Shostakovich is one of the easiest composers to do podcasts about because his life and his music is full of such incredible stories. But as easy as it is, it's also complicated. Shostakovich's music is sometimes heard as a musical history book, a testament, which it often is, but we should never lose sight of the fact that Shostakovich was a composer first, not a politician.  So today we're going to be looking at the 4th quartet in two contexts, the historical and the musical, and then try to see how one works(or doesn't) with the other.   How do you incorporate religion into music, and how do you handle the heavy burden that was laid down to you by masters of the String Quartet like Haydn, Mozart, Beethoven, and Schubert? How do you write political music without getting in trouble with the authorities? How do you speak out against injustice when it can put you in grave danger? Shostakovich, as always, has the answers. Join us!

Barber’s Adagio seems to access a deep well of sadness, heartache, passion, and nostalgia in the listener that is very difficult to explain.  As dozens of commentators have noted, there is nothing in particular in the piece which is particularly remarkable.  There are no great harmonic innovations, no formal surprises, nothing NEW, at all. In fact, the music was completely anachronistic for its time.  Despite all of that, or perhaps because of it, Barber’s Adagio has become perhaps the most well known piece of American classical music in the world.  It became even more famous after its use in the Vietnam War Movie Platoon.  It was played at the funeral of Franklin Roosevelt and Robert Kennedy, and was performed to an empty hall after the assassination of John F Kennedy.  A deeply emotional performance of the piece was done at the Last Night of the Proms, a traditionally celebratory affair, on September 12th, 2001.  Simply put, this piece has come to symbolize SADNESS in music.  But would it surprise you to hear that the Barber Adagio for Strings wasn’t originally for string orchestra at all?  That it was the second movement of a string quartet, sandwiched by movements that were much more modernist and “forward-thinking” than its slow movement?  Would it surprise you that sadness might never have been the intention of Barber in the piece?  Well, let’s take a closer look at Barber’s Adagio this week - how the piece works, what originally surrounded it, it’s different arrangements, and its tempo. Join us!

There are many reasons why Schubert’s Unfinished Symphony remains a mystery to this day -  the literally unfinished form, the unusual way of the symphony's emergencee into public consciousness, and probably most importantly, the character of the music itself, which seems to inhabit a different realm altogether, whether in its brooding first movement or the heavenly second movement.  When Schubert’s half-finished symphony was discovered, it had been sitting in a drawer of the minor composer Anselm Huttenbrenner for 43 years, unmissed and unheard by anyone.  The score was discovered by the conductor Johann von Herbeck.  Herbeck naturally considered the moment where he first held the score unforgettable, quickly organized a performance, and 37 years after Schubert’s death, the Unfinished symphony was heard for the first time.  But, the truth is that the fact that the symphony is unfinished isn’t really that special.  Composers started and failed to finish works all the time, whether they were songs, symphonies, operas, cantatas, or something else.  Most of those pieces are either ignored or are regarded as interesting curiosities by none but the most hardcore classical music lovers.  So why is this one different?  Why do these two movements rank up there with Bach’s Art of Fugue, Bruckner’s 9th symphony, Mozart’s Requiem and C Minor Mass, as pieces that are still performed today despite their unfinished nature.  Today, we’re going to find out.  We’ll explore the two existing movements of the symphony, take a look at the fragment of the third movement that Schubert started, stopped, and then tore out of the score, and also the speculative last movement, theorized by some enterprising musicologists.  But all along, we’ll marvel at Schubert’s lyricism, his endless creativity, and the powerful character of this unique symphony. Join us!

