263. Building on History

Daniel Lebhardt

Works by Brahms and Beethoven performed by Daniel Lebhardt on March 12, 2017.  Brahms, Johannes: Six Pieces, Op. 118 Beethoven, Ludwig van: Sonata No. 18 in E-Flat Major, Op. 31, No. 3, "The Hunt"  Hungarian pianist Daniel Lebhardt is one of a long line of Young Concert Artists competition winners to make their Boston debut at the Gardner, and on this podcast, we’ll hear two recordings from the 24-year-old’s recent recital: Brahms’ Six Pieces, opus 118 and Beethoven’s Sonata No. 18 in E-flat Major, sometimes called “The Hunt.”  A student at the Royal Academy in London, the young pianist has swept a number of competitions in recent years, claiming first prizes all across Europe, including in Italy, Slovakia, Romania, and the UK. His 2016 New York debut earned a rave from the Times critic Anthony Tommasini, who wrote that Lebhardt “dispatched the [Beethoven sonata] with scintillating crispness and conveyed its brash humor.”

Works by Brahms and Beethoven performed by Daniel Lebhardt on March 12, 2017. <ul> <li>Brahms, Johannes: Six Pieces, Op. 118</li> <li>Beethoven, Ludwig van: Sonata No. 18 in E-Flat Major, Op. 31, No. 3, "The Hunt"</li> </ul> Hungarian pianist Daniel Lebhardt is one of a long line of Young Concert Artists competition winners to make their Boston debut at the Gardner, and on this podcast, we’ll hear two recordings from the 24-year-old’s recent recital: Brahms’ Six Pieces, opus 118 and Beethoven’s Sonata No. 18 in E-flat Major, sometimes called “The Hunt.” A student at the Royal Academy in London, the young pianist has swept a number of competitions in recent years, claiming first prizes all across Europe, including in Italy, Slovakia, Romania, and the UK. His 2016 New York debut earned a rave from the Times critic Anthony Tommasini, who wrote that Lebhardt “dispatched the [Beethoven sonata] with scintillating crispness and conveyed its brash humor.”

262. Introducing Daniel Lebhardt

Works by Schumann performed by Miriam Fried, violin and Jonathan Biss, piano on January 15, 2017.  Schumann, Robert: Sonata No. 2 in D Minor, Op. 121 Schumann, Robert: Gesange der Fruhe, Op. 133  For many years, musicologists and music-lovers have tried to understand what it was that led to Robert Schumann’s troubling symptoms and ultimate death at age 46 in a psychiatric hospital. And for years, writers dismissed many of his later works as the incoherent products of a mind in decline. But, more recently, many have come to appreciate Schumann’s later works—two of which we’ll hear on this podcast: his second violin sonata, in D minor, and “Gesänge der Frühe,” or “Songs of Dawn,” a five-movement work for piano—and one of the last pieces Schumann published before admitting himself to the psychiatric hospital where he ultimately died. On this recording, we’ll heard pianist Jonathan Biss in both works. In the sonata, he is joined by violinist Miriam Fried.

Works by Schumann performed by Miriam Fried, violin and Jonathan Biss, piano on January 15, 2017. <ul> <li>Schumann, Robert: Sonata No. 2 in D Minor, Op. 121</li> <li>Schumann, Robert: Gesange der Fruhe, Op. 133</li> </ul> For many years, musicologists and music-lovers have tried to understand what it was that led to Robert Schumann’s troubling symptoms and ultimate death at age 46 in a psychiatric hospital. And for years, writers dismissed many of his later works as the incoherent products of a mind in decline. But, more recently, many have come to appreciate Schumann’s later works—two of which we’ll hear on this podcast: his second violin sonata, in D minor, and “Gesänge der Frühe,” or “Songs of Dawn,” a five-movement work for piano—and one of the last pieces Schumann published before admitting himself to the psychiatric hospital where he ultimately died. On this recording, we’ll heard pianist Jonathan Biss in both works. In the sonata, he is joined by violinist Miriam Fried.

261. Near the End

Works by Webern and Brahms performed by A Far Cry and Stefan Jackiw, violin and Anna Polonsky, piano on December 11, 2016 and October 5, 2014.  Webern, Anton: Langsamer Satz Brahms, Johannes: Sonata No. 1 in G Major, Op. 78  Hope you’re ready for a trip down memory lane: On this podcast, we hear two works tinged with the melancholy sweetness of youthful passion, remembered. Sweetness and passion aren’t necessarily the words most closely associated with the first composer on the program: Anton Webern, best known for his economical, exacting 12-tone works, written as a student of Schoenberg. Today, we’ll hear the pre-atonal Webern, in his Langsamer Satz (or slow movement) for strings. Webern wrote this piece as a young man falling in love. We’ll hear it played by A Far Cry, the Gardner’s resident ensemble. Next up: Johannes Brahms’ Violin Sonata No. 1 in G Major, opus 78. Unlike Webern, who wrote his Langsamer Satz in the throes of youth, Brahms composed this violin sonata in middle age, when he was in his 40’s. But it has an unmistakable, naïve sweetness. And, indeed, the piece is sometimes dubbed the “Rain Sonata” because it quotes from a song by Brahms called “Regenlied,” or “Rain Song.” We’ll hear the sonata performed by violinist Stefan Jackiw, and pianist Anna Polonsky.

Works by Webern and Brahms performed by A Far Cry and Stefan Jackiw, violin and Anna Polonsky, piano on December 11, 2016 and October 5, 2014. <ul> <li>Webern, Anton: Langsamer Satz</li> <li>Brahms, Johannes: Sonata No. 1 in G Major, Op. 78</li> </ul> Hope you’re ready for a trip down memory lane: On this podcast, we hear two works tinged with the melancholy sweetness of youthful passion, remembered. Sweetness and passion aren’t necessarily the words most closely associated with the first composer on the program: Anton Webern, best known for his economical, exacting 12-tone works, written as a student of Schoenberg. Today, we’ll hear the pre-atonal Webern, in his Langsamer Satz (or slow movement) for strings. Webern wrote this piece as a young man falling in love. We’ll hear it played by A Far Cry, the Gardner’s resident ensemble. Next up: Johannes Brahms’ Violin Sonata No. 1 in G Major, opus 78. Unlike Webern, who wrote his Langsamer Satz in the throes of youth, Brahms composed this violin sonata in middle age, when he was in his 40’s. But it has an unmistakable, naïve sweetness. And, indeed, the piece is sometimes dubbed the “Rain Sonata” because it quotes from a song by Brahms called “Regenlied,” or “Rain Song.” We’ll hear the sonata performed by violinist Stefan Jackiw, and pianist Anna Polonsky.

260. The Sweetness of Youth

Work by Korngold performed by Alexi Kenney, violin and Dina Vainshtein, piano on March 6, 2016.  Korngold, Erich: Sonata for Violin and Piano in G Major, Op. 6  The piece we’ll hear on the podcast today was written when Erich Korngold was in his teens: his Violin Sonata in G Major, Op. 6. Why is this fascinating work, by such a promising composer, so little known today? In the 1930s, Korngold’s life took a dramatic turn, as the Nazi regime began to rise to power in his native Austria. Korngold was Jewish, and he accepted an invitation to come the United States—a move that would dramatically alter the course of his career. Once here, he quickly achieved success writing scores for Hollywood. Then, as the 20th century moved on musically, his early concert works fell out of favor, seen as too melodic and Romantic. But it is high time they got another hearing. Today, we’ll hear a recording from the Gardner Museum recital by young violinist Alexi Kenney and pianist Dina Vainshtein, recorded in March 2016—almost 100 years after the piece was written. Take a listen and see what you think: how does it stand the test of time?

Work by Korngold performed by Alexi Kenney, violin and Dina Vainshtein, piano on March 6, 2016. <ul> <li>Korngold, Erich: Sonata for Violin and Piano in G Major, Op. 6</li> </ul> The piece we’ll hear on the podcast today was written when Erich Korngold was in his teens: his Violin Sonata in G Major, Op. 6. Why is this fascinating work, by such a promising composer, so little known today? In the 1930s, Korngold’s life took a dramatic turn, as the Nazi regime began to rise to power in his native Austria. Korngold was Jewish, and he accepted an invitation to come the United States—a move that would dramatically alter the course of his career. Once here, he quickly achieved success writing scores for Hollywood. Then, as the 20th century moved on musically, his early concert works fell out of favor, seen as too melodic and Romantic. But it is high time they got another hearing. Today, we’ll hear a recording from the Gardner Museum recital by young violinist Alexi Kenney and pianist Dina Vainshtein, recorded in March 2016—almost 100 years after the piece was written. Take a listen and see what you think: how does it stand the test of time?

259. All That Glitters

Works by Bach and Bartók performed by the Borromeo String Quartet and Yoo Jin Jang, violin and Renana Gutman, piano on August 14, 2016 and March 8, 2015.  Bach, Johann Sebastian: Preludes and Fugues from Well-Tempered Klavier Book 1 trans. Nicholas Kitchen: C Major, C Minor, E-flat Minor Bartók, Béla: Violin Sonata No. 1, Sz. 75  Today’s podcast features two works that present tests of sorts—for the listener, the performer, the composer. Sharpen your ears and let’s get to it. The Well-Tempered Clavier was likely written to test a few different things: the keyboard player’s technical skills; the advantages of equal temperament tuning, which enabled playing in every key; and also the listener’s ability to pick out the many, interweaving musical lines. Today, we’ll hear three movements from the WTC in a version for string quartet, created by violinist Nicholas Kitchen. Bartok’s Violin Sonata No. 1, written in 1921, also pushed boundaries. Today, Bartok is perhaps best known for his explorations of Hungarian traditional music and his folk-tinged, dance-infused symphonies. But he also had a period, between the world wars, of audacious musical experimentation, and this work dates from those years. We’ll hear the piece second on the podcast, played by violinist Yoo Jin Jang and pianist Renana Gutman.

