Jean-Jacques Van Vlasselaer and Marjolaine Fournier study The Four Temperaments, the second symphony by Carl Nielsen. The hosts find this Danish composer a little enigmatic and difficult to reach. They explore the world around him at the time of this composition, and talk about his music in that context. Find out how he lived his life, allowed his wife to pursue a career, and gave orchestral musicians a little something to talk about. Music Excerpts: NIELSON Symphony No. 2 The Four Temperaments II. Allegro comodo e flammatico  Danish National Radio Symphony  Nielsen: Commotio, Op. 58, FS 155 Organ Recital: John, Keith

<a href="https://nac-cna.ca/en/bio/jean-jacques-van-vlasselaer" rel="nofollow" target="_blank">Jean-Jacques Van Vlasselaer</a> and <a href="https://nac-cna.ca/en/bio/marjolaine-fournier" rel="nofollow" target="_blank">Marjolaine Fournier</a> study The Four Temperaments, the second symphony by Carl Nielsen. The hosts find this Danish composer a little enigmatic and difficult to reach. They explore the world around him at the time of this composition, and talk about his music in that context. Find out how he lived his life, allowed his wife to pursue a career, and gave orchestral musicians a little something to talk about. Music Excerpts: NIELSON Symphony No. 2 The Four Temperaments II. Allegro comodo e flammatico Danish National Radio Symphony Nielsen: Commotio, Op. 58, FS 155 Organ Recital: John, Keith

Carl Nielsen’s De fire Temperamenter

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss the role of religion in Mozart’s life and music. This in depth conversation focuses on Mozart’s Mass in C Minor and its beautiful celebration of universality that lead the way towards 18th-century romanticism.

<a href="https://nac-cna.ca/en/bio/marjolaine-fournier" rel="nofollow" target="_blank">Marjolaine Fournier</a> and <a href="https://nac-cna.ca/en/bio/jean-jacques-van-vlasselaer" rel="nofollow" target="_blank">Jean-Jacques van Vlasselaer</a> discuss the role of religion in Mozart’s life and music. This in depth conversation focuses on Mozart’s Mass in C Minor and its beautiful celebration of universality that lead the way towards 18th-century romanticism.

Mozart and Religion

Marjolaine Fournier and Jean-Jacques van Vlasselaer describe the music of Edvard Grieg’s Peer Gynt, his A minor Piano Concerto, and his C minor Symphony. His music, his melodies and his small works for piano are simply perfect. Can you believe that his symphony, composed in 1864 when Grieg was only 21, was played in 1981 for the first time? Listen to this podcast to learn more about why his Piano Concerto is his greatest work, and what influenced his composition style.

Marjolaine Fournier and Jean-Jacques van Vlasselaer describe the music of <a href="https://en.wikipedia.org/wiki/Edvard_Grieg" rel="nofollow" target="_blank">Edvard Grieg</a>’s Peer Gynt, his A minor Piano Concerto, and his C minor Symphony. His music, his melodies and his small works for piano are simply perfect. Can you believe that his symphony, composed in 1864 when Grieg was only 21, was played in 1981 for the first time? Listen to this podcast to learn more about why his Piano Concerto is his greatest work, and what influenced his composition style.

Edvard Grieg

Witold Lutosławski

Marjolaine Fournier and Jean-Jacques van Vlasselaer talk about two Concertos for orchestra: one by Béla Bartók and the other by Witold Lutosławski. They take a moment to explain the format of a concerto for orchestra (what do you mean, a concerto without a soloist?), and the dialog that develops within the orchestra performing it. Bartók and Lutosławski, who lived concurrently but in different contexts, composed two completely different and marvellous works.

Béla Bartók and Witold Lutosławski

Jean-Jacques van Vlasselaer and Marjolaine Fournier discuss Verdi’s Requiem, first performed in Milan in 1874. The text for this was written in about 1250, when a requiem was meant to be music to sustain the mass of the death. Our hosts uncover some history about the evolution of requiem works and their cultural significance, and shed light on Verdi’s atheist and anti-clerical views had a role in taking the requiem into the concert hall.