Brahms’ two piano concertos could not possibly be any more different.  The first, written when Brahms was just 25, is dramatic, stormy, and impulsive.  This makes sense seeing at it was written practically as a direct response to the attempted suicide of his friend and mentor Robert Schumann.  The second, written 22 years later when Brahms was a seasoned and mature composer at the height of his abilities, was not, as far as we know, inspired by any specific event.  It is a warm, almost sun-tanned piece, but it also does something that makes it both the perfect piece to analyze on a show like this, but also makes it a rather elusive one that takes some baking to really understand and appreciate.  What Brahms does in the 2nd piano concerto is to distill everything that makes Brahms really Brahms into one 50 minute piece of music.  There’s continuous development, gorgeous melodic lines, contrasts of character, stern willful music immediately followed by tenderness, Hungarian music, light music - it’s ALL there - but here’s the key - it’s not an events based piece.  What I mean by that is that its not like Brahms moves from one character or personality trait to another like he’s putting together mismatching clothes.  Instead, he integrates all of these different facets of his music into the whole - one moment you are hearing stern and powerful music, and the next, almost without realizing, you are into some of the most tender music he ever wrote.  This is the power but also the complexity  of Brahms’ 2nd piano concerto.  Join us to learn all about it!

How do you orchestrate a painting? How do you take the detail and the visual imagery of a painting and translate that into something that is so vivid that even if you’ve never seen the painting before in your life, you can picture it as clearly as if it was right in front of you? Most people look at a painting for no longer than a minute or two at a museum, so how do you sustain that image over nearly 20 minutes of music? Well, to answer all of these questions, all you need to do is look at Rachmaninoff’s brilliant tone poem, The Isle of the Dead, which he wrote in 1908.  In 1907 Rachmaninoff saw a black and white reproduction of a painting by the Swiss artist Arnold Bocklin entitled The Isle fo the Dead. This painting had cause a storm of interest all across Europe. Vladimir Nabokov said that prints of the painting were found in every home of Berlin, Sigmund Freud owned a copy, as did Lenin. Bocklin painted 5 different version of the piece, but they all had the same theme - a desolate haunting image of a large rocky island, with a solitary boat with a coffin approaching it. It is said that the painting portrays the mythological river Styx, and even reproduced on the computer, it is a striking image. From that encounter, Rachmaninoff sat down and created one of his most underrated and enduring compositions, the masterful Isle of the Dead, which features a gigantic orchestra that very rarely shows off its full power, a rhythmic character that is both inevitable and unstable, and an unsettling and haunting theme that followed Rachmaninoff throughout his life, the Dies Irae. We’re going to talk all about this brooding and mysterious piece on this Patreon sponsored episode this week - join us!

While the inspiration for the show today is likely obvious, I’m also very happy to get the chance to share this wonderful music with you, separate from the current horrors going on right now. Here’s a little quiz for you - name a Ukrainian composer. Were you stumped? Well, so are many people by that question. Despite a long line of brilliant composers throughout history, the music of Ukrainian composers has not entered the standard repertoire, except if you consider the contemporary composer Valentin Silvestrov. But Ukrainian music has a long and fascinating history, from the so called Big Three of the 18th and 19th centuries who were heavily influenced by the legendary Austro German composers but wrote in a highly unique style, to the nationalistic and folk inspired music of Lysenko, to the wild experimentation of Lyatoshinsky in the 20th century, all the way to the contemporary era  and the post modern work of Silvestrov.  Today on the show I’m going to take you through a history of Ukrainian classical music, and all along the way I’ll share the stories and the music of 6 of the most important Ukrainian composers.  You’re going to hear some of the most fascinating and touching music around, and you’re going to wonder how it’s possible that you haven’t heard this music before. Join us! Link: https://www.youtube.com/watch?v=UqdwQ4eCTHM (Documentary on Ukrainian Composers by Natalya Pasichnyk)

