is also beautiful, good, great and so forth. Join us as we begin a two part exploration of this remarkable work together. Thank you to Jerry for sponsoring this show on Patreon! Recording: https://youtu.be/yBtJF_4msqw?si=bIznKSGuRyXDbFaT

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Shostakovich Symphony No. 10 LIVE w/ The Aalborg Symphony

Longtime listeners of Sticky Notes know that Shostakovich's 10 symphony was the inaugural piece covered on the show. It's been 8 years(!) since that show, so I've totally re-written the episode and had the privilege of presenting this new version live with the Aalborg Symphony Orchestra last week in Aalborg. Shostakovich, like so many composers before him, was obsessed with musical codes and messages, with songs that expressed two or more meanings, with ideas that were at once black and white and profoundly complex. This also describes Shostakovich himself, a man who was incredibly guarded with his public persona, and even his private persona as well. It is impossible to know anything for sure with Shostakovich, and to me therein lies the greatest strength of his music. The 10th symphony has been described as a portrayal of the Stalin years, as a portrayal of obsessive love, as a requiem, as sarcastic, as humorous, as agonizing, as triumphant, as, as, as….and the truth is that like all of the greatest works of Western Classical music, it is all of those things and so much more. It is a work of profound intensity, grabbing you from the start and not letting go for nearly 50 minutes, which makes sense considering that the piece was written in the shadow of another momentous event, the death of Joseph Stalin. There are very few experiences like hearing Shostakovich's 10th symphony live, and it is the kind of piece that, by the end of it, leaves you a slightly different person than you were when it started. Today on the show, we're going to be talking about a wide range of topics, from orchestral color to Joseph Stalin, from symphonic form to obsessive love, and much more. Join us!

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Beethoven Symphony No. 3, "Eroica"

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...

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Ravel and Falla: Echoes of Spain

Nowadays it's hard to imagine Maurice Ravel as a "bad-boy" revolutionary, a member of a group whose name can be loosely translated as The Hooligans. To most listeners today, Ravel's music is the very picture of sumptuous beauty. But the group he belonged to, Les Apaches ("The Hooligans"), earned its name because of its members' uncompromising attitudes about music; attitudes that clashed sharply with the conservative tastes of the establishment. Another composer who belonged to Les Apaches was the Spanish composer Manuel de Falla. Falla is certainly not as well known as Ravel, but the two became fast friends when he arrived in Paris in 1907. They formed a kind of mutual-admiration society that proved immensely fruitful for both of them. Falla was deeply impressed by Ravel's Spanish-inflected music, marveling at its authenticity given that Ravel was French. But Ravel, now a symbol of French music, was the son of a Swiss father and a Spanish-speaking mother, and he was born just eleven miles from the Spanish border in the Basque region. His Spanish voice was no affectation; it came from somewhere deep within, and Falla noticed this immediately, remarking that Ravel's Rapsodie espagnole was "a Spain ideally presented by his mother." Today on the show we'll explore the Spanish world of Falla and Ravel through two central works: Falla's Nights in the Gardens of Spain and Ravel's Rapsodie espagnole. These pieces, both astonishing in their creativity and craftsmanship, offer a wonderful opportunity to compare and contrast the music and approaches of these two close friends. We'll also talk about Les Apaches and their goals, legacy, and some of their legendary members. All this and more is coming up on this final collaboration on Ravel and Friends with G. Henle Publishers! Join us!