Works by Bach and Bartók performed by the Borromeo String Quartet and Yoo Jin Jang, violin and Renana Gutman, piano on August 14, 2016 and March 8, 2015. <ul> <li>Bach, Johann Sebastian: Preludes and Fugues from Well-Tempered Klavier Book 1 trans. Nicholas Kitchen: C Major, C Minor, E-flat Minor</li> <li>Bartók, Béla: Violin Sonata No. 1, Sz. 75</li> </ul> Today’s podcast features two works that present tests of sorts—for the listener, the performer, the composer. Sharpen your ears and let’s get to it. The Well-Tempered Clavier was likely written to test a few different things: the keyboard player’s technical skills; the advantages of equal temperament tuning, which enabled playing in every key; and also the listener’s ability to pick out the many, interweaving musical lines. Today, we’ll hear three movements from the WTC in a version for string quartet, created by violinist Nicholas Kitchen. Bartok’s Violin Sonata No. 1, written in 1921, also pushed boundaries. Today, Bartok is perhaps best known for his explorations of Hungarian traditional music and his folk-tinged, dance-infused symphonies. But he also had a period, between the world wars, of audacious musical experimentation, and this work dates from those years. We’ll hear the piece second on the podcast, played by violinist Yoo Jin Jang and pianist Renana Gutman.

258. Putting it to the Test

Works by Mozart performed by Charlie Albright on February 14, 2016.  Mozart, Wolfgang Amadeus: 12 Variations on “Ah vous dirai-je, Maman” Mozart, Wolfgang Amadeus: 9 Variations on a Minuet by Duport, K. 575  Many of us think of “improvisation” as a modern concept, usually linked to jazz. But throughout the centuries, so-called “classical” keyboard players were often expected to improvise, whether they were vamping at the organ to fill time during a church service or creating a spontaneous piano version of an opera score for friends and patrons gathered around a salon. Indeed, there are many accounts that suggest that Mozart—now thought of for his notated scores—relied heavily on improvisation in creating and even performing his own works. All to say, Mozart was a master of the art of improvised variation. Today, we’ll hear two notated works that hint at the sort of thing we might have heard, had we been so lucky to be in the room when Mozart was improvising at the keyboard. First, we’ll hear his 12 Variations on “Ah, vous dirai-je, Maman.” Next, we’ll hear 9 Variations on a Minuet by Duport, based on a cello sonata theme.

Works by Mozart performed by Charlie Albright on February 14, 2016. <ul> <li>Mozart, Wolfgang Amadeus: 12 Variations on “Ah vous dirai-je, Maman”</li> <li>Mozart, Wolfgang Amadeus: 9 Variations on a Minuet by Duport, K. 575</li> </ul> Many of us think of “improvisation” as a modern concept, usually linked to jazz. But throughout the centuries, so-called “classical” keyboard players were often expected to improvise, whether they were vamping at the organ to fill time during a church service or creating a spontaneous piano version of an opera score for friends and patrons gathered around a salon. Indeed, there are many accounts that suggest that Mozart—now thought of for his notated scores—relied heavily on improvisation in creating and even performing his own works. All to say, Mozart was a master of the art of improvised variation. Today, we’ll hear two notated works that hint at the sort of thing we might have heard, had we been so lucky to be in the room when Mozart was improvising at the keyboard. First, we’ll hear his 12 Variations on “Ah, vous dirai-je, Maman.” Next, we’ll hear 9 Variations on a Minuet by Duport, based on a cello sonata theme.

257. Twinkle

Works by Vivaldi and Beethoven performed by the Gardner Chamber Orchestra and Musicians from Marlboro on September 11, 2004 and October 19, 2014.  Vivaldi, Antonio: Concerto in C Major for Soprano Recorder and Orchestra Beethoven, Ludwig van: String Quintet in C Major, Op. 29  The two pieces on this podcast have many points of difference: different eras (Baroque and Classical), different instrumentation (a recorder concerto and a string quintet), and different performers. The list goes on. But as different as they are, both works share a wonderful commonality at their core: a gorgeous slow movement. The first slow movement we’ll hear comes right in the middle of Vivaldi’s Concerto in C Major for sopranino recorder and orchestra, played by Aldo Abreu and the Gardner Chamber Orchestra. When the piece begins, the recorder enters on a dazzling, virtuosic note, but it is the middle movement where he truly gets to stretch out and show not just his technical prowess, but his musicality. After the Vivaldi, we’ll hear Beethoven’s String Quintet in C Major, Opus 29, played by Musicians from Marlboro. Like Vivaldi, Beethoven’s slow movement comes second, after a cheery opening allegro. This slow movement has a lovely, Mozartean quality, tending to the “sweeter” side of “bittersweet.”

Works by Vivaldi and Beethoven performed by the Gardner Chamber Orchestra and Musicians from Marlbor<a href="/music/listen/music_library?filter=artist#go_2427" rel="nofollow" target="_blank">o</a> on September 11, 2004 and October 19, 2014. <ul> <li>Vivaldi, Antonio: Concerto in C Major for Soprano Recorder and Orchestra</li> <li>Beethoven, Ludwig van: String Quintet in C Major, Op. 29</li> </ul> The two pieces on this podcast have many points of difference: different eras (Baroque and Classical), different instrumentation (a recorder concerto and a string quintet), and different performers. The list goes on. But as different as they are, both works share a wonderful commonality at their core: a gorgeous slow movement. The first slow movement we’ll hear comes right in the middle of Vivaldi’s Concerto in C Major for sopranino recorder and orchestra, played by Aldo Abreu and the Gardner Chamber Orchestra. When the piece begins, the recorder enters on a dazzling, virtuosic note, but it is the middle movement where he truly gets to stretch out and show not just his technical prowess, but his musicality. After the Vivaldi, we’ll hear Beethoven’s String Quintet in C Major, Opus 29, played by Musicians from Marlboro. Like Vivaldi, Beethoven’s slow movement comes second, after a cheery opening allegro. This slow movement has a lovely, Mozartean quality, tending to the “sweeter” side of “bittersweet.”

256. Taking it Slow

Works by Bach and Brahms performed by the Borromeo String Quartet and Ravinia’s Steans Music Institute on August 7, 2016 and April 10, 2016.  Bach: Preludes and Fugues from Well-Tempered Klavier Book 1 arr. Nicholas Kitchen: F Major, F Minor, B-flat Minor Brahms: String Quintet No. 2 in G Major, Op. 111  Both of the works on our podcast this week have a sort of finality, a sense of summing things up, or making a statement that is somehow comprehensive, and that’s saying a lot given the composers in question: Johannes Brahms and Johann Sebastian Bach. We begin with a novel setting of a familiar work: a selection of preludes and fugues from Bach’s Well-Tempered Klavier, arranged for string quartet by Nicholas Kitchen of the Borromeo Quartet, who we’ll hear playing on the recording. The Well-Tempered Klavier consists of 24 small pieces, one prelude and one fugue in each key, ascending chromatically from C to B. Then, we’ll hear a piece that Brahms apparently intended to be his last: the String Quintet in G Major, Opus 111. Brahms lovers may already be raising an eyebrow at that last statement, because this was not, in fact, the last piece Brahms wrote—he went on to publish another 11 works, much to the delight of the clarinetists, pianists, and singers who regularly perform these final few works today.

Works by Bach and Brahms performed by the <a href="/music/listen/music_library?filter=artist#go_2463" rel="nofollow" target="_blank">Borromeo String Quartet</a> and <a href="/music/listen/music_library?filter=artist#go_2445" rel="nofollow" target="_blank">Ravinia’s Steans Music Institute</a> on August 7, 2016 and April 10, 2016. <ul> <li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">Bach</a>: Preludes and Fugues from Well-Tempered Klavier Book 1 arr. Nicholas Kitchen: F Major, F Minor, B-flat Minor</li> <li><a href="/music/listen/music_library?filter=composer#go_2457" rel="nofollow" target="_blank">Brahms</a>: String Quintet No. 2 in G Major, Op. 111</li> </ul> Both of the works on our podcast this week have a sort of finality, a sense of summing things up, or making a statement that is somehow comprehensive, and that’s saying a lot given the composers in question: Johannes Brahms and Johann Sebastian Bach. We begin with a novel setting of a familiar work: a selection of preludes and fugues from Bach’s Well-Tempered Klavier, arranged for string quartet by Nicholas Kitchen of the Borromeo Quartet, who we’ll hear playing on the recording. The Well-Tempered Klavier consists of 24 small pieces, one prelude and one fugue in each key, ascending chromatically from C to B. Then, we’ll hear a piece that Brahms apparently intended to be his last: the String Quintet in G Major, Opus 111. Brahms lovers may already be raising an eyebrow at that last statement, because this was not, in fact, the last piece Brahms wrote—he went on to publish another 11 works, much to the delight of the clarinetists, pianists, and singers who regularly perform these final few works today.