In 1888, Tchaikovsky’s 5th symphony was premiered. It was enthusiastically received by the audience, and by Tchaikovsky’s friends. But Tchaikovsky’s nemesis, the critics, were not so happy with the piece.   One utterly tore apart the symphony, writing after a performance in Boston: "Of the Fifth Tchaikovsky Symphony one hardly knows what to say ... The furious peroration sounds like nothing so much as a horde of demons struggling in a torrent of brandy, the music growing drunker and drunker. Pandemonium, delirium tremens, raving, and above all, noise worse confounded!” Another wrote: “Tchaikovsky appears to be a victim of the epidemic of the Music of the Future, that in its hydrophobia, scorns logic, wallows in torpor, and time and again, collapses in dissonant convulsions. Of basic inspiration in these people, who present interest at most as pathological cases, there is very little indeed.”  Usually this is the moment where I quote Sibelius’ brilliant: “no one ever built a statue to a critic” line, but for once, Tchaikovsky somewhat agreed with his critics. He wrote to his legendary patron Nadezhda von Meck: “I am convinced that this symphony is not a success. There is something so repellent about such excess, insincerity and artificiality.” Though he later changed his mind, the last movement of the symphony was always problematic for Tchaikovsky, and its been problematic for many performers and audience members to this day. Is the ending a profound expression of triumph over fate? Or is it hackneyed, over the top, and as Tchaikovsky said, excessive? Perhaps it’s the controversy over its ending, or perhaps something else, but ever since its premiere, Tchaikovsky’s 5th has been one of the most dependable audience favourites around the world. Today I’m going to take you through the genesis and the composition of this wonderful and polarising symphony. Join us!

In 1902, the great French composer Gabriel Faure said this: “It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.  As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different." Faure’s requiem is part of a long tradition of master composers addressing death through Requiems. Mozart, Brahms, Verdi, Britten, Berlioz, Beethoven(to a certain extent), and many many other composers all tried their hands at the Requiem, some of them keeping to Requiem Mass traditions, and some striking out completely on their own. Most notably, Brahms barely followed the traditional Requiem mass at all, preferring to use his own favorite biblical texts. Faure was also a composer who followed his own beat throughout his life, and perhaps one of his best known works is his modest and humble Requiem, which omits the fire and brimstone of famous requiems like Verdi’s, and focuses more on what he called the ‘happy deliverance’ of death.  What results is a remarkably inward looking piece, with only 30 or so measures sung at the loudest possible dynamic. It’s a piece that only lasts around 35 minutes, and was actually first performed as part of a liturgical funeral service.  Faure’s Requiem is music of mysticism and comfort, brilliantly conceived from start to finish in Faure’s own unique way. We’re going to talk a bit about Faure the man and the composer today, since it ties in so much to how he conceived of this requiem, and then of course, all about the Requiem itself on this Patreon sponsored episode. Join us!

The year is 1910. Imagine that you are a young composer, and the music world is in flux all around you. Mahler is dying, and with his death many agreed that the great Austro-German symphonic tradition that stretched from the late 18th century with Haydn all the way through Mozart, Beethoven, Brahms, Mendelssohn, Schubert and more, was over and done with. Wagner’s music dramas had inspired an entirely new style of music, and composers like Strauss, Liszt, and Berlioz had blown open the possibilities of what music could portray. But even their experiments had seemed to have reached a breaking point. For many composers, there seemed to be nowhere to go.  As the great Swedish conductor Herbert Blomstedt said: “There was nothing to be done all the great melodies had all been written - what could one do. There was so much wonderful music but composers had to regroup and develop their own language and that wasn’t easy in 1910. Stravinsky found his own method inspired by Russian culture, Bartok was similar, Hindemith went to Baroque and the Renaissance. Schoenberg’s idea was: it’s all nonsense, we need to start from the beginning. Every composer has to make a new start.”  Over the next few weeks, I’m going to talk about composers who struggled with these questions, and the first one on the list is the most important Swedish composer Wilhelm Stenhammar, who started out his life as a disciple of Wagner, but in the end rejected that influence and created a style all his own, which is perhaps best exemplified in his second symphony, which features the sounds of Swedish folk music, harmonies that stretch back not into the classical era but into the Medieval period, and a powerful resolve to not be like Wagner, but also to not even approach the idea of sounding like Schoenberg either. Stenhammar wrote to a friend as he began writing his G Minor symphony: “In these times of Arnold Schoenberg, I dream of an art far removed from him, clear, joyful and naïve.” We’re going to discuss all of these roiling tensions this week, so please join us for a look at this underrated symphony!

