The Symphony’s free Program Note Podcast Series highlights a great work being performed each week by the orchestra. Hosted by KDFC’s Rik Malone, the podcasts feature music from Symphony concerts and recordings, and commentary based on our award-winning program notes by James Keller and Michael Steinberg. You can hear them on the way to the concert, on your smart phone or computer. Listen here, and subscribe to get future episodes automatically.
On his conceptualization of Rhapsody in Blue, Gershwin recalled: “It was on the train, with its steely rhythms, its rattlety-bang that is often so stimulating to a composer…and there I suddenly heard – and even saw on paper – the complete construction of the rhapsody...I heard it as a sort of musical kaleidoscope of America – of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”
Ravel’s American influences are easily heard in his Piano Concerto in G Major, which he modeled after the light, divertimento-like concertos of Mozart and Saint‑Saëns.
Beethoven's first piano concerto took Vienna by storm, and set the stage for even more musical revolutions to come.
Perpetually self-conscious, Tchaikovsky worried in spring 1888 that his imagination had dried up, and that he had nothing left to express through music. Vacationing at his home in Frolovskoe provided all the inspiration he needed, and by August, his Symphony No. 5 was complete.
Dmitri Shostakovich summed up his life and art in his 15th and final symphony. But, in the end, did it reveal who he really was, or was it just another mask for him to hide behind?
Benjamin Britten's Peter Grimes is one of the great operatic psychodramas–an outcast in a closed society, is Grimes truly a villain, or a victim of circumstance?
Britten's exotic fairy-tale ballet The Prince of the Pagodas fuses the sounds of East and West in a magical mix that sounds like nothing else he ever wrote.
Shostakovich's 10th Symphony is a vivid depiction of a life of not-so-quiet desperation in the old Soviet Union. It is as powerful a portrait of terror as has ever been composed.
Gabriel Fauré called his Requiem "a lullaby of death...as gentle as I am myself." Serene and hopeful, it's one of the great spiritual masterpieces of the 20th century.
Ever the brutal self-critic, Brahms did not write his first symphony until the age of 42.
By the time he wrote his Symphony No. 4 in 1885, he had reached the pinnacle of his orchestral composition—the music he had always wanted to write.
Like many of Bach's works, much of his Missa brevis had been used before and all of it would be used again, in his epic Mass in B minor. But in its original form it was actually something quite different: a bribe.
Bach's Orchestral Suite #4 is a dazzling combination of rhythmic complexity and sonic brilliance; all the more amazing in that he wrote it (most likely) just for fun!
Debussy's Images is music that "never looks back," and it still sounds new, more than a century later.
Tchaikovsky's 6th Symphony was not his farewell statement, although at the time of its first performances it may have seemed like one. What it did do was explore new depths of emotion, even for a composer used to wearing his heart on his musical sleeve.
Bruckner's Symphony No. 4 "The Romantic" was a departure from his usual symphonic testaments of faith. It's a journey into the Age of Chivalry, of knights, quests, and - above all - the hunt.
Schubert's "Great" C major symphony was the longest, most advanced and most intricately constructed symphony ever written by anyone not named Beethoven. With it, Schubert staked his claim as his idol's heir.
In 1906, Maurice Ravel made some sketches for a tribute to Johann Strauss, the Waltz King. By the time he got back to it, World War I had ravaged Europe, and Ravel's tribute had turned into something much darker.
Nikolai Rimsky-Korsakov traveled the world as a naval officer, but it was his musical journey into the world of the Arabian Nights that became one of his most colorful and enduring masterpieces.
The Fourth Symphony was a product of the most turbulent time of Tchaikovsky's life - 1877, when he met two women (Nadezhda von Meck, a music-loving widow of a wealthy Russian railroad baron, and Antonina Miliukov, an unnoticed student in one of his large lecture classes at the Moscow Conservatory), who forced him to evaluate himself as he never had before.