255. Summing it Up

Works for string quartet by Bartók and Webern performed by the Omer Quartet on November 27, 2016.  Bartók: String Quartet No. 1, Op. 7 Webern: Six bagatelles for String Quartet, Op. 9  In this podcast, we’ll follow two 20th century composers on their quest for new directions and inspirations, in a musical landscape increasingly reaching beyond traditional ideas about form and tonality. We begin with Béla Bartók’s First String Quartet, his Opus 7, a three-movement work. It begins quite somber, but the mood gradually brightens, and by the last movement, it has begun to exhibit some of the Hungarian folk color that became such a unique and defining part of Bartók’s voice as a composer. After the Bartók, we’ll hear a brief work, written around the same time, but by a composer with a very different musical vocabulary. Like the Bartók work, Webern’s Six Bagatelles for String Quartet were a relatively early composition, Webern’s Opus 9, and the composer was still finding his voice, and his way of working within the atonal system that he and his teacher Schoenberg were developing. We’ll hear both pieces performed by the skilled musicians of the Omer Quartet, an ensemble formed at the Cleveland Institute of Music, and currently in residence at Boston’s New England Conservatory.

Works for string quartet by Bartók and Webern performed by the <a href="/music/listen/music_library?filter=artist#go_7764" rel="nofollow" target="_blank">Omer Quartet</a> on November 27, 2016. <ul> <li><a href="/music/listen/music_library?filter=composer#go_2399" rel="nofollow" target="_blank">Bartók</a>: String Quartet No. 1, Op. 7</li> <li><a href="/music/listen/music_library?filter=composer#go_2713" rel="nofollow" target="_blank">Webern</a>: Six bagatelles for String Quartet, Op. 9</li> </ul> In this podcast, we’ll follow two 20th century composers on their quest for new directions and inspirations, in a musical landscape increasingly reaching beyond traditional ideas about form and tonality. We begin with Béla Bartók’s First String Quartet, his Opus 7, a three-movement work. It begins quite somber, but the mood gradually brightens, and by the last movement, it has begun to exhibit some of the Hungarian folk color that became such a unique and defining part of Bartók’s voice as a composer. After the Bartók, we’ll hear a brief work, written around the same time, but by a composer with a very different musical vocabulary. Like the Bartók work, Webern’s Six Bagatelles for String Quartet were a relatively early composition, Webern’s Opus 9, and the composer was still finding his voice, and his way of working within the atonal system that he and his teacher Schoenberg were developing. We’ll hear both pieces performed by the skilled musicians of the Omer Quartet, an ensemble formed at the Cleveland Institute of Music, and currently in residence at Boston’s New England Conservatory.

254. New Directions

Classical Music Podcasts from the Isabella Stewart Gardner Museum

I like the commentary input along with the great music that is played.

Great Podcast for Classical Music.

These concerts are wonderful and soothing. Thank you!

Wonderful

The Concert - Isabella Stewart Gardner Museum

Works by Vivaldi and Bach for orchestra and flute solo performed by Gardner Chamber Orchestra, Paula Robison, and Orlando Cela, flute, and John Gibbons, harpsichord on January 17, 1999.Vivaldi: Concerto (Sinfonia) in G Major "alla Rustica" RV 151Vivaldi: Concerto in C Major  RV 533Vivaldi: Concerto in G Minor "La Notte" No. 5, F XIIVivaldi: Concerto in G Major, Rv 437J.S. Bach: Concerto in F Major, BWV 1057 For this podcast, we dug into the archives to resurrect an older recording, of some older music, that we thought you’d like.  These concertos breeze by. The first we’ll hear—Vivaldi’s Sinfonia in G Major “alla Rustica”—packs three movements into just four and a half minutes. Then, we get the double flute concerto, with Robison and Cela, in C Major.Then, things shift a bit, for the flute concerto in G minor, played by Robison solo. Dubbed the “nighttime” concerto in Italian, the piece has a couple of evocatively named movements within it as well: after a fast introduction we get a spooky movement called “phantoms,” followed by another quick stretch, and then a slower, harmonically unsettled bit titled “The Dream”—neither really a fantasy nor a nightmare, but somewhere in between. The piece concludes with another quick movement, with the bassoon taking a starring role.We wrap up the podcast with another of Vivaldi’s solo flute concertos—in G Major—followed by J.S. Bach’s Concerto in F Major for both flute soloists, harpsichord, and strings.

Works by Vivaldi and Bach for orchestra and flute solo performed by <a href="/music/listen/music_library?filter=artist#go_2379" rel="nofollow" target="_blank">Gardner Chamber Orchestra</a>, <a href="/music/listen/music_library?filter=artist#go_2380" rel="nofollow" target="_blank">Paula Robison</a>, and <a href="/music/listen/music_library?filter=artist#go_7287" rel="nofollow" target="_blank">Orlando Cela</a>, flute, and <a href="/music/listen/music_library?filter=artist#go_2370" rel="nofollow" target="_blank">John Gibbons</a>, harpsichord on January 17, 1999.<ul><li><a href="/music/listen/music_library?filter=composer#go_2703" rel="nofollow" target="_blank">Vivaldi</a>: Concerto (Sinfonia) in G Major "alla Rustica" RV 151</li><li>Vivaldi: Concerto in C Major RV 533</li><li>Vivaldi: Concerto in G Minor "La Notte" No. 5, F XII</li><li>Vivaldi: Concerto in G Major, Rv 437</li><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">J.S. Bach</a>: Concerto in F Major, BWV 1057 </li></ul>For this podcast, we dug into the archives to resurrect an older recording, of some older music, that we thought you’d like. These concertos breeze by. The first we’ll hear—Vivaldi’s Sinfonia in G Major “alla Rustica”—packs three movements into just four and a half minutes. Then, we get the double flute concerto, with Robison and Cela, in C Major.Then, things shift a bit, for the flute concerto in G minor, played by Robison solo. Dubbed the “nighttime” concerto in Italian, the piece has a couple of evocatively named movements within it as well: after a fast introduction we get a spooky movement called “phantoms,” followed by another quick stretch, and then a slower, harmonically unsettled bit titled “The Dream”—neither really a fantasy nor a nightmare, but somewhere in between. The piece concludes with another quick movement, with the bassoon taking a starring role.We wrap up the podcast with another of Vivaldi’s solo flute concertos—in G Major—followed by J.S. Bach’s Concerto in F Major for both flute soloists, harpsichord, and strings.

240. Baroque Concertos

Works by Bach for chamber orchestra performed by Rebel on November 10, 2013 and solo piano performed by Ji, piano on April 12, 2015. Bach: Concerto in A MajorBach: Toccata, Adagio, and Fuge BWV 564 arr. Ferrucio BusoniIt’s incredible to think just how much influence and resonance the music of Johann Sebastian Bach still has today, three hundred years after it was written. This podcast shows just two of the many examples of ways in which musicians continue to discover new possibilities in this centuries-old music, recreating Bach for different times and instruments.The concerto on this podcast was originally composed for oboe d’amore, and only later adapted and published for harpsichord as the Concerto in A Major, BWV 1055. Centuries later, however, only the harpsichord version remained. So in the 1970s, scholar and editor Wilfried Fischer decided to tackle the task of recreating the original oboe concerto, based on an early manuscript that provided hints about which lines were originally meant for oboe.Perhaps the most radical advance in musical technology since the Baroque era has been in the keyboard family, and Bach’s music is now regularly played on piano—an instrument that did not exist during his lifetime. Following the oboe concerto, we’ll hear Bach’s Toccata, Adagio and Fugue in C major for organ, adapted for the modern piano by Ferruccio Busoni. We’ll hear the piece performed by the young Chinese-born pianist Ji.

Works by Bach for chamber orchestra performed by Rebel on November 10, 2013 and solo piano performed by <a href="/music/listen/music_library?filter=artist#go_6850" rel="nofollow" target="_blank">Ji</a>, piano on April 12, 2015. <ul><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">Bach</a>: Concerto in A Major</li><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">Bach</a>: Toccata, Adagio, and Fuge BWV 564 arr. Ferrucio Busoni</li></ul>It’s incredible to think just how much influence and resonance the music of Johann Sebastian Bach still has today, three hundred years after it was written. This podcast shows just two of the many examples of ways in which musicians continue to discover new possibilities in this centuries-old music, recreating Bach for different times and instruments.The concerto on this podcast was originally composed for oboe d’amore, and only later adapted and published for harpsichord as the Concerto in A Major, BWV 1055. Centuries later, however, only the harpsichord version remained. So in the 1970s, scholar and editor Wilfried Fischer decided to tackle the task of recreating the original oboe concerto, based on an early manuscript that provided hints about which lines were originally meant for oboe.Perhaps the most radical advance in musical technology since the Baroque era has been in the keyboard family, and Bach’s music is now regularly played on piano—an instrument that did not exist during his lifetime. Following the oboe concerto, we’ll hear Bach’s Toccata, Adagio and Fugue in C major for organ, adapted for the modern piano by Ferruccio Busoni. We’ll hear the piece performed by the young Chinese-born pianist Ji.

232. Recreating Bach

Works for piano trio performed by the Claremont Trio.Debussy: Piano Trio in GFauré: Piano Trio in D minor, Op. 120Written in 1880, when Debussy was just 18 years old, the Trio in G is undoubtedly the work of a young artist, and it is heavily influenced by the Romanticism that pervaded French chamber music of the day. Of interest to Debussy devotees is the fact that this trio didn’t get its first modern hearing until the 1980s, when various manuscript fragments and parts were assembled into a whole. Also active at the same time, Gabriel Fauré was a major influence on the course of music history. As a composer, his music has at times been given short shrift by history, categorized as relatively conservative. But in 1924, when Fauré wrote the Piano Trio in D minor, he was 78 years old and had seen an incredible span of classical music history. This trio, one of his last works, is undoubtedly his voice, but it exhibits a great deal of musical growth from the style of the earliest days of Fauré’s lifetime. 