Jean-Jacques van Vlasselaer and Marjolaine Fournier discuss <a href="https://en.wikipedia.org/wiki/Requiem_(Verdi)" rel="nofollow" target="_blank">Verdi’s Requiem</a>, first performed in Milan in 1874. The text for this was written in about 1250, when a requiem was meant to be music to sustain the mass of the death. Our hosts uncover some history about the evolution of requiem works and their cultural significance, and shed light on Verdi’s atheist and anti-clerical views had a role in taking the requiem into the concert hall.

Verdi’s Requiem

Claude Vivier

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss the masterful Claude Vivier, composer from Québec. His music, which can be characterized as “beautiful, immense, tragic, inspiring,” is celebrated and heard regularly in France, Germany, Holland and Austria. Lonely Child will be featured during the NAC Orchestra’s tour in Europe in May 2019.

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss the masterful <a href="https://en.wikipedia.org/wiki/Claude_Vivier" rel="nofollow" target="_blank">Claude Vivier</a>, composer from Québec. His music, which can be characterized as “beautiful, immense, tragic, inspiring,” is celebrated and heard regularly in France, Germany, Holland and Austria. Lonely Child will be featured during the <a href="https://nac-cna.ca/en/europeantour" rel="nofollow" target="_blank">NAC Orchestra’s tour in Europe in May 2019</a>.

Marjolaine Fournier and Jean Jacques van Vlasselaer compare Brahms’ and Schumann’s first symphonies. They explore the relationships between the two composers and Clara Wieck. Schumann was alive in an extraordinary and explosive decade, Clara was nine years younger and a remarkable pianist, and Brahms, a generation apart, grew up in an entirely different environment. How was their first encounter? How do the two masterworks compare?  The NAC Orchestra will perform Schumann’s first symphony on February 13 and 14, 2019, and Brahms’ first on May 1 and 2, 2019. Join them in this wild goose chase!

Marjolaine Fournier and Jean Jacques van Vlasselaer compare <a href="https://en.wikipedia.org/wiki/Johannes_Brahms" rel="nofollow" target="_blank">Brahms</a>’ and <a href="https://en.wikipedia.org/wiki/Robert_Schumann" rel="nofollow" target="_blank">Schumann</a>’s first symphonies. They explore the relationships between the two composers and <a href="https://en.wikipedia.org/wiki/Clara_Schumann" rel="nofollow" target="_blank">Clara Wieck</a>. Schumann was alive in an extraordinary and explosive decade, Clara was nine years younger and a remarkable pianist, and Brahms, a generation apart, grew up in an entirely different environment. How was their first encounter? How do the two masterworks compare? The NAC Orchestra will perform Schumann’s first symphony on <a href="https://nac-cna.ca/en/event/18710" rel="nofollow" target="_blank">February 13 and 14, 2019</a>, and Brahms’ first on <a href="https://nac-cna.ca/en/event/18722" rel="nofollow" target="_blank">May 1 and 2, 2019</a>. Join them in this wild goose chase!

Brahms’ and Schumann’s first symphonies

Benjamin Britten

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss Benjamin Britten’s War Requiem. How much do you know about Benjamin Britten? There is fury in this composition. Where does it come from?   Pacifism started in the 20th century, and Britten is a member of this movement. War is morally unacceptable and unjustifiable for him. So what is this Requiem about? Find out in this newest instalment of the Explore the Symphony podcast.  The NAC Orchestra will perform this work on Friday November 9, 2018, in a side-by-side concert with the Bundesjugendorchester (the German Youth Orchestra) and local choirs in Southam Hall.

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss <a href="https://en.wikipedia.org/wiki/Benjamin_Britten" rel="nofollow" target="_blank">Benjamin Britten</a>’s <a href="https://en.wikipedia.org/wiki/War_Requiem" rel="nofollow" target="_blank">War Requiem</a>. How much do you know about Benjamin Britten? There is fury in this composition. Where does it come from? Pacifism started in the 20th century, and Britten is a member of this movement. War is morally unacceptable and unjustifiable for him. So what is this Requiem about? Find out in this newest instalment of the Explore the Symphony podcast. The NAC Orchestra will perform this work on Friday November 9, 2018, in a side-by-side concert with the <a href="https://www.bundesjugendorchester.de" rel="nofollow" target="_blank">Bundesjugendorchester</a> (the German Youth Orchestra) and local choirs in Southam Hall.