A man spots a woman across the room at a party and falls instantly in love with her. In a fit of despair over his unrequited love, he poisons himself and fantastic dreams and visions result. This is the story, inspired by his own love for the actress Harriet Smithson, that Hector Berlioz portrays in his Symphonie fantastique, premiered in 1830. Using recurring musical motifs to represent characters and brand new instrumental colors, Berlioz worked on foundations laid by Beethoven to bring music fully into the Romantic era.
In his Symphony No. 3, the largest and longest in the current symphonic repertoire, Mahler leaves the story up to the listener—according to the composer, “you just have to bring along ears and a heart and—not least—willingly surrender to the rhapsodist.”
In his Symphony #6, Jean Sibelius created a musical sanctuary from the chaos of war and revolution that had engulfed his world. He once said that it reminded him "of the scent of the first snow.”
When Benjamin Britten was twenty, he took music he had written more than a decade earlier and arranged it into a work he called "Simple Symphony" - a remarkably assured portrait of the artist as a young composer.
The premiere of Symphony No. 7 was perhaps Beethoven’s greatest rock-star moment. Buoyed by the excited troops in whose honor the concert was being performed, he “tore his arms with a great vehemence asunder...at the entrance of a forte he jumped in the air” (according to orchestra violinist and composer Louis Spohr).
However you like your Messiah - big or intimate, modern or period, authentic or interpreted - when you listen you become part of an almost 300-year tradition of what may be classical music's most beloved masterpiece.
Benjamin Britten's War Requiem was an anguished cry for peace in the midst of the Cold War. Its combination of the sacred and the secular sends a message that is as powerful today as it was in 1962.
After a series of successful tone poems based on literary sources, Richard Strauss found a fascinating new subject to write about: himself. His Alpine Symphony is based on eventful day trip he took as a boy; an epic musical journey to the summit and back again.
Copland's Symphonic Ode was booed at its first performances, but the qualities that made it a failure would pave the way for his later successes.
Witold Lutosławski was one of the great cultural figures of 20th century Poland, and his Concerto for Orchestra - based on a simple folk tune - was one of his first great successes; perhaps because his personal history mirrored that of his native land.
Considered at first to be a composer of popular music and not a great symphonist, Dvořák found an important mentor: Brahms believed in him enough to set him up with an important publisher. Written for the London Symphony, Dvořák’s Symphony No. 7 is a personal catharsis and a masterpiece in tragedy.
Felix Mendelssohn's music to Shakespeare's A Midsummer Night's Dream is a sparkling accompaniment to one of the most magical plays ever written. And he began it when he was just 17!
Scotland - the country that gave us haggis, bagpipes, golf and Sean Connery among other world treasures - was also the inspiration for two of Mendelssohn's best-known works: his "Hebrides" Overture and "Scottish" Symphony. There are no actual Scottish tunes in the Symphony; in fact, Mendelssohn professed to dislike all Scottish music, especially the bagpipes. But it's hard to imagine the source of this tuneful work being anything other than the windswept heather of the Highlands.
Mahler's Symphony No. 9 could be seen as his farewell statement, but he actually began work on a 10th as soon as he finished the 9th. Despite his fascination with death and the hereafter, Mahler always chose to embrace life, and in this last completed symphony, he managed to express just how thin the line between them actually is.
Gustav Mahler revived one of his earliest compositions to use in his first symphony; he ultimately cut it, and it was forgotten for almost sixty years. Now, one hundred years after it was written, this musical orphan finally has a chance to bloom on its own.
Sergei Prokofiev's opera "The Fiery Angel" - a medieval tale of demonic possession and its erotic overtones - was never produced during his lifetime. But he felt it contained some of the best music he had written, so he brought it to life in the concert hall as his dark, dynamic and dangerous Symphony No.3. How he got it past the Soviet censors is a mystery; you may find yourself looking over your shoulder after hearing it!