Works for piano trio performed by the <a href="http://www.gardnermuseum.org/music/listen/music_library?filter=artist#go_2407" rel="nofollow" target="_blank">Claremont Trio</a>.<ul><li><a href="http://www.gardnermuseum.org/music/listen/music_library?filter=composer#go_2499" rel="nofollow" target="_blank">Debussy</a>: Piano Trio in G</li><li><a href="http://www.gardnermuseum.org/music/listen/music_library?filter=composer#go_2533" rel="nofollow" target="_blank">Fauré</a>: Piano Trio in D minor, Op. 120</li></ul>Written in 1880, when Debussy was just 18 years old, the Trio in G is undoubtedly the work of a young artist, and it is heavily influenced by the Romanticism that pervaded French chamber music of the day. Of interest to Debussy devotees is the fact that this trio didn’t get its first modern hearing until the 1980s, when various manuscript fragments and parts were assembled into a whole. Also active at the same time, Gabriel Fauré was a major influence on the course of music history. As a composer, his music has at times been given short shrift by history, categorized as relatively conservative. But in 1924, when Fauré wrote the Piano Trio in D minor, he was 78 years old and had seen an incredible span of classical music history. This trio, one of his last works, is undoubtedly his voice, but it exhibits a great deal of musical growth from the style of the earliest days of Fauré’s lifetime.

110. The End of French Romanticism

Works for solo piano performed by pianists Cecile Licad and Jean-Frédéric Neuburger.Chopin: Nocturne in F-sharp minor, Op. 48 No. 2Chopin: Fantasie in F minor, Op. 49Chopin: Piano Sonata No. 2 in B-flat Minor, Op. 35On February 26, 1832, a young pianist named Frédéric Chopin made his debut at the intimate Salle Pleyel, to a room filled with music-world notables including Franz Liszt and Felix Mendelssohn. He would go on to revolutionize the way composers wrote for the piano, and the way pianists played it. We’ll begin with his Nocturne in F-sharp minor, Op. 48 No. 2, as performed by Cecile Licad. Next we’ll hear a slightly longer work, the Fantasie in F minor, Op. 49 No. 2. This more expansive work earns the title “fantasy” from its semi-improvisatory nature—we move through a series of different sections, with different themes, that unfold in succession. The performance is again by Cecile Licad. Finally, we’ll hear Chopin’s Second Sonata in B-flat minor, as performed by pianist Jean-Frederic Neuburger. The four-movement piece roams widely, from the stormy opening to the famous third-movement funeral march, all culminating in a virtuoso perpetual motion finale with rapid-fire triplets.

Works for solo piano performed by pianists <a href="/music/listen/music_library?filter=artist#go_2492" rel="nofollow" target="_blank">Cecile Licad</a> and <a href="/music/listen/music_library?filter=artist#go_3070" rel="nofollow" target="_blank">Jean-Frédéric Neuburger</a>.<ul><li><a href="/music/listen/music_library?filter=composer#go_2491" rel="nofollow" target="_blank">Chopin</a>: Nocturne in F-sharp minor, Op. 48 No. 2</li><li>Chopin: Fantasie in F minor, Op. 49</li><li>Chopin: Piano Sonata No. 2 in B-flat Minor, Op. 35</li></ul>On February 26, 1832, a young pianist named Frédéric Chopin made his debut at the intimate Salle Pleyel, to a room filled with music-world notables including Franz Liszt and Felix Mendelssohn. He would go on to revolutionize the way composers wrote for the piano, and the way pianists played it. We’ll begin with his Nocturne in F-sharp minor, Op. 48 No. 2, as performed by Cecile Licad. Next we’ll hear a slightly longer work, the Fantasie in F minor, Op. 49 No. 2. This more expansive work earns the title “fantasy” from its semi-improvisatory nature—we move through a series of different sections, with different themes, that unfold in succession. The performance is again by Cecile Licad. Finally, we’ll hear Chopin’s Second Sonata in B-flat minor, as performed by pianist Jean-Frederic Neuburger. The four-movement piece roams widely, from the stormy opening to the famous third-movement funeral march, all culminating in a virtuoso perpetual motion finale with rapid-fire triplets.

147. Chopin at the Piano

Works for solo piano by Schubert performed by Charlie Albright, piano on March 24, 2013.Schubert: Impromptus, D. 899, Op. 90Schubert: Sonata in B-Flat Major, D. 960In the late 1820s, all of Franz Schubert’s hard work and struggle seemed finally to be paying off. His performances were increasingly well received, and he was at the height of his compositional powers. Yet, even as his career took off, his health began to deteriorate, and his music increasingly focused on darker emotions. In 1827, Schubert wrote the four Impromptus for piano, his opus 90—the first work we’ll hear on this podcast. The title belies the seriousness and heft of these pieces, which are hardly light or off-the-cuff.The following fall, Schubert’s health took a turn for the worse—but his compositional output was seemingly unaffected. Sometime that year, he began sketching out a series of piano sonatas, including the one we’ll hear: his very last instrumental work, the Sonata in B-Flat Major, published posthumously as D. 960. These sonatas weren’t really understood or appreciated during the 19th century, when they were published; musicians and critics found them structurally aimless, too long, difficult to make sense of. Today, the sonatas are widely recognized as among the composer’s most powerful works, imbued with a sense of the composer’s reckoning with life’s biggest questions, including his own mortality.We’ll hear both the Impromptus and the Sonata in B-flat played by pianist Charlie Albright, in a recording from the first of three concerts that he played at the Gardner highlighting Schubert’s music for piano.

Works for solo piano by Schubert performed by <a href="/music/listen/music_library?filter=artist#go_ 4278" rel="nofollow" target="_blank">Charlie Albright</a>, piano on March 24, 2013.<ul><li>Schubert: Impromptus, D. 899, Op. 90</li><a href="/music/listen/music_library?filter=composer#go_ 2579" rel="nofollow" target="_blank">Schubert</a>: Sonata in B-Flat Major, D. 960</ul>In the late 1820s, all of Franz Schubert’s hard work and struggle seemed finally to be paying off. His performances were increasingly well received, and he was at the height of his compositional powers. Yet, even as his career took off, his health began to deteriorate, and his music increasingly focused on darker emotions. In 1827, Schubert wrote the four Impromptus for piano, his opus 90—the first work we’ll hear on this podcast. The title belies the seriousness and heft of these pieces, which are hardly light or off-the-cuff.The following fall, Schubert’s health took a turn for the worse—but his compositional output was seemingly unaffected. Sometime that year, he began sketching out a series of piano sonatas, including the one we’ll hear: his very last instrumental work, the Sonata in B-Flat Major, published posthumously as D. 960. These sonatas weren’t really understood or appreciated during the 19th century, when they were published; musicians and critics found them structurally aimless, too long, difficult to make sense of. Today, the sonatas are widely recognized as among the composer’s most powerful works, imbued with a sense of the composer’s reckoning with life’s biggest questions, including his own mortality.We’ll hear both the Impromptus and the Sonata in B-flat played by pianist Charlie Albright, in a recording from the first of three concerts that he played at the Gardner highlighting Schubert’s music for piano.

243. Schubert’s Parting Notes

Works by Tchaikovsky for cello and piano performed by Narek Hakhnazaryan and pianist Noreen Polera. Work by Tchaikovsky for string orchestra performed by A Far Cry ensemble.Tchaikovsky: NocturneTchaikovsky: Pezzo CapricciosoTchaikovsky: Serenade for Strings in C Major, Op. 48On today’s podcast, we’ll have the lovely experience of being serenaded by Tchaikovsky for the next 40 minutes or so.The star of the program is the piece you were perhaps already expecting, given that introduction: Tchaikovsky’s beautiful and beloved Serenade for Strings in C Major, as performed by A Far Cry, a young, conductor-less ensemble based in Boston.The heart-on-your-sleeve passion shines through in nearly every note of the piece, which contains luscious harmony, tender melodies, and spirited passage work. The chorale-like theme introduced at the very beginning of the piece returns time and time again, lending the piece a sense of groundedness, and making for an incredibly satisfying conclusion, when the theme returns for one final time.We’ll have a couple brief musical appetizers before we dig into the Serenade, two works for cello and piano: Tchaikovsky’s Nocturne and his Pezzo Capriccioso. The Nocturne has a beautiful, singing melody and the “Capricious Piece” (as the Italian translates) changes mood on a dime, from dark drama to rising melody. We’ll hear both of these brief pieces as performed by cellist Narek Hakhnazaryan and pianist Noreen Polera.

Works by Tchaikovsky for cello and piano performed by <a href="/music/listen/music_library?filter=artist#go_4968" rel="nofollow" target="_blank">Narek Hakhnazaryan</a> and pianist <a href="/music/listen/music_library?filter=artist#go_4969" rel="nofollow" target="_blank">Noreen Polera</a>. Work by Tchaikovsky for string orchestra performed by <a href="/music/listen/music_library?filter=artist#go_3488" rel="nofollow" target="_blank">A Far Cry</a> ensemble.<ul><li><a href="/music/listen/music_library?filter=composer#go_2537" rel="nofollow" target="_blank">Tchaikovsk</a>y: Nocturne</li><li>Tchaikovsky: Pezzo Capriccioso</li><li>Tchaikovsky: Serenade for Strings in C Major, Op. 48</li></ul>On today’s podcast, we’ll have the lovely experience of being serenaded by Tchaikovsky for the next 40 minutes or so.The star of the program is the piece you were perhaps already expecting, given that introduction: Tchaikovsky’s beautiful and beloved Serenade for Strings in C Major, as performed by A Far Cry, a young, conductor-less ensemble based in Boston.The heart-on-your-sleeve passion shines through in nearly every note of the piece, which contains luscious harmony, tender melodies, and spirited passage work. The chorale-like theme introduced at the very beginning of the piece returns time and time again, lending the piece a sense of groundedness, and making for an incredibly satisfying conclusion, when the theme returns for one final time.We’ll have a couple brief musical appetizers before we dig into the Serenade, two works for cello and piano: Tchaikovsky’s Nocturne and his Pezzo Capriccioso. The Nocturne has a beautiful, singing melody and the “Capricious Piece” (as the Italian translates) changes mood on a dime, from dark drama to rising melody. We’ll hear both of these brief pieces as performed by cellist Narek Hakhnazaryan and pianist Noreen Polera.