Benjamin Britten’s War Requiem

John Storgårds will conduct the NAC Orchestra on October 10 and 11, 2018, in their performance of Schubert’s ninth and final symphony.  Marjolaine Fournier, NACO double bassist, and Jean-Jacques van Vlasselaer, musicologist, explore this work and uncover that Schubert never heard it performed in his lifetime. Schubert died in 1828 at the early age of 31. The changing politics and aesthetics of the day, his health, and the legacy of his predecessors, influenced the evolution of Schubert’s compositions. How does this unfinished Great symphony, born in 1825 and first performed in 1829, fit into the new Romantic era of music and in Schubert’s expansive catalog? Discover how we can relate to Schubert today and much more through the story-telling of these two learned scholars of music.

John Storgårds will conduct the NAC Orchestra on October 10 and 11, 2018, in their performance of Schubert’s ninth and final symphony. Marjolaine Fournier, NACO double bassist, and Jean-Jacques van Vlasselaer, musicologist, explore this work and uncover that Schubert never heard it performed in his lifetime. Schubert died in 1828 at the early age of 31. The changing politics and aesthetics of the day, his health, and the legacy of his predecessors, influenced the evolution of Schubert’s compositions. How does this unfinished Great symphony, born in 1825 and first performed in 1829, fit into the new Romantic era of music and in Schubert’s expansive catalog? Discover how we can relate to Schubert today and much more through the story-telling of these two learned scholars of music.

Schubert's Ninth Symphony

Marjolaine Fournier and Jean-Jacques van Vlasselaer prepare us for the Festival Focus 2018 featuring all nine Beethoven symphonies. Did he really invent the boogie-woogie? Beethoven offered so much variety within his symphonies, and as a genius, is a guiding light. Concert halls continue to be filled for performances of Beethoven symphonies. Find out why.

Marjolaine Fournier and Jean-Jacques van Vlasselaer prepare us for the Festival Focus 2018 featuring all nine Beethoven symphonies. Did he really invent the boogie-woogie? Beethoven offered so much variety within his symphonies, and as a genius, is a guiding light. Concert halls continue to be filled for performances of Beethoven symphonies. Find out why.

You don’t have to be a music-lover to love Beethoven

A classical music podcast. Join the National Arts Centre Orchestra's Marjolaine Fournier and one Canada's foremost music journalists, Jean-Jacques van Vlasselaer, as they explore the symphonic form from Haydn to Shostakovich.

Both of you are simply ‘The Best”…………

The BEST...

Would love it if the two hosts give suggestions to recordings for every piece.

Love the conversation, favorite classical music pod

Explore the Symphony

In the first of the 2015-16 season's "Explore the Symphony" podcasts, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists Jean-Jacques van Vlasselaer discuss Mahler's Symphony No. 4.

Episode 43: Mahler Symphony No. 4

George Gershwin

By far the bulk of Gershwin’s output is devoted to songs – more than five hundred of them, most of which come from his more than four dozen works for the musical stage. Two of these stage works are operas – the short Blue Monday Blues and the full-length Porgy and Bess. Gershwin also wrote music for four films (Shall We Dance is the most famous), a few piano pieces and a handful of concert works: Rhapsody in Blue, An American in Paris, Cuban Overture, Concerto in F, Second Rhapsody and Variations on “I Got Rhythm.” Gershwin’s style is derived from the American soul and spirit. “Epitomizing the Jazz Age in every pore of his suave being,” writes critic Alex Ross, “Gershwin was the ultimate phenomenon in early-twentieth century American music, the man in whom all the discordant tendencies of the era achieved sweet harmony.” Many of Gershwin’s works are infused with jazz, and if he can be said to have made one single overriding accomplishment in his life, it was to create a bridge between jazz and the concert hall. - Robert Markow