Rimsky-Korsakov, above anything else, is regarded as a master of orchestration, the art of creating orchestral sound and color. As Rachmaninoff said about Rimsky-Korsakov’s music: "When there is a snowstorm, the flakes seem to dance and drift. When the sun is high, all instruments shine with an almost fiery glow. When there is water, the waves ripple and splash audibly throughout the orchestra … ; the sound is cool and glassy when he describes a calm winter night with glittering starlit sky." Nowhere is this gift more on display than in one of Rimsky-Korsakov’s seminal works, Scheherezade. But this work is far more than only orchestration. It is a shining example of a number of complicated facets of both Rimsky-Korsakov’s and Russian Nationalist music of the time. It also displays so many of the contradictions that marked this era of classical music, and in particular, Russian classical music. Rimsky-Korsakov originally gave the piece a clear narrative, but then withdrew it angrily, saying that any programmatic narrative was merely meant peripherally, and “I meant these hints to direct but slightly the hearer’s fancy…All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other…” And that word, oriental, a complicated word in our modern times to be sure, plays a huge and unavoidable role in this piece. This was a time when Imperial Russia occupied lands in Central Asia, and when the Russian public became obsessed with so called “oriental” literature and music. Composers drew liberally on these sources for their music, and Rimsky Korsakov’s mentor, the great composer Mily Balakirev, heavily encouraged Russian composers to use these sources as a way to set their music apart from German composers of the time. A group of composers, the not at all egotistically named “Mighty Five” Balakirev, Mussorgsky, Rimsky-Korsakov, Borodin, and Cesar Cui, almost all became famous through their use of Central Asian and Middle Eastern themes and stories. But no piece has captured the imagination of listeners around the world more than Scheherezade, a piece that drew upon the collection of Middle Eastern folk tales known and One Thousand and One Nights, and features some of the most legendary melodies in the history of Western Classical Music. We’re going to talk about all of this today on this Patreon sponsored episode, so please join us!

In May of 1937, R. Nathaniel Dett’s oratorio “The Ordering of Moses” was premiered by the Cincinnati Symphony. The performance was carried live on national radio by NBC, but about 3/4’s of the way through the piece, the broadcast was halted due to unspecified scheduling conflicts, the origins of which remain mysterious and highly speculated on. And since its premiere, The Ordering of Moses has been performed only a handful of times, and never, as far as I can tell, outside of the United States. Well, that is going to change this February, as I’ll be conducting the UK premiere of the Oratorio with the City of Birmingham Symphony Orchestra and Chorus and soloists Rodrick Dixon, Chrystal Williams, and  Eric Greene. Today on the show I’m going to tell you all about Dett’s remarkable story, his passionate advocacy for black folk music and spirituals, and the profoundly moving music that runs all the way through The Ordering of Moses. You won’t regret jumping into this rarely heard and rarely talked about gem of a piece, so come join us!

“I never really thought of them as walls. I thought of them more as boundaries. Walls are a much more serious matter. You're not supposed to be able to get through, while boundaries at least you can crossover and I think the whole crossover thing is basically what the history of music in the second part of this century is about. It's about crossing over these boundaries.” If there’s one quote that could sum up the music of the composer Ingram Marshall, it might be this one. Last week I talked about Sibelius and our inability to place him in the typical classical music eras of Romantic or Modernist music. Well, Ingram Marshall’s music follows very much on that discussion, and it’s no surprise that Sibelius is one of Marshall’s favorite composers. I imagine most of you listening to the show today are not familiar with Ingram Marshalls’ music, so today on this Patreon Sponsored episode, I’m going to briefly give you a background on this remarkable modern composer, and then we’ll finish the show with both an interview and an analysis of Marhsall’s work Flow with the great composer Timo Andres, who studied with Marshall and had some great insights on his music. You won’t regret diving into the remarkable work of Ingram Marshall, so come and join us!