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Weill: The Seven Deadly Sins

The collaboration between Kurt Weill and Bertolt Brecht is rightly legendary. The two men could not have been more different from each other, and like the Brahms/Joachim relationship I mentioned in my recent show about the Brahms Double concerto, the friendship between Weill and Brecht was stormy to say the least. The two collaborated on some of the most memorable works of the Weimar era in Germany, such as the Threepenny Opera, which features a pretty famous tune called Mack the Knife. Their final collaboration was on the "sung ballet" The Seven Deadly Sins. This is a piece that was written at a point of remarkably high tension within Weimar Germany. On an artistic level, the 1920s and early 1930s had seen a veritable explosion in the world of culture, with art, dance, theater, and music all featuring artists who were pushing the boundaries with wild experimentation and a kind of ecstatic fervor that produced some of the world's greatest and most memorable cultural achievements. On a parallel track however, the rise of the Nazis cast a pall over all of this. By 1933, both Brecht and Weill(who was Jewish) knew that Germany was not a place that they could stay safely. Weill ended up in Paris and then in the US for the rest of his life, while Brecht bounced around Europe before returning to East Germany after the war, hoping to be a part of the Marxist Utopia that he believed had been founded there. The simmering combination of Weill's mastery of transforming popular forms into a unique kind of classical music along with Brecht's pointed satire and brilliantly inventive libretti resulted in the Seven Deadly Sins, a piece that that brutally satirizes extreme capitalism and the degradation of the human soul that supposedly results from it. This is a nakedly political piece, and I should make it clear that by talking about it, by choosing to feature it on the show, and by regularly performing it, I don't necessarily endorse its views. Brecht was extreme in all ways, as we'll get to today, and the power of this piece in my opinion doesn't come from its politics, but from its remarkable and devastating portrayal of a human soul and the tragedies that can befall it. This is one of my favorite pieces of the whole 20th century, and I'm so happy to share it with you today. Join us!

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Mozart Requiem

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.

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Brahms Double Concerto

It's entirely possible that we would not know the name of Johannes Brahms very well if Brahms hadn't met Joseph Joachim as a very young man. Joachim, who was one of the greatest violinists of all time, had already established himself as touring soloist and recitalist, and he happened to know the musical power couple of Robert and Clara Schumann quite well. Joachim encouraged Brahms to go to Dusseldorf to meet the Schumann's, and the rest is history. I've talked about the Brahms-Schumann relationship dozens of times on the show before, but to keep it very brief, Robert Schumann's rhapsodic article Neue Bahnen(new paths) launched Brahms' career, and until Schumann's deterioration from mental illness he acted as a valued friend and mentor for Brahms. Clara Schumann, as a performer, was a powerful advocate for Brahms' music as well as a devoted and loving friend throughout the rest of their lives. Almost constantly present in this relationship was the sound of Joseph Joachim's violin. Brahms did not have a huge circle of friends, but for the often difficult to get along with composer, Joachim was a musical and spiritual companion. Brahms' legendary violin concerto was written for him, and the two collaborated closely for the entire course of their musical lives, except for one significant break. Brahms and Joachim were estranged for 7 years, until Brahms reached out with a remarkable conciliatory gesture: a concerto for Violin and Cello and that would be dedicated to Joachim. Brahms and Joachim(as well as Brahms and Clara Schumann) had often resolved disputes through music, and this was no exception. Clara Schumann gleefully wrote in her diary after Joachim had read through the piece with cellist Robert Hausmann: "This concerto is a work of reconciliation - Joachim and Brahms have spoken to each other again for the first time in years." One would expect that a work like this would be beloved, but the Double Concerto has had a checkered history, which we'll also get into later. Clara herself wrote that it lacked "the warmth and freshness which are so often found to be in his works," It would turn out to be Brahms' last work for orchestra, and one of the few in his later style, which makes It fascinating to look at from a compositional perspective. Partly because of the cool reception it got in its first few performances, and the practical challenges of finding two spectacular soloists who can meet its challenges, the piece is not performed all that often, though I have always adored this piece and am very grateful to Avi who sponsored this week's show from my fundraiser last year before the US election. So let's dive into this gorgeous concerto, discussing the reasons for Joachim and Brahms' break, their reconciliation, the reception this piece got, and then of course, the music itself! Join us!

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Mahler Symphony No. 2, Part 1

"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.

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Introduction to Opera + Mozart, Marriage of Figaro (Part 1)

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!

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Joshua Weilerstein على Apple