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.
When Mozart went to Paris, he may not have found the job he was looking for, but he still found success, with his stylish Symphony No. 31.
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.
When Johannes Brahms wrote his first Piano Concerto, he was worried about the judgment of history. By the time he wrote his second Piano Concerto, he was making history.
Bach's Orchestral Suite No. 3 contains some of his best-known music, including the beautiful "Air on the G String." But it also contains the origins of the modern symphony orchestra.
Bach's Orchestral Suite
3 contains some of his best
known music, including the beautiful "Air on the
G String." But it also contains the origins of the modern symphony orchestra.
Brahms's Symphony No.2 is generally thought of as his most lighthearted, but it's actually built on the contrasts between light and dark, between sunshine and clouds. Kind of like life.
Franz Liszt may have been one of the nineteenth century’s most exasperating underachievers, to say nothing of committing the unforgivable sin of success on a staggering scale, but he was a genius. This concerto can remind us. Begun in 1835 at the ripe old age of 24, Liszt did not complete his first piano concerto until nearly twenty years later. A final draft appeared in 1849, which was revised before the 1855 premiere (conducted by Hector Berlioz), and then revised yet again before its publication in 1856. Béla Bartók called the concerto “the first perfect realization of cyclic sonata form, with common themes being treated on the variation principle.”
In "Four Legends from the Kalevala," Jean Sibelius explored Finland's mythical past and found his own musical future.
Anton Bruckner grew up an unsophisticated teacher’s son. By the time he reached Vienna and the composition of his Symphony No. 5, he had a sound combining Beethoven’s sense of mystery and suspense, Schubert’s harmony, and Wagner’s breadth in unfolding, plus a symphonic vision all his own.
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
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.”
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.
"Banned" and "boycotted" - whether by the state or by the public, "official" disapproval has long had the power to change composers' careers and their lives.
Ravel's Alborada del gracioso is a jester's song to his lady—a poignant love song surrounded by a miniature musical comedy.
Der Rosenkavalier was Richard Strauss' "Mozart opera," and its sparkle, wit, sentiment and infectious music—especially the waltzes—cemented his standing at the top of the operatic world.
music- especially the waltzes - cemented his standing at the top of the operatic world.Der Rosenkavalier
was Richard Strauss's "Mozart opera," and its sparkle, wit, sentiment and infectiou
music - especially the waltzes - cemented his standing at the top of the
operatic world.Der Rosenkavalier
Serge Diaghilev was turned down by four composers before turning to Igor Stravinsky to write the music for a new production by the Ballet Russe. Luckily, Stravinsky, eager to try his hand at a ballet, had already been working on the music for a month, and their artistic relationship went on to produce Petrushka and The Rite of Spring.
Scriabin's "Poem of Ecstasy" was the perfect "cosmic trip" for the Summer of Love - even though it was written 60 years earlier.
Tchaikovsky's Symphony No. 2 bridged the divide between East and West in Russian music; that may have been the reason it was the only one of his works that he was really satisfied with.
In 1854, Robert Schumann, friend and mentor to a young Johannes Brahms, attempted suicide by drowning in the Rhine River. Thrown into emotional turmoil by Schumann’s resulting institutionalization and his unrequited love for Robert’s wife Clara, young Brahms began sketching his first major orchestral work. Brahms reflects his struggle with a tormented opening, a slow movement which he described as a “lovely portrait” of Clara, and acceptance of reality in the finale. Perhaps afraid to attempt a form so masterfully executed by Beethoven, the work soon evolved into a sonata for two pianos and then finally became his Piano Concerto No. 1, in D minor.
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.
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.”
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!
Gustav Holst's suite The Planets was inspired by his interest in astrology; the stars must have been aligned because it has been a hit ever since its first performance.
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.
Maurice Ravel called his score to the ballet Daphnis et Chloé a "great, choreographic symphony." The ballet lasted only a couple of performances, but the score has become—like the Greek gods—immortal.
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.
Constructing a winning chess match is not that different from constructing a musical composition. Sergei Prokofiev used both strategies in his Piano Concerto No. 3.
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