Sibelius never gets mentioned on “most” lists, the most innovative, modernistic, romantic, beautiful, conservative, ugly, violent, peaceful etc. In fact, no one is ever sure where to put him on these lists, and that’s partly due to that lifespan that began when Brahms was 32 and ended when Pierre Boulez was also 32 years old. And this uncomfortable place between Romantic and Modernist is exactly why Sibelius is, to me, one of the most interesting topics to cover on this show - and the perfect vehicle to explore Sibelius further is the 5th symphony, one of the most remarkable fusions of modernism and romanticism I’ve ever heard.

Last week I told you the story of the genesis of Shostakovich’s 5th symphony. We talked politics, but we also talked about just the music itself. Today, I’ll take you through the second half of the symphony, again first from a musical point of view. But by the end of the piece, the political conversation and the debate over the ending itself becomes unavoidable. There is no other piece whose character or even tempo is as debated as the ending of Shostakovich’s 5th, so we're going to have it out! Join us!

Shostakovich’s life and career was so wrapped up with his relationship to the Soviet government that it is sometimes hard to appreciate that, all else aside, he was one of the great 20th century composers. His 5th symphony is the meeting point between Shostakovich's music and the political web he was often ensnared in, and it is a piece that is still being vociferously debated. This week we’re going to tell the story of the piece’s genesis, and then we’ll explore the first two movements of the symphony.

If you’re not a violinist, you might not be familiar with the name Eugene Ysaye. But this violinist and composer was called “The King of the Violin” at the turn of the 20th century. Ysaye’s biggest compositional achievement was inspired by a performance by the legendary Joseph Szigeti in 1923. Enraptured, Ysaye went into his studio and 24 hours later (!), he emerged with 6 solo violin sonatas, each dedicated to one of his favorite violinists. Dive in with us this week to learn all about these amazing works!

This week, on part 2 of this look at Mahler 1, we're going to take a deep dive into the third and fourth movements of this massive and massively ambitious symphony. We'll talk about Frere Jacques, bizarre woodcuts, Klezmer bands, cries of wounded hearts, the most touching consolation, terror, rage, standing horn sections, and one of the most exhilarating endings of any symphony. Mahler's 1st symphony was one of the most ambitious statements a young composer ever made, so let's finish the journey together!

No one makes a grand statement quite like Gustav Mahler, and his first symphony, nearly an hour long, was one of the boldest statements ever made by a young composer. Today I’ll take a look at the history behind the early inspirations behind the piece, Mahler’s turbulent life, and the first two movements of the symphony. As the great Bernard Haitink said, Mahler had a talent for suffering, but this symphony is often full of a naivete and joy missing from Mahler's later works. Join us to find out more!

There are composers whose influence outstrips their popularity. The Baroque composer Heinrich Schutz falls into this group, due to his total focus on writing sacred vocal music. But for those who know his music, he is essential. He was the most important German composer before Bach and was vital to the development of music. Today I’m going to take you through some of Schutz’s greatest musical achievements, including his Muskalische Exequien, the piece that very likely inspired the Brahms Requiem. Join us!

Bartok’s Music for Strings Percussion and Celeste is a perfect encapsulation of Bartok’s musical output. Each movement provides us with a magnifying glass into some of the qualities that made Bartok one of the greatest composers of the 20th century. But for how spectacular a piece it is, it isn’t played as often as it should be, partly because of its extreme difficulty. Today, I’m going to talk you through what is perhaps Bartok's greatest piece, the unforgettable Music for Strings, Percussion, and Celeste.

