Schubert Cello Quintet

Schubert Cello Quintet

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!

Jaksot(272)

Bartok Violin Duos and Social Duoing

Bartok Violin Duos and Social Duoing

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!

4 Kesä 202056min

How Musical Revolutions Were Created, Part 2 - w/ Jan Swafford

How Musical Revolutions Were Created, Part 2 - w/ Jan Swafford

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.

1 Kesä 202048min

Sibelius Symphony No. 7

Sibelius Symphony No. 7

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.

28 Touko 202044min

How Musical Revolutions Were Created, Part 1 - w/Jan Swafford

How Musical Revolutions Were Created, Part 1 - w/Jan Swafford

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?

25 Touko 202039min

Respighi, "The Pines of Rome"

Respighi, "The Pines of Rome"

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.

21 Touko 202041min

Quarantine, Richter, Kleiber, Dvorak, Zander, Wearing Different Hats, and Schumann w/ Zsolt Bognar

Quarantine, Richter, Kleiber, Dvorak, Zander, Wearing Different Hats, and Schumann w/ Zsolt Bognar

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!

18 Touko 202047min

Mahler Symphony No. 2, Part 3

Mahler Symphony No. 2, Part 3

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.

14 Touko 202055min

Classical Music During the Pandemic

Classical Music During the Pandemic

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.

11 Touko 202044min

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