Sticky Notes: The Classical Music Podcast

Dive into the fascinating journey of the Berg Violin Concerto, born from a commission by Louis Krasner during the controversial twelve-tone movement. Explore how Alban Berg's work navigates between atonality and tonality, making it accessible and emotionally resonant. The podcast highlights the poignant dedication to Manon Gropius, revealing deep themes of life, death, and memory. The intricate relationship between harmony and dissonance, alongside the influence of Schoenberg, is also explored, underscoring the concerto's rich emotional landscape.

There is nothing like hearing a Late Beethoven String Quartet for the first time. Beethoven's late string quartets, Op. 127, Op. 130, Op. 131, Op. 132, and Op. 135, are among the 5 greatest pieces of music ever written for any combination of instruments. They reach a kind of cosmic understanding of the world that is unparalleled, and they remain the Mount Everest of every string quartet's repertoire. The quartet we're going to be talking about today, Op. 135, is slightly the outlier from the set, in that it is less expansive, slightly less complex, and as Misha Amory from the Brentano String Quartet says, "it is the work of a composer who seems to have suddenly attained some new, simple truth after miles of struggle." Op. 135 is Beethoven's last completed work, and as this year begins, I thought I would check off number 2 of 5 Late Beethoven Quartets with this work that seems to exist on another plane of existence entirely. It is a piece of great depth and sadness, and also of ecstasy and lightness. It is a piece of great seriousness that is also full of a sense of humor that is rare in Beethoven. It contains one of the greatest slow movements ever written, a movement that would inspire one of Mahler's greatest symphonic movements, and it also features a zany and wild scherzo movement that could have been written two weeks ago. In short, Beethoven's Op. 135 has it all. Join us as we go through this masterpiece together!

I'm so happy to share this live episode of Sticky Notes that I did with the Aalborg Symphony Orchestra in Denmark back in October! This episode covered Berlioz's remarkable Symphonie Fantastique - the ultimate symphonic thrill ride. Join the orchestra and I as we talk our way through this symphony, from it's opium fueled back story, to its innovative structure and style, to the dreams and reveries of the first movement and the sadistic glee of the final two movements, and a whole lot more. Thank you to the Aalborg Symphony for their participation in this project, and I hope all of you listening have had a wonderful holidays and a Happy New Year! See you in the New Year with all new episodes from Beethoven's Opus 135 String Quartet to Smetana's Ma Vlast and much much more!

Dive into the emotional whirlwind of Shostakovich's Eighth Symphony, where victories and tragedies