Arrangements of Bach's music have been happening essentially since his music was “rediscovered” by Mendelssohn in the 19th century. But Mozart and Beethoven arranged Bach's music too, and Bach himself would recycle works for different groupings of instruments. Today, I'm going to take a look at some of those arrangements, and what kind of insights we can gain into Bach's music, the styles of the times in which these arrangements were done, and even(!) whether we might prefer these new flavors. Join us!

Mendelssohn was only 20 years old when he wrote to his friend Karl Klingemann: "...I am going to Scotland, with a rake for folk songs, an ear for the lovely, fragrant countryside, and a heart for the bare legs of the natives.” Over two months in 1829, Mendelssohn traveled through much of the Scottish Highlands, and it was on this trip that he found the inspiration for his beloved Scottish Symphony. But is this symphony all about Scotland? And how should we interpret this symphony in 2021? Join us this week!

Rachmaninoff’s music is often described as many different kinds of chocolate cake, but this piece, if it's chocolatey at all, would be that 85% dark chocolate - more bitter than sweet. It might be Rachmaninoff’s greatest orchestral work, and one that is inextricably linked to his tumultuous life. Throughout the Dances we hear references to war, to nostalgia, to Rachmaninoff's past failures, and so much more. This is one of the underrated masterpieces of the 20th century - join us to learn all about it!

In 1956, Dmitri Shostakovich wrote: “I am now writing my 11th symphony, dedicated to the First Russian Revolution...I would like in this work to reflect the soul of the people who first paved the way to socialism.” Soviet loyalists were thrilled with the piece, but his friends were disappointed at this seemingly blatant act of propaganda. But quickly, a new and more subversive narrative emerged about this sprawling, cinematic, and elementally powerful symphony. Find out all about this masterpiece this week!

Wagner is probably the most admired AND the most reviled composer in Western Classical Music history. I've always been uncomfortable with Wagner's music, so I decided to sit down with the wonderful conductor(and my brother-in-law), Rafael Payare to try and understand how to embrace Wagner. We talk about emotional manipulation, the length of his operas, and of course, his almost pathological anti-Semitism. We also talk about Richard Strauss in this light-hearted and, I hope, illuminating conversation!

Elgar told us all about how the inspiration for his first great success: “I began to play, and suddenly my wife interrupted by saying: “Edward, that’s a good tune!... ‘What is that?’ I answered, ‘Nothing – but something might be made of it." This little improvisation turned into one of Elgar’s greatest pieces, a piece that made him a legend. This week we'll explore this hymn to good humor, joy, and profound friendship. We'll also explore why this piece is called "Enigma." Join us to dive right in!

Almost everyone classical music fan has a memory of the first time they saw Fantasia. The brilliant combination of music and visuals made lifelong classical music fans out of millions of people. There's no audio only version of Fantasia, so this week I chose 7 brand new pieces that are a perfect entry point into classical music. These pieces represent composers from 6 countries and span 300 years of music. You'll hear from composers both familiar and brand new and I can't wait for you to dive right in!

It's 1905 and you've just come to the premiere of Debussy's La Mer. The orchestra begins playing, and a magical and completely unique journey begins. Gone are the peaceful and placid portrayals of water in music of the past. Instead, you hear strange harmonies and a diffuse language that seems to revel in ambiguity. In fact, it sounds more like an impression of the sea than anything. This is the story of Debussy’s La Mer, one of the most beautiful, strange, and compelling pieces of music ever written.

Mozart’s Jupiter Symphony is a piece that can practically define the classical era symphony. Mozart pulls out every trick in the compositional book and practically sums up everything written before him. It is a symphony full of musical cliches, self-references, and in some cases, flat out thefts from other composers. But as always with Mozart, the thrill of his originality shines through at every moment. Today we’ll explore just how Mozart created this masterpiece of art and musical architecture. Join us!