187. Serenaded By Tchaikovsky

Works for strings by Brahms performed by A Far Cry on December 9, 2012 and Musicians from Marlboro on May 10, 2015.Johannes Brahms: Hungarian RhapsodyBrahms: String Quartet in C Minor, Op. 51, No. 1Imagine if, before you published your first string quartet, you wrote and discarded twenty others? As the All Music Guide notes, in his entire compositional life, Brahms produced just three string quartets to Haydn’s 68, Mozart’s 23, and Beethoven’s 16. This is all the more striking if one considers Brahms’ relatively long lifespan of 63 years compared to, say, Mozart, who died at age 35.We’ll hear Brahms’s first published quartet on our podcast today, the String Quartet No. 1 in C minor, in a performance by Musicians from Marlboro. It’s not hard to hear what made this piece so challenging to write. Brahms creates a quartet that is very tightly structured, with themes that recur throughout the length of the work, not just within the individual movements, and a carefully constructed harmonic architecture.Before we dive into the quartet, though, we begin with a piece that shows Brahms’s lighter side: an orchestral version of his Hungarian Rhapsody, arranged for the chamber orchestra A Far Cry by their cellist Alastair Eng.

Works for strings by Brahms performed by <a href="/music/listen/music_library?filter=artist#go_3488" rel="nofollow" target="_blank">A Far Cry</a> on December 9, 2012 and <a href="/music/listen/music_library?filter=artist#go_2427" rel="nofollow" target="_blank">Musicians from Marlboro</a> on May 10, 2015.<ul><li><a href="/music/listen/music_library?filter=composer#go_2457" rel="nofollow" target="_blank">Johannes Brahms</a>: Hungarian Rhapsody</li><li><a href="/music/listen/music_library?filter=composer#go_2457" rel="nofollow" target="_blank">Brahms</a>: String Quartet in C Minor, Op. 51, No. 1</li></ul>Imagine if, before you published your first string quartet, you wrote and discarded twenty others? As the All Music Guide notes, in his entire compositional life, Brahms produced just three string quartets to Haydn’s 68, Mozart’s 23, and Beethoven’s 16. This is all the more striking if one considers Brahms’ relatively long lifespan of 63 years compared to, say, Mozart, who died at age 35.We’ll hear Brahms’s first published quartet on our podcast today, the String Quartet No. 1 in C minor, in a performance by Musicians from Marlboro. It’s not hard to hear what made this piece so challenging to write. Brahms creates a quartet that is very tightly structured, with themes that recur throughout the length of the work, not just within the individual movements, and a carefully constructed harmonic architecture.Before we dive into the quartet, though, we begin with a piece that shows Brahms’s lighter side: an orchestral version of his Hungarian Rhapsody, arranged for the chamber orchestra A Far Cry by their cellist Alastair Eng.

230. Perfectionist

Works for violin and piano duo, and solo piano, performed by violinist Corey Cerovsek and pianist Paavali Jumppanen.Beethoven:  Violin Sonata No. 10 in G Major, Op. 96Beethoven:  Sonata in C minor, Op. 111Revered  as he is, it’s easy to think of Beethoven as somehow staid and a bit  predictable. It’s easy to forget just how surprising his music can be.  Written when Beethoven was struggling to find love and was just about to  begin writing his heavier late works, this sonata is surprisingly serene,  with singing, lyrical melody more or less throughout, interrupted only  briefly by a more spirited third-movement Scherzo and a fleet little coda to  bring it to a close. Then, we’ll hear Beethoven’s last piano sonata. The  first movement is in C minor, the same key Beethoven used for the famously  stormy Fifth, and it has that same moody, tempestuous feel. Suddenly, though,  in the second movement, we find ourselves in C major, with the introduction  of an incredible, beautifully simple chorale-like theme. From here, Beethoven  proceeds through a set of variations, leading the listener ever deeper into  the piece.

Works for violin and piano duo, and solo piano, performed by violinist <a href="http://www.gardnermuseum.org/music/listen/music_library?filter=artist#go_2369" rel="nofollow" target="_blank">Corey Cerovsek</a> and pianist <a href="http://www.gardnermuseum.org/music/listen/music_library?filter=artist#go_2405" rel="nofollow" target="_blank">Paavali Jumppanen</a>.<ul><li><a href="http://www.gardnermuseum.org/music/listen/music_library?filter=composer#go_2404" rel="nofollow" target="_blank">Beethoven</a>: Violin Sonata No. 10 in G Major, Op. 96</li><li>Beethoven: Sonata in C minor, Op. 111</li></ul>Revered as he is, it’s easy to think of Beethoven as somehow staid and a bit predictable. It’s easy to forget just how surprising his music can be. Written when Beethoven was struggling to find love and was just about to begin writing his heavier late works, this sonata is surprisingly serene, with singing, lyrical melody more or less throughout, interrupted only briefly by a more spirited third-movement Scherzo and a fleet little coda to bring it to a close. Then, we’ll hear Beethoven’s last piano sonata. The first movement is in C minor, the same key Beethoven used for the famously stormy Fifth, and it has that same moody, tempestuous feel. Suddenly, though, in the second movement, we find ourselves in C major, with the introduction of an incredible, beautifully simple chorale-like theme. From here, Beethoven proceeds through a set of variations, leading the listener ever deeper into the piece.

109. Not Quite What I Was Expecting

Reinecke: Flute Sonata in E Major, Op. 167 (“Undine”)Beethoven: Piano Sonata in D Major, Op. 28 (“Pastoral”)Both of the sonatas on today’s podcast have descriptive titles but opinions vary as to the significance of these titles. It’s unknown whether or not Reinecke meant his flute sonata to be explicitly programmatic, but it’s interesting to know the namesake. The tale of Undine is similar to “The Little Mermaid,” but a bit more sinister. After longing for a life beyond her underwater kingdom, Undine marries her prince, but when she disappears and he marries another woman, she returns to kill him—with a kiss. Beethoven’s publisher, Cranz, supplied the nickname for his sonata opus 28, presumably to make the work more memorable and attractive to potential customers. One cannot help but look for reasons for his choice, though. The lilting downward scale and bass pedal in the first movement’s opening seem vaguely rustic, and the final movement has a bit of a barn dance quality.

<ul><li>Reinecke: Flute Sonata in E Major, Op. 167 (“Undine”)</li><li>Beethoven: Piano Sonata in D Major, Op. 28 (“Pastoral”)</li></ul>Both of the sonatas on today’s podcast have descriptive titles but opinions vary as to the significance of these titles. It’s unknown whether or not Reinecke meant his flute sonata to be explicitly programmatic, but it’s interesting to know the namesake. The tale of Undine is similar to “The Little Mermaid,” but a bit more sinister. After longing for a life beyond her underwater kingdom, Undine marries her prince, but when she disappears and he marries another woman, she returns to kill him—with a kiss. Beethoven’s publisher, Cranz, supplied the nickname for his sonata opus 28, presumably to make the work more memorable and attractive to potential customers. One cannot help but look for reasons for his choice, though. The lilting downward scale and bass pedal in the first movement’s opening seem vaguely rustic, and the final movement has a bit of a barn dance quality.

89. What's in a Name

Works for chamber orchestra performed by A Far Cry with guest violist Hellen Callus on February 2, 2014.Bach: Concerto in E Flat Major for Viola, Strings, and Basso ContinuoElgar: Introduction and Allegro, Op, 47The Elgar, though written as an introduction, will come second on our podcast. Clocking in at about 14 minutes, the piece is a rich work of post-Romantic passion, written for string quartet and string orchestra – a sort of modern concerto grosso. In another nod to earlier styles, Elgar also inserts a devilishly difficult fugue, which comes around the middle of the Allegro, in place of a more conventional development section.Before the Elgar, we’ll hear Bach’s Viola Concerto in E-flat Major. This is a somewhat curious piece. There’s substantial evidence that Bach did, in fact, write a viola concerto made up of these movements—or ones very much like them—but the manuscript itself was lost. The score we’ll hear performed is actually a reconstruction, assembled by a contemporary musicologist, from three surviving Bach works that are believed to contain fragments of the lost concerto. The performance we’ll hear of this rediscovered and little-known piece features the sought-after violist Helen Callus, whose performance makes a compelling case for this work’s place in the repertory.