These are the first ever complete concert performances of the entire Broadway score of West Side Story. In 1984, Bernstein retouched the score as he prepared for a Deutsche Grammophon studio recording, with his revisions at that time reflecting his final thoughts on the piece—that score is being used for these performances.
Download a podcast of audio program notes about the Rite of Spring, specially prepared for the San Francisco Symphony’s Stravinsky Festival in June 2013.
Schubert’s Third Symphony is a concise, clearly plotted work, characterized by prominent use of the clarinet, that recalls the scale, and something of the flavor, of Haydn. Schubert was just eighteen when he composed the piece, during a celebratory period in Vienna prompted by the pacifying effect of the Congress of Vienna.
The Budapest Opera approached Bartók in March 1913 to suggest that he consider writing a ballet. Serge Diaghilev’s Ballets Russes had visited Budapest in 1912, performing avant-garde works, including Stravinsky’s Firebird, that were received with great enthusiasm—an enthusiasm that Bartók had not shared, since he was in the back-country collecting folk songs. A year later, he commenced work on The Wooden Prince, finally completing the orchestration in January 1917.
At the close of the nineteenth century, Finnish natives were part of a cultural renaissance inspired by their opposition to the Russians occupying their country. Jean Sibelius was swept up in this nationalistic fervor, and composed several patriotic tone poems, including Finlandia. Symphony No. 2 is the result of his fusing together fragments and sketches originally intended for four separate tone poems.
Despite his family’s financial turmoil, the year 1806 was extraordinarily productive for Beethoven. He wrote many of his great works, including the Razumovsky string quartets, Piano Concerto No. 4, and Symphonies No. 4 and 5. Symphony No. 4 - a return to the grace and relative simplicity of his earlier style - is perhaps Beethoven’s least frequently performed symphony. A passage in the middle of the second movement was called “one of the most imaginative passages anywhere in Beethoven” by musicologist Donald Francis Tovey.
While composing his Missa solemnis, Beethoven looked to the past. He obtained a copy of the score to J.S. Bach’s unpublished B Minor Mass, and studied the sacred music of C.P.E. Bach. After countless sketches and spiritual preparation, Beethoven composed this work for large orchestra and chorus, dedicating more time to it than any other of his works. Written simultaneously with the Symphony No. 9, Missa solemnis is considered one of the most significant mass settings in classical music.
Schumann’s Symphony No. 3, Rhenish, completed in 1850 after his much celebrated appointment as Municipal Music Director in Düsseldorf, reflects his optimism in the face of new challenges. Filled with spirited, glorious themes, Rhenish marks the high point in the life of a composer who struggled with mental illness.
Beethoven spoke of setting out upon a fresh path with his Second Symphony, and even included veiled musical jokes, which shocked the sensibilities of many critics. Produced between the widely popular First and the revolutionary Eroica, Symphony No. 2 forged new territory with development of theme and architecture, and would eventually take its place among Beethoven's great works.
Drawing on themes of contrast and opposition and likely influenced by the aftermath of World War I, Nielsen’s Symphony No. 5 uses a nontraditional two movement structure. The first movement is a battle between the orchestra and a renegade snare drummer, silenced by the full forces of the orchestra in the final bars. Movement two takes dramatic and unexpected turns before resolving in triumphant affirmation.
In June 1891, Antonín Dvořák was invited to direct the newly-formed National Conservatory in New York City. Leaving four of their six children behind in Bohemia, Dvořák and his wife made their new home on East 17th Street in cacophonous Manhattan, just a few blocks from the new school. Through his diverse student body and the advent of the polyrhythmic ragtime, Dvořák first encountered African American and Native American music. He was particularly taken with those cultures’ spirituals. He borrowed musical elements from diverse popular sources for many of his compositions, including his Symphony No. 9, From the New World.
The Eroica opened the floodgates for the symphonic outpouring of the nineteenth century – for Beethoven himself, Schubert, Schumann, Brahms, Bruckner, and the rest. The Eroica was the longest symphony ever written when it was unveiled, and listeners and critics commented widely on that fact, to the composer’s frustration. By 1807 nearly all reactions to the piece were favorable, or at least respectful, and critics were starting to make sense of its more radical elements.