Schumann’s life was marked with severe mental health issues. In 1844, Schumann suffered one of his worst breakdowns yet. He was dizzy, weak, had vision problems, couldn’t sleep, and couldn't listen to music. By 1845 Schumann slowly began to recover and the first wholly new work he produced was a symphony in C Major. As Schumann said, “I began to feel more myself when I wrote the last movement, and was assuredly better....still, it reminds me of dark days.” Today, we'll talk all about this huge symphony!

Brahms spent much of his life battling with his ambition to write great symphonies and his terror at the spectre of Beethoven looming over him. His first symphony was a success, and with immense relief, Brahms quickly turned out a second symphony in just 4 months, a bit less than the 14 tortured years it took him to craft the first. At first glance this symphony sounds pastoral and idyllic, but there are plenty of clouds in this seminal masterpiece, something we'll discuss throughout the show. Join us!

The 1950s featured a musical battle, pitting composers like Boulez, Carter, and Babbit against Bernstein, Copland, and Messaien. But how did the Post World War II movement towards total serialism and the avant-garde came about? And how did even the most forward thinking of artists become caught between the two camps of the tonalists and the serialists? We'll talk all about this today, as the battles between these two camps have ensnared almost every composer and continue to this day. Join us to learn more!

This week we're talking all about atonal music! I'm going to tell you all about the history of this controversial development in classical music, its development, and perhaps most importantly, I’ll try to find a way to help you enjoy this music in all of its complexity, intensity, and yes, beauty. Part 1 is focused on 12 tone music and the beginnings of this powerful movement that transformed 20th century music, and according to some, ruined it. If you're ready to give atonal music a shot, join us!

From the end of WWI until 1933, classical music in Germany, Austria, and Eastern Europe was flourishing, with composers such as Zemlinsky, Weill, Krenek, Korngold, Schreker, Schulhoff, Haas, Krasa, and Ullmann writing spectacularly innovative and thrilling music. The Nazis exiled or murdered many of these musicians while in power, but their music lives on. I've never found researching an episode so moving, enraging, and inspiring. Join us this week in this journey of rediscovery - you won't regret it!

In 1901, in the throes of the Finnish Independence movement, Jean Sibelius composed his legendary 2nd Symphony. Sibelius’ close colleague, the conductor Robert Kajanus, said that the symphony "strikes one as the most broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent." But is the symphony actually about Finnish Independence? Or was it simply, as Sibelius said, “a confession of the soul”? Join us for a deep dive!

Within three months of his arrival in New York, Antonin Dvorak was enamored with the sound of American music. Quickly he put forth what was at the time a controversial idea: "In the Negro melodies of America I discover all that is needed for a great and noble school of music..." This inspiration is threaded through almost every note of the New World Symphony, with a healthy dose of Dvorak's Bohemian roots and Germanic tradition as well! Join us as we explore this legendary masterpiece from every angle.

Havergal Brian’s ambitious Gothic Symphony has been called many things - massive, ambitious, barbaric, incompetent, insane, moving, brilliant, awful, torture, and much more. It is almost never performed due to the forces it requires and its two hour duration. Today on the show I’ll tell you about the background to this monumental work, and then I’ll try to walk you through the structure of this symphony. Like a Gothic cathedral, there are lots of corners to get lost in, but I'll try to keep you on the path!

With the rise of Wagner, the symphony seemed to be left for dead. But one composer in particular, Anton Bruckner, decided to take the plunge back into the symphonic genre, though he did it with a markedly Wagnerian touch. His most popular symphony? The 7th. We’ll talk about the connection between Wagner and Bruckner throughout the show, but we’ll also explore Bruckner’s distinctive orchestral sound, and how his music seems destined to be performed in a cathedral, always looking up into the sky in wonder.