Works for chamber orchestra performed by <a href="/music/listen/music_library?filter=artist#go_3488" rel="nofollow" target="_blank">A Far Cry</a> with guest violist Hellen Callus on February 2, 2014.<ul><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">Bach</a>: Concerto in E Flat Major for Viola, Strings, and Basso Continuo</li><li><a href="/music/listen/music_library?filter=composer#go_2530" rel="nofollow" target="_blank">Elgar</a>: Introduction and Allegro, Op, 47</li></ul>The Elgar, though written as an introduction, will come second on our podcast. Clocking in at about 14 minutes, the piece is a rich work of post-Romantic passion, written for string quartet and string orchestra – a sort of modern concerto grosso. In another nod to earlier styles, Elgar also inserts a devilishly difficult fugue, which comes around the middle of the Allegro, in place of a more conventional development section.Before the Elgar, we’ll hear Bach’s Viola Concerto in E-flat Major. This is a somewhat curious piece. There’s substantial evidence that Bach did, in fact, write a viola concerto made up of these movements—or ones very much like them—but the manuscript itself was lost. The score we’ll hear performed is actually a reconstruction, assembled by a contemporary musicologist, from three surviving Bach works that are believed to contain fragments of the lost concerto. The performance we’ll hear of this rediscovered and little-known piece features the sought-after violist Helen Callus, whose performance makes a compelling case for this work’s place in the repertory.

194. Fit For a King

Works for solo piano by Bach and Ravel performed by Ji, piano on April 12, 2015.Bach: Partita No. 1 in B-flat Major, BWV 825Ravel: La ValseFirst, we have the less razzle-dazzle of the pair: Bach’s Partita No. 1 in B-flat Major. The piece opens with a fairly serene, lilting theme. The second movement gets a bit more rollicking, with dotted rhythms and skips in the bass. And the final movement has some more virtuosic passagework.After that comes the real fireworks: Ravel’s famous La Valse. The composer’s own introduction is really the best way to describe what happens over the course of the piece: “Through whirling clouds, waltzing couples may be faintly distinguished,” he writes. “The clouds gradually scatter: one sees an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth.” As the piece goes on, it seems to get more and more out of control, ending in a frenzy that recalls a danse macabre—a dance to the death.Ravel originally wrote the work for orchestra, and he intended it to be choreographed as a ballet. But when he presented the score to the Russian impresario Diaghilev, he refused. The piece was a masterpiece, Diaghilev said, but it shouldn’t be danced: it was itself a portrait of the ballet—no dancers required.

Works for solo piano by Bach and Ravel performed by <a href="/music/listen/music_library?filter=artist#go_6850" rel="nofollow" target="_blank">Ji</a>, piano on April 12, 2015.<ul><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">Bach</a>: Partita No. 1 in B-flat Major, BWV 825</li><li><a href="/music/listen/music_library?filter=composer#go_2634" rel="nofollow" target="_blank">Ravel</a>: La Valse</li></ul>First, we have the less razzle-dazzle of the pair: Bach’s Partita No. 1 in B-flat Major. The piece opens with a fairly serene, lilting theme. The second movement gets a bit more rollicking, with dotted rhythms and skips in the bass. And the final movement has some more virtuosic passagework.After that comes the real fireworks: Ravel’s famous La Valse. The composer’s own introduction is really the best way to describe what happens over the course of the piece: “Through whirling clouds, waltzing couples may be faintly distinguished,” he writes. “The clouds gradually scatter: one sees an immense hall peopled with a whirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth.” As the piece goes on, it seems to get more and more out of control, ending in a frenzy that recalls a danse macabre—a dance to the death.Ravel originally wrote the work for orchestra, and he intended it to be choreographed as a ballet. But when he presented the score to the Russian impresario Diaghilev, he refused. The piece was a masterpiece, Diaghilev said, but it shouldn’t be danced: it was itself a portrait of the ballet—no dancers required.

226. Showstoppers

Works for solo piano by Beethoven, performed by Charlie Albright, piano on March 27, 2016.Beethoven: Sonata in E Major, Op. 109Beethoven: 15 Variations and Fugue in E-flat Major on an original theme "Eroica Variations" Op 35You know when you just can’t get a tune out of your head? Well, starting around 1800, Beethoven seems to have had the tune from the finale of his ballet, The Creatures of Prometheus, stuck in his head for quite some time. After first appearing in the ballet, the melody—which would come be known as his “eroica” or “heroic” theme—popped up repeatedly in his works in the early 1800s.As a sort of introduction to the variations, we’ll hear another Beethoven piano work: a late sonata, the Sonata in E Major, opus 109. Unlike many of Beethoven’s other late works, this one is quite compact. The piece has a slightly frenetic quality at times, hopping between different themes, different time signatures, different moods. The final movement is, again, a set of variations.Both performances we’ll hear are taken from a concert given by the young pianist Charlie Albright at the Gardner in March 2016.

Works for solo piano by Beethoven, performed by <a href="/music/listen/music_library?filter=artist#go_4278" rel="nofollow" target="_blank">Charlie Albright</a>, piano on March 27, 2016.<ul><li><a href="/music/listen/music_library?filter=composer#go_2404" rel="nofollow" target="_blank">Beethoven</a>: Sonata in E Major, Op. 109</li><li>Beethoven: 15 Variations and Fugue in E-flat Major on an original theme "Eroica Variations" Op 35</li></ul>You know when you just can’t get a tune out of your head? Well, starting around 1800, Beethoven seems to have had the tune from the finale of his ballet, The Creatures of Prometheus, stuck in his head for quite some time. After first appearing in the ballet, the melody—which would come be known as his “eroica” or “heroic” theme—popped up repeatedly in his works in the early 1800s.As a sort of introduction to the variations, we’ll hear another Beethoven piano work: a late sonata, the Sonata in E Major, opus 109. Unlike many of Beethoven’s other late works, this one is quite compact. The piece has a slightly frenetic quality at times, hopping between different themes, different time signatures, different moods. The final movement is, again, a set of variations.Both performances we’ll hear are taken from a concert given by the young pianist Charlie Albright at the Gardner in March 2016.

250. Heroic Measures

Works for piano by Schumann performed by Paavali Jumppanen on May 4, 2014 and November 30, 2014.Robert Schumann: Variations on the name "Abegg" in F Major, Op. 1Schumann: Sonata in F-sharp Minor Op. 11This podcast comes courtesy of several musical personas. Not just Schumann, the composer of both the works, but also his alter egos – Florestan and Eusebius – the characters he used to personify different aspects of his artistic disposition. It was under these names, not his own, that Schumann published his first piano sonata—the “Grosse Sonate” in F-sharp minor, opus 11.Before the sonata, we’ll hear a shorter showstopper, also by Schumann: Variations on “Abegg,” Schumann’s opus 1, the first piece he ever published. The dedication is to another of Schumann’s fictional friends—the countess Pauline of Abegg, a character likely inspired by Schumann’s childhood friend Meta von Abegg. The piece takes its namesake quite literally, building on a theme using the notes A-B-flat-E-G-G—spelling out the name “Abegg” in the notes. Those five notes are a starting point for a series of variations that are alternately dazzling and lyrical.Both pieces were performed at the Gardner by pianist Paavali Jumppanen. We begin with the Abegg Variations.

Works for piano by Schumann performed by <a href="/music/listen/music_library?filter=artist#go_2405" rel="nofollow" target="_blank">Paavali Jumppanen</a> on May 4, 2014 and November 30, 2014.<ul><li><a href="/music/listen/music_library?filter=composer#go_2670" rel="nofollow" target="_blank">Robert Schumann</a>: Variations on the name "Abegg" in F Major, Op. 1</li><li><a href="/music/listen/music_library?filter=composer#go_2670" rel="nofollow" target="_blank">Schumann</a>: Sonata in F-sharp Minor Op. 11</li></ul>This podcast comes courtesy of several musical personas. Not just Schumann, the composer of both the works, but also his alter egos – Florestan and Eusebius – the characters he used to personify different aspects of his artistic disposition. It was under these names, not his own, that Schumann published his first piano sonata—the “Grosse Sonate” in F-sharp minor, opus 11.Before the sonata, we’ll hear a shorter showstopper, also by Schumann: Variations on “Abegg,” Schumann’s opus 1, the first piece he ever published. The dedication is to another of Schumann’s fictional friends—the countess Pauline of Abegg, a character likely inspired by Schumann’s childhood friend Meta von Abegg. The piece takes its namesake quite literally, building on a theme using the notes A-B-flat-E-G-G—spelling out the name “Abegg” in the notes. Those five notes are a starting point for a series of variations that are alternately dazzling and lyrical.Both pieces were performed at the Gardner by pianist Paavali Jumppanen. We begin with the Abegg Variations.

231. Piano Personas

Works for clarinet and piano, and string quartet, performed by Carol McGonnell, clarinet; Steven Beck, piano; and the Borromeo String Quartet.Berg: Four Pieces for clarinet and piano, Op. 5Brahms: String Quartet No. 1 in C minor, Op. 51In 1933, Arnold Schoenberg—the founding father of atonality, and in many ways the very definition of “progressive”— turned the classical music establishment on its head when he declared Johannes Brahms one of the greatest innovators of the Romantic era. One of the pieces Schoenberg cited as evidence of Brahms’ pathbreaking sensibility is the featured work on today’s podcast: his first string quartet. Schoenberg felt that Brahms’ ability to spin out large sections of music from small motives foreshadowed twentieth-century techniques. We’ll begin with a twentieth-century work: Alban Berg’s Four Pieces for clarinet and piano, a series of brief miniatures. Apparently the piece caused some friction with Schoenberg, Berg’s teacher, who criticized his pupil for writing such small-scale works and encouraged him to think bigger. Interestingly, Berg would go on to become best-known for his operas—which were, without a doubt, larger in conception. Schoenberg’s criticism notwithstanding, the clarinet pieces are actually wonderful little works—atonal but strikingly lyrical.