By far the bulk of Gershwin’s output is devoted to songs – more than five hundred of them, most of which come from his more than four dozen works for the musical stage. Two of these stage works are operas – the short Blue Monday Blues and the full-length Porgy and Bess. Gershwin also wrote music for four films (Shall We Dance is the most famous), a few piano pieces and a handful of concert works: Rhapsody in Blue, An American in Paris, Cuban Overture, Concerto in F, Second Rhapsody and Variations on “I Got Rhythm.” Gershwin’s style is derived from the American soul and spirit. “Epitomizing the Jazz Age in every pore of his suave being,” writes critic Alex Ross, “Gershwin was the ultimate phenomenon in early-twentieth century American music, the man in whom all the discordant tendencies of the era achieved sweet harmony.” Many of Gershwin’s works are infused with jazz, and if he can be said to have made one single overriding accomplishment in his life, it was to create a bridge between jazz and the concert hall. - Robert Markow

The Music of George Gershwin

The first of the 2011-12 season's "Explore the Symphony" podcasts examines the 4th Symphony of Tchaikovsky. From the quiet plucking of the strings to the bombastic brass in the finale, Tchaikovsky’s Fourth Symphony, declared “semi-barbaric” by the New York Post in 1890, will leave you breathless.

Episode 21: Tchaikovsky Symphony No. 4

In the sixth of the 2009-10 season's "Explore the Symphony" podcasts, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists Jean-Jacques van Vlasselaer discuss Mozart's Concerto 23 for Piano and Orchestra.

Episode 17: Mozart Concerto 23 for Piano and Orchestra

Marjolaine and Jeans-Jacques explore Carl Orff; his life in early 20th century Germany and his seminal work, Carmina Burana.

Episode 25: Carmina Burana

In this Explore the Symphony, Marjolaine Fournier and Jeans-Jacques van Vlasselaer talk about the life of Arnold Schoenberg and his string sextet, Verklärte Nacht.

Episode 34: Schoenberg

This work opens many doors to wonderful and exciting musical study. It is a fine example of Orientalism and our perception of “the other”. Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about who Rimsky-Korsakov was, his 19th-century influences from Mendelssohn to Wagner, and his contributions to the music of the 20th century.

Rimsky-Korsakov’s Scheherazade

In this episode, Marjolaine and Jean-Jacques delve into Gabriel Fauré’s Requiem, once called, “a lullaby of death” and “a Requiem without the Last Judgment” for its gentle nature and sublime choral writing.

Episode 35: Fauré

Bruckner scholars seem to focus on psychoanalysis rather than closing their eyes and listening to the music. To listen to Anton Bruckner’s eighth symphony is to listen to the summit of his music. The Toronto Symphony Orchestra performs this work with conductor Peter Oundjian on May 7, 2018. Listen to Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about Bruckner’s eighth symphony.

<a href="https://en.wikipedia.org/wiki/Anton_Bruckner" rel="nofollow" target="_blank">Bruckner</a> scholars seem to focus on psychoanalysis rather than closing their eyes and listening to the music. To listen to Anton Bruckner’s eighth symphony is to listen to the summit of his music. The Toronto Symphony Orchestra performs this work with conductor Peter Oundjian on <a href="https://nac-cna.ca/en/event/15886" rel="nofollow" target="_blank">May 7, 2018</a>. Listen to Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about <a href="https://en.wikipedia.org/wiki/Symphonies_(Bruckner)#Symphony_No._8_in_C_minor" rel="nofollow" target="_blank">Bruckner’s eighth symphony</a>.

Anton Bruckner’s eighth symphony with the TSO

Marjolaine Fournier and Jean-Jacques van Vlasselaer discuss Jean Sibelius, his life, his struggle with depression, alcoholism, and his 3rd Symphony.