Gabriela Lena Frank is currently serving as Composer-in-Residence with the storied Philadelphia Orchestra and was included in the Washington Post's list of the 35 most significant women composers in history, I've always been a huge fan of Lena Frank's music, and I was so thrilled to talk with her about how she approaches writing, the sense of fantasy that is so present in her work, the Gabriela Lena Frank Creative Academy, and her fascinating NY Times article about Beethoven's deafness. This is a fun one!

In 1961, a poem appeared by the young poet Yevgeny Yevtushenko, entitled Babi Yar. The first line of this poem is: “There are no monuments over Babi Yar.” In September of 1941 at least 33,771 Jews were murdered at the Babi Yar ravine in Ukraine; the largest single massacre of Jews to that point in WWII. Shostakovich, moved by the bravery of Yevtushenko's poem, set it and 4 other Yevtushenko poems and created his 13th symphony. This is one of those unforgettable pieces - join me to learn all about it.

Never heard of Tom Wiggins? You're in for a treat with this episode! Tom Wiggins was a fantastic 19th century pianist and composer who was ruthlessly exploited by his owner/guardian on account of his race and his mental condition. He was known as one of the greatest performers of his era and yet was never paid for his work. I sat down with Deirdre O'Connell (The Ballad of Blind Tom) to talk with her about Wiggins' life and work. Also included are clips of his music, performed by the pianist John Davis.

The Bach Chaconne is one of the great masterpieces of Western Classical Music, and today we're going to be diving straight into this monumental work. We'll talk about the legends behind its composition, the work itself, different interpretations of the piece, and its many many arrangements. As Brahms wrote about the piece: “On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings." Join us to discuss this towering artistic achievement!

I had the chance to sit down with virtually with the legendary Wynton Marsalis for a conversation about Jazz, comparing jazz and classical pieces, why so many classical composers writing jazz fail and vice versa, and about his massively ambitious Blues Symphony. About halfway through the show Wynton takes you straight through the first movement of his symphony and I got the sense that I was living the dream of every artist hearing with perfect clarity how a composer conceived of their ideas. Don’t miss it!

The cycle is complete! Would it surprise you to find out that Beethoven’s 9th Symphony wasn’t his last piece? Would it surprise you that he was actually considering an all instrumental movement for the last movement? Or how about that the second performance of the piece was given to a half full hall and it took decades for the piece to become popular? Or how about the famous words “All men will become brothers?” What did that phrase mean to Beethoven? We'll talk about all this and more in Part 2!

More has been written about the meaning of Beethoven’s 9th than any other symphony. There are more recordings of it, more performances of it, and more uses of its most famous theme, the Ode to Joy, than any other piece. But what is often talked about less than the political and social ramifications of the piece, is the music itself - this shocking, roiling, and inspired music that seems to inject itself right into our bloodstream. This week we talk about the first two movements of this massive symphony.

In 1812, Beethoven's life was in ruins. He was embroiled in court battles, pining away for his "Immortal Beloved," and profoundly depressed. His musical response is one of his funniest, most charming, and most "classical" symphonies - the 8th. This is an underappreciated work that confused audiences of the time because it sounded almost experimental. So in the same vein, I'm going to reprise my live commentary experiment from my Marriage of Figaro episode and talk you through the entire symphony! Enjoy!

The composer Carl Maria Von Weber called it the work of a madman. Clara Schumann’s father, Friedrich Wieck, called it the work of a drunk. Beethoven’s 7th has been popular ever since its premiere, but as you can see, not everyone loved it. It is a piece that has defied explanations about its meaning ever since its premiere. Today, we’ll discuss this overwhelmingly joyous, raucous, even wild piece, its obsessive rhythms, its repetitiveness, and of course, that very nearly indescribable second movement.

Beethoven once said: “No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo which man desires to hear.” There's no better example of Beethoven's love of nature than in his 6th symphony, where he takes simplicity to new heights, transforming the motivic cells that relentlessly drove his 5th symphony into motifs of bucolic joy. It still astounds me that the 5th and 6th symphonies were written simultaneously. Join us to learn about this most beautiful symphony..