Works for clarinet and piano, and string quartet, performed by Carol McGonnell, clarinet; <a href="/music/listen/music_library?filter=artist#go_3260" rel="nofollow" target="_blank">Steven Beck</a>, piano; and the <a href="/music/listen/music_library?filter=artist#go_2463" rel="nofollow" target="_blank">Borromeo String Quartet</a>.<ul><li><a href="/music/listen/music_library?filter=composer#go_2455" rel="nofollow" target="_blank">Berg</a>: Four Pieces for clarinet and piano, Op. 5</li><li><a href="/music/listen/music_library?filter=composer#go_2457" rel="nofollow" target="_blank">Brahms</a>: String Quartet No. 1 in C minor, Op. 51</li></ul>In 1933, Arnold <a href="/music/listen/music_library?filter=composer#go_2648" rel="nofollow" target="_blank">Schoenberg</a>—the founding father of atonality, and in many ways the very definition of “progressive”— turned the classical music establishment on its head when he declared Johannes Brahms one of the greatest innovators of the Romantic era. One of the pieces Schoenberg cited as evidence of Brahms’ pathbreaking sensibility is the featured work on today’s podcast: his first string quartet. Schoenberg felt that Brahms’ ability to spin out large sections of music from small motives foreshadowed twentieth-century techniques. We’ll begin with a twentieth-century work: Alban Berg’s Four Pieces for clarinet and piano, a series of brief miniatures. Apparently the piece caused some friction with Schoenberg, Berg’s teacher, who criticized his pupil for writing such small-scale works and encouraged him to think bigger. Interestingly, Berg would go on to become best-known for his operas—which were, without a doubt, larger in conception. Schoenberg’s criticism notwithstanding, the clarinet pieces are actually wonderful little works—atonal but strikingly lyrical.

144. Brahms the Progressive

Works for cello and piano by Narek Hakhnazaryan, cello and Noreen Polera, piano:Fauré: ElegieFranck: Violin Sonata in A Major, transcribed for celloOn today’s podcast, we’ll take a turn for the poetic, with two selections for cello and piano by French composers.We’ll begin with Fauré’s beloved Elegie, a bittersweet, rhapsodic work. The piece is just seven minutes long, but it makes a big impression with its dramatic arching form—building from a haunting beginning to a passionate climax that all but dissolves into a beguiling ending.After that little teaser, we’ll hear another incredibly evocative work: Cesar Franck’s Violin Sonata in A Major, performed in a transcription for cello by the same artists who played the first work: cellist Narek Hakhnazaryan and pianist Noreen Polera. The Gold Medalist in the 2011 Tchaikovsky Competition, Narek was mentored by the late, great Rostropovich, and recently received his Artist Diploma studying at Boston’s own New England Conservatory, just down the street from the Museum.This version of the Franck violin sonata, arranged for cello, is just one of the many versions that have proliferated—including arrangements for flute, saxophone, tuba, and even choir—but it is the only one that the composer himself approved. Like the Elegie, this sonata is just full of poetic little moments of great delicacy and beauty.

Works for cello and piano by <a href="/music/listen/music_library?filter=artist#go_4968" rel="nofollow" target="_blank">Narek Hakhnazaryan</a>, cello and <a href="/music/listen/music_library?filter=artist#go_4969" rel="nofollow" target="_blank">Noreen Polera</a>, piano:<ul><li><a href="/music/listen/music_library?filter=composer#go_2533" rel="nofollow" target="_blank">Fauré</a>: Elegie</li><li><a href="/music/listen/music_library?filter=composer#go_3251" rel="nofollow" target="_blank">Franck</a>: Violin Sonata in A Major, transcribed for cello</li></ul>On today’s podcast, we’ll take a turn for the poetic, with two selections for cello and piano by French composers.We’ll begin with Fauré’s beloved Elegie, a bittersweet, rhapsodic work. The piece is just seven minutes long, but it makes a big impression with its dramatic arching form—building from a haunting beginning to a passionate climax that all but dissolves into a beguiling ending.After that little teaser, we’ll hear another incredibly evocative work: Cesar Franck’s Violin Sonata in A Major, performed in a transcription for cello by the same artists who played the first work: cellist Narek Hakhnazaryan and pianist Noreen Polera. The Gold Medalist in the 2011 Tchaikovsky Competition, Narek was mentored by the late, great Rostropovich, and recently received his Artist Diploma studying at Boston’s own New England Conservatory, just down the street from the Museum.This version of the Franck violin sonata, arranged for cello, is just one of the many versions that have proliferated—including arrangements for flute, saxophone, tuba, and even choir—but it is the only one that the composer himself approved. Like the Elegie, this sonata is just full of poetic little moments of great delicacy and beauty.

178. Poetry in Sound

Works for chamber orchestra by Rebel and La Guerre performed by Les Délices on November 23, 2014.Jean-Fery Rebel: La FidelleElisabeth Jacquet de La Guerre: Le Sommeil d"UlisseJean-Fery Rebel: Selections from Ulysse: C'est vous, mon cher Ulysse; Chaconne; Que c'est un plaisir extremeWe begin with an instrumental piece: La Fidelle by the composer Jean-Fery Rebel. The title—meaning “faithful one”—has clear connections to the other Rebel work on the program: a vocal selection from Rebel’s opera Ulysse. We’ll hear a pair of arias sung by Penelope at the end of the opera, when she is reunited with her husband Ulysses after his journey has finally brought him safely home. Penelope sings of the extreme pleasure of seeing her long-lost love again. We’ll hear the lovely soprano Clara Rottsalk in the role of Penelope.Between the two Rebel works, we have a piece that is not only about but written by a woman: Elisabeth Jacquet de la Guerre’s Le Sommeil d’Ulisse, a telling of another part of the same mythic story. The singer—Clara Rottsalk again—tells of a fierce storm stirred up by Neptune that tosses Ulysses’ boat violently. But, in the end, Minerva intervenes, saving him from the frothing waves and lulling him and his crew to sleep.

Works for chamber orchestra by Rebel and La Guerre performed by <a href="/music/listen/music_library?filter=artist#go_6651" rel="nofollow" target="_blank">Les Délices</a> on November 23, 2014.<ul><li><a href="/music/listen/music_library?filter=composer#go_6652" rel="nofollow" target="_blank">Jean-Fery Rebel</a>: La Fidelle</li><li><a href="/music/listen/music_library?filter=composer#go_6878" rel="nofollow" target="_blank">Elisabeth Jacquet de La Guerre</a>: Le Sommeil d"Ulisse</li><li>Jean-Fery Rebel: Selections from Ulysse: C'est vous, mon cher Ulysse; Chaconne; Que c'est un plaisir extreme</li></ul>We begin with an instrumental piece: La Fidelle by the composer Jean-Fery Rebel. The title—meaning “faithful one”—has clear connections to the other Rebel work on the program: a vocal selection from Rebel’s opera Ulysse. We’ll hear a pair of arias sung by Penelope at the end of the opera, when she is reunited with her husband Ulysses after his journey has finally brought him safely home. Penelope sings of the extreme pleasure of seeing her long-lost love again. We’ll hear the lovely soprano Clara Rottsalk in the role of Penelope.Between the two Rebel works, we have a piece that is not only about but written by a woman: Elisabeth Jacquet de la Guerre’s Le Sommeil d’Ulisse, a telling of another part of the same mythic story. The singer—Clara Rottsalk again—tells of a fierce storm stirred up by Neptune that tosses Ulysses’ boat violently. But, in the end, Minerva intervenes, saving him from the frothing waves and lulling him and his crew to sleep.

225. Baroque Women

Work for string orchestra by Ljova performed by A Far Cry on December 8, 2013 and work for clarinet trio by Brahms performed by Musicians from Marlboro on March 25, 2012.Ljova: Vjola SuiteBrahms: Clarinet Trio in A Minor, Op. 114On our podcast today, we have a pair of musical melting pots: pieces that combine diverse musical influences.We’ll begin with a performance by A Far Cry of Vjola Suite, a fun contemporary dance suite by a young Brooklyn-based composer and performer who goes by the pen name “Ljova”. This suite was inspired by Lev “Ljova” Zhurbin’s experiences living and playing in New York City, with its myriad cultures. The piece draws on the folk music of Eastern Europe, West Africa, Cuba, and the Middle East. It is – as the composer puts it – “a collection of lively dances, for which the steps have not yet been choreographed.”After the suite, we’ll hear some more dances, in Johannes Brahms’ clarinet trio in A Minor, Op. 114. Brahms’s dances aren’t quite so geographically diverse, but they are, in their own way, a melting pot of then-contemporary influences as well. There is a flavor of the gypsy tunes, the refined Viennese waltz, and the more raucous Austrian Ländler, which features a spirited solo for the clarinetist. Performing the Brahms we’ll hear a trio of musicians from the Ravinia Festival’s Steans Institute.First, the chamber orchestra A Far Cry performing the Vjola Suite.

Work for string orchestra by Ljova performed by <a href="/music/listen/music_library?filter=artist#go_3488" rel="nofollow" target="_blank">A Far Cry</a> on December 8, 2013 and work for clarinet trio by <a href="/music/listen/music_library?filter=composer#go_2457" rel="nofollow" target="_blank">Brahms</a> performed by <a href="/music/listen/music_library?filter=artist#go_2427" rel="nofollow" target="_blank">Musicians from Marlboro</a> on March 25, 2012.<ul><li>Ljova: Vjola Suite</li><li>Brahms: Clarinet Trio in A Minor, Op. 114</li></ul>On our podcast today, we have a pair of musical melting pots: pieces that combine diverse musical influences.We’ll begin with a performance by A Far Cry of Vjola Suite, a fun contemporary dance suite by a young Brooklyn-based composer and performer who goes by the pen name “Ljova”. This suite was inspired by Lev “Ljova” Zhurbin’s experiences living and playing in New York City, with its myriad cultures. The piece draws on the folk music of Eastern Europe, West Africa, Cuba, and the Middle East. It is – as the composer puts it – “a collection of lively dances, for which the steps have not yet been choreographed.”After the suite, we’ll hear some more dances, in Johannes Brahms’ clarinet trio in A Minor, Op. 114. Brahms’s dances aren’t quite so geographically diverse, but they are, in their own way, a melting pot of then-contemporary influences as well. There is a flavor of the gypsy tunes, the refined Viennese waltz, and the more raucous Austrian Ländler, which features a spirited solo for the clarinetist. Performing the Brahms we’ll hear a trio of musicians from the Ravinia Festival’s Steans Institute.First, the chamber orchestra A Far Cry performing the Vjola Suite.

192. Melting Pot

Work for solo piano by Liszt performed by Martina Filjak on April 8, 2012. Work for string orchestra by Grieg performed by A Far Cry on September 22, 2013.Liszt:  Ballade No. 2 in B minorGrieg: Holberg SuiteBoth of the works on today’s program have literary roots.We begin with Franz Liszt’s virtuosic Ballade No. 2 in B minor, a piece thought to have been inspired by the German author Gottfried Bürger’s influential poetic ballad Lenore. The piece embodies a similar sense of drama, and the ominous beginning is very much in keeping with the suspenseful emotional climate of the poem. We’ll hear it performed by Martina Filjak, a Croatian pianist.Next, we’ll hear a piece that was dedicated outright to an important writer: Edvard Grieg’s Holberg Suite for String Orchestra, opus 40. Grieg had been commissioned to write a work in celebration of the 200th anniversary of the birth of Ludvig Holberg, one of the most important forefathers of modern Danish and Norweigian literature.In response, Grieg wrote this piece, subtitled “From Holberg’s Time,” intended as an evocation of the music of the Baroque. Grieg’s piece is modeled on a Baroque keyboard suite and though originally composed for piano, we’ll hear the version that Grieg adapted for strings, performed by A Far Cry.First, the Liszt Ballade.

Work for solo piano by Liszt performed by <a href="/music/listen/music_library?filter=artist#go_4851" rel="nofollow" target="_blank">Martina Filjak</a> on April 8, 2012. Work for string orchestra by Grieg performed by <a href="/music/listen/music_library?filter=artist#go_3488" rel="nofollow" target="_blank">A Far Cry</a> on September 22, 2013.<ul><li><a href="/music/listen/music_library?filter=composer#go_2576" rel="nofollow" target="_blank">Liszt</a>: Ballade No. 2 in B minor</li><li><a href="/music/listen/music_library?filter=composer#go_2544" rel="nofollow" target="_blank">Grieg</a>: Holberg Suite</li></ul>Both of the works on today’s program have literary roots.We begin with Franz Liszt’s virtuosic Ballade No. 2 in B minor, a piece thought to have been inspired by the German author Gottfried Bürger’s influential poetic ballad Lenore. The piece embodies a similar sense of drama, and the ominous beginning is very much in keeping with the suspenseful emotional climate of the poem. We’ll hear it performed by Martina Filjak, a Croatian pianist.Next, we’ll hear a piece that was dedicated outright to an important writer: Edvard Grieg’s Holberg Suite for String Orchestra, opus 40. Grieg had been commissioned to write a work in celebration of the 200th anniversary of the birth of Ludvig Holberg, one of the most important forefathers of modern Danish and Norweigian literature.In response, Grieg wrote this piece, subtitled “From Holberg’s Time,” intended as an evocation of the music of the Baroque. Grieg’s piece is modeled on a Baroque keyboard suite and though originally composed for piano, we’ll hear the version that Grieg adapted for strings, performed by A Far Cry.First, the Liszt Ballade.

189. Literary Roots

Work for string quartet by Boccherini performed by Musicians from Ravinia's Steans Institute on May 3, 2015 and work for solo piano by Bach performed by Jean-Frédéric Neuburger on April 2, 2008.Luigi Boccherini: String Quintet in E MajorJ.S. Bach: Italian Concerto in F MajorWhat is the single most famous piece of chamber music from the Baroque era?It’s hard to argue that the prize goes to the first work on this podcast, Boccherini’s String Quintet in E Major, Op. 11, No. 5, particularly the third-movement minuet. With its flirtatious turns and lilting, syncopated arpeggios, you will recognize the tune the moment it begins. The quintet comes to a close with a rondo that gives each player a moment in the sun. We’ll hear it all performed by musicians from the Ravinia Festival’s Steans Music Institute.Then, we have an arguably more famous composer, with an arguably less famous piece: Bach’s Italian Concerto in F Major, played on piano by Jean-Frédéric Neuburger. This piece is curious animal: a concerto for solo piano, without any orchestra or other ensemble. In a way, it is a concerto for a pianist and himself—at times, the music conjures the heft of a full ensemble, with richly voiced chords, while at others it clearly takes a more soloistic tack, with elaborate counterpoint.

Work for string quartet by Boccherini performed by <a href="/music/listen/music_library?filter=artist#go_2445" rel="nofollow" target="_blank">Musicians from Ravinia's Steans Institute</a> on May 3, 2015 and work for solo piano by Bach performed by <a href="/music/listen/music_library?filter=artist#go_3070" rel="nofollow" target="_blank">Jean-Frédéric Neuburger</a> on April 2, 2008.<ul><li><a href="/music/listen/music_library?filter=composer#go_7114" rel="nofollow" target="_blank">Luigi Boccherini</a>: String Quintet in E Major</li><li><a href="/music/listen/music_library?filter=composer#go_2368" rel="nofollow" target="_blank">J.S. Bach</a>: Italian Concerto in F Major</li></ul>What is the single most famous piece of chamber music from the Baroque era?It’s hard to argue that the prize goes to the first work on this podcast, Boccherini’s String Quintet in E Major, Op. 11, No. 5, particularly the third-movement minuet. With its flirtatious turns and lilting, syncopated arpeggios, you will recognize the tune the moment it begins. The quintet comes to a close with a rondo that gives each player a moment in the sun. We’ll hear it all performed by musicians from the Ravinia Festival’s Steans Music Institute.Then, we have an arguably more famous composer, with an arguably less famous piece: Bach’s Italian Concerto in F Major, played on piano by Jean-Frédéric Neuburger. This piece is curious animal: a concerto for solo piano, without any orchestra or other ensemble. In a way, it is a concerto for a pianist and himself—at times, the music conjures the heft of a full ensemble, with richly voiced chords, while at others it clearly takes a more soloistic tack, with elaborate counterpoint.

229. Oldies, But Goodies

Works by Schubert for voice and piano performed by Mark Padmore, with Jonathan Biss on October 12, 2014 and for solo piano performed by Charlie Albright on September 29, 2013.Schubert: Ständchen from SchwanengesangSchubert: Sonata in A Major, D. 959In 1828, as Schubert’s health was rapidly deteriorating, the composer entered a period of phenomenal compositional productivity. In the final months of his life, he would write many works that were published posthumously and recognized to be among his finest achievements. Two sets stand out as particularly notable: his final three piano sonatas, and Schwanengesang, a cycle of songs whose title translates as “Swan Song.”We’ll hear one of the piano sonatas on this podcast–number 959, the sonata in A Major, performed by Charlie Albright. Schubert set out to write this sonata, and the other two in the set, shortly after the death of Beethoven, who had long cast a formidable shadow over the genre. The finale pays tribute to Beethoven, with a nod to the final movement of his 16th piano sonata.Before the sonata, we’ll hear a song from the Schwanengesang cycle: “Staendchen,” or serenade. The singer implores his beloved to join him in the grove at nighttime, amidst the rustling leaves. There is an undertone of foreboding, though, as he alludes to the pain of love and the prying eyes of others.

Works by Schubert for voice and piano performed by <a href="/music/listen/music_library?filter=artist#go_6583" rel="nofollow" target="_blank">Mark Padmore</a>, with <a href="/music/listen/music_library?filter=artist#go_2401" rel="nofollow" target="_blank">Jonathan Biss</a> on October 12, 2014 and for solo piano performed by <a href="/music/listen/music_library?filter=artist#go_4278" rel="nofollow" target="_blank">Charlie Albright</a> on September 29, 2013.<ul><li><a href="/music/listen/music_library?filter=composer#go_2579" rel="nofollow" target="_blank">Schubert</a>: Ständchen from Schwanengesang</li><li>Schubert: Sonata in A Major, D. 959</li></ul>In 1828, as Schubert’s health was rapidly deteriorating, the composer entered a period of phenomenal compositional productivity. In the final months of his life, he would write many works that were published posthumously and recognized to be among his finest achievements. Two sets stand out as particularly notable: his final three piano sonatas, and Schwanengesang, a cycle of songs whose title translates as “Swan Song.”We’ll hear one of the piano sonatas on this podcast–number 959, the sonata in A Major, performed by Charlie Albright. Schubert set out to write this sonata, and the other two in the set, shortly after the death of Beethoven, who had long cast a formidable shadow over the genre. The finale pays tribute to Beethoven, with a nod to the final movement of his 16th piano sonata.Before the sonata, we’ll hear a song from the Schwanengesang cycle: “Staendchen,” or serenade. The singer implores his beloved to join him in the grove at nighttime, amidst the rustling leaves. There is an undertone of foreboding, though, as he alludes to the pain of love and the prying eyes of others.

238. Schubert’s Swan Songs

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