Episode 29: Sibelius

In the third of the 2009-10 season's "Explore the Symphony" podcasts, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists Jean-Jacques van Vlasselaer discuss Beethoven's Symphony No. 8

Episode 14: Beethoven Symphony No. 8

Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension. The Symphony No. 5 in E minor, Op. 64 by Pyotr Ilyich Tchaikovsky was composed between May and August 1888 and was first performed in St Petersburg at the Mariinsky Theatre on November 17 of that year with Tchaikovsky conducting. The Symphony No. 6 in B minor, Op. 74, Pathétique is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. The composer entitled the work "The Passionate Symphony", employing a Russian word, Pateticheskaya, meaning "passionate" or "emotional", that was then mistranslated into French as pathetique, "evoking pity", yet the mistranslation survived subsequent productions in every country but Russia. - Wikipedia

<a href="https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky" rel="nofollow" target="_blank">Pyotr Ilyich Tchaikovsky</a> was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension. <a href="https://en.wikipedia.org/wiki/Symphony_No._5_(Tchaikovsky)" rel="nofollow" target="_blank">The Symphony No. 5 in E minor, Op. 64</a> by Pyotr Ilyich Tchaikovsky was composed between May and August 1888 and was first performed in St Petersburg at the Mariinsky Theatre on November 17 of that year with Tchaikovsky conducting. <a href="https://en.wikipedia.org/wiki/Symphony_No._6_(Tchaikovsky)" rel="nofollow" target="_blank">The Symphony No. 6 in B minor, Op. 74, Pathétique</a> is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. The composer entitled the work "The Passionate Symphony", employing a Russian word, Pateticheskaya, meaning "passionate" or "emotional", that was then mistranslated into French as pathetique, "evoking pity", yet the mistranslation survived subsequent productions in every country but Russia. <a href="https://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky" rel="nofollow" target="_blank">- Wikipedia</a>

Pyotr Ilyich Tchaikovsky: Symphonies no. 5 & 6

Hector Belioz

Marjolaine and Jean-Jacques van Vlasselaer sit down and discuss Hector Berlioz and his Symphonie Fantastique.

Episode 31: Hector Belioz

Marjolaine and Jeans-Jacques discuss Shostakovich, his life in the Soviet Union, and his 9th Symphony.

Episode 28: Shostakovich

Jean-Jacques and Marjolaine give Sibelius's Symphony no. 4 the, "Explore the Symphony" treatment.

Episode 22: Sibelius Symphony No. 4

Join Marjolaine Fournier and Jean-Jacques Van Vlasselaer for an intriguing look into Maurice Ravel's life and his two piano concertos.

Episode 41: Maurice Ravel and his two Piano Concertos

Discover one of classical music's best-loved symphonies, Dvořàk's 9th Symphony, in the context of the composer's life and times.

Episode 2: Dvořàk Symphony No. 9

Richard Strauss

Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. Also sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name.The composer conducted its first performance on 27 November 1896 in Frankfurt. A typical performance lasts half an hour. The work has been part of the classical repertoire since its first performance in 1896. The initial fanfare – titled "Sunrise" in the composer's program notes – became particularly well-known after its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey. - Wikipedia

<a href="https://en.wikipedia.org/wiki/Richard_Strauss" rel="nofollow" target="_blank">Richard Georg Strauss</a> (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. <a href="https://en.wikipedia.org/wiki/Also_sprach_Zarathustra_(Strauss)" rel="nofollow" target="_blank">Also sprach Zarathustra</a>, Op. 30 (Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name.The composer conducted its first performance on 27 November 1896 in Frankfurt. A typical performance lasts half an hour. The work has been part of the classical repertoire since its first performance in 1896. The initial fanfare – titled "Sunrise" in the composer's program notes – became particularly well-known after its use in Stanley Kubrick's 1968 film <a href="https://en.wikipedia.org/wiki/2001:_A_Space_Odyssey_(film)" rel="nofollow" target="_blank">2001: A Space Odyssey</a>. - Wikipedia

Richard Strauss - Also sprach Zarathustra

Jean-Jacques van Vlasselaer and Marjolaine Fournier present part two of their 2017-2018 podcasts on Sibelius. In this episode, hear them trace the trajectory of Sibelius’ six symphonic poems, all performed by the NAC Orchestra during the 2017 Ideas of North festival. Composed between 1896 and 1927, they delineate the “itinerary of Sibelius, the young composer who wanted to express Finnish worlds.” Drawing from the myths of Northern countries, he “moved from the creation of the world [with the first symphonic poem] to the end of his musical writing.”

Sibelius’ Symphonic Poems

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