In the space of nine weeks in summer 1788, Mozart produced the last three of his symphonies, including Symphony No. 39. Started within a month after his opera Don Giovanni opened to a less than enthusiastic audience in Vienna, the symphony opens with a reflection on the opera’s overture.
An often criticized social misfit during his time in Vienna, Bruckner's success with his Symphony No. 7 came as a happy and restorative surprise to the composer, described by his friend Gustav Mahler as "half simpleton, half God." Speaking to today's audiences with singular directness, Bruckner 7 remains the most loved of his nine symphonies.
During a period of both personal tragedy and momentous achievement, the Ninth Symphony is the last score Mahler completed. Some part of him would have wanted it so. With Beethoven’s Ninth and Bruckner’s unfinished Ninth in mind, he entertained a deep-rooted superstition about symphonies and the number nine. But for all the annihilating poignancy which this symphony ends, Mahler cannot have meant it as a farewell. Within days of completing it, he plunged into composing a Tenth, which he never finished before his death in 1911.
The technical prowess required and the sublime melody of Strauss’ Oboe Concerto causes a stir among oboists. During occupation of his village in World War II, an elderly and impoverished Strauss met an American soldier and oboist, who suggested he write it. His answer was an emphatic “NO,” but he did complete a last bundle of masterpieces, of which the Oboe Concerto is one.
Composed alongside fellow distinguished Russian composers at a House of Creative Work northeast of Moscow, Prokofiev’s renowned Fifth Symphony saw its premier in January 1945, as Soviet armies had begun their final push to victory over Germany. As Prokofiev raised his baton in the silent hall, the audience could hear the gunfire that celebrated the news, just arrived, that the army had crossed the Vistula and driven the German Wehrmacht back past the Oder river.
Napoléon III’s Exposition Universelle of 1855 in Paris saw the premiere of this daring, grandiose work, for the opening of the Church of Saint-Eustache. The new organ, a wonder of engineering at the time, was a fitting pillar of what Berlioz described as a “colossal” and “Babylonian” performance with nearly one thousand singers and instrumentalists.
Improvised at the piano after a strenuous day of teaching, Enigma Variations established Elgar as the pre-eminent British composer of his time. Shrouded in mystery is the “enigma” intended by Elgar, a secret he took with him to the grave. Variation IX, “Nimrod (Adagio),” has become a cherished piece in the popular classical lexicon.
Mozart’s Divertimento in D major, written when he was 16, is one of the most popular of his works in this style. The finale uses counterpoint in a way that surprised his audiences and presaged the innovative delights of his later work. The Serenade No. 6, written four years later, was likely composed for dancing at parties during the annual Carnival celebrations in Salzburg.
Scandinavian classic, Peer Gynt, written by Henrik Ibsen, may be one of the world’s first great modern psycho dramas as it moves seamlessly across time and space and between fantasy and reality. Edvard Grieg’s incidental music for Peer Gynt captures its many moods and has become some of the most popular classical music of all time.
During childhood summers spent at the beaches at Cannes, Debussy learned to love the unpredictable and ever-changing sea. The most traditionally ‘symphonic’ of Debussy’s orchestral works, La mer is comprised of three sketches: From Dawn to Noon on the Sea, Play of the Waves, and Dialogue of the Wind and the Sea.
By the summer of 1809, Napoleon’s French forces, at war with Austria for the fourth time in eighteen years, reached the suburbs of Vienna. “Nothing but drums, cannons, human misery of every sort!” wrote Beethoven to his publisher in Leipzig. But by year’s end, he had completed his Piano Concerto No. 5, Emperor, a magnificent affirmation made in terrible times.
Sergei Rachmaninoff wrote his Symphony No. 2 while living in Dresden. At age 33, he was a sought-after conductor and pianist, and had relocated to escape the clamor for his talents. After completing the work, he declared he would never write another symphony, and waited almost thirty years to do so.
After nearly being expelled from conservatory and enduring the disastrous premiere of his first symphony, Rachmaninoff didn’t write a note of music for three years. But after trying out hypnosis therapy (“You will write a Concerto. . . You will work with great facility. . . It will be excellent”), Rachmaninoff composed his Piano Concerto No. 2.
Ever the brutal self-critic, Brahms did not write his first symphony until the age of 42. By the time he wrote his Symphony No. 4 in 1885, he had reached the pinnacle of his orchestral composition—the music he had always wanted to write.
On an extended journey through Italy in 1830 and 1831, Felix Mendelssohn began work on his Fourth Symphony. A wildly talented composer who wrote his famous Octet when he was only sixteen, Mendelssohn was prompted to finish the work when the London Philharmonic Society requested a symphony from him (and offered payment of a hundred guineas). Mendelssohn called it the jolliest music he had ever composed. Although he remained dissatisfied with the symphony and planned numerous revisions, the Italian Symphony still stands as one of his most easily recognizable works.
A fascination with the music of Italy’s distant past led Ottorino Respighi to compose what is known as his Romany Triptych of tone poems— Pines of Rome, Fountains of Rome, and Roman Festivals. The Pines of Rome depicts the trees around Rome, which according to Respighi, “dominate the Roman landscape [and] become witnesses to the principal events in Roman life.”
In this episode, special guest host Music Director Michael Tilson Thomas talks about a work Mahler called a “foaming, roaring, raging sea of sound,” his Symphony No. 5.
Subtitled The Year 1905, Shostakovich’s Symphony No. 11 uses many Russian folk, revolutionary, and prison songs to evoke the story of the massacre of hundreds of peasants protesting at the Tsar’s Winter Palace in St. Petersburg. The work is full of Shostakovich’s signature ambiguity, the result of his complicated relationship with the Soviet leadership.
Bruch worried that his first violin concerto was better labeled a fantasy. The work does not follow typical concerto form, instead alternating solo flourishes with chords from the orchestra, and using this same material later to sink directly into the second movement, the Adagio heart of the concerto. His friend Joseph Joachim, the star violinist of the time, assured him that with the inclusion of the fully developed Gypsy dance-like final movement his Violin Concerto No. 1 was a cohesive concerto. It remains Bruch’s most popular work.
Often called the greatest piece of music ever written, Beethoven’s Symphony No. 9 was the last he would ever write. The first symphony to feature a chorus and vocal soloists, Symphony No. 9 also includes the famous “Ode to Joy.”
Rachmaninoff was already an admired conductor and pianist when he wrote his Piano Concerto No. 3 to bring along on his first tour of the United States. On that tour, he performed the concerto with the New York Philharmonic under their conductor Gustav Mahler.
Duke Bluebeard brings his new wife Judith home to his cold, dark castle, where she insists on opening the seven locked doors behind which Bluebeard hides his secrets. Bartók, the father of ethnomusicology, wrote this one-act opera in his native language and used the speech’s natural rhythm to lead the musical expression.
Following the conventional success of his Symphony No. 5, written to pacify the Soviet leaders scandalized by his opera Lady Macbeth, Shostakovich composed the Symphony No. 6. Characterized by its unusual Largo opening and scherzo-like finish, the work exhibits Mahler’s influence on Shostakovich’s sound worlds.
To escape the city of Vienna, Beethoven often spent his summers in the rural counties surrounding it—a love reflected in his Symphony No. 6, Pastoral. With movements titled Awakening of joyful sentiments upon arriving in the country and Scene by the brook, the work depicts life in the country.
After becoming disenchanted with his position of Capellmeister to Leopold, Prince of Anhalt‑Cöthen, Bach prepared a special copy of six concertos to send to the Margrave of Brandenburg in hopes of employment. Now known as the Brandenburg concertos, the six works represent Bach’s musical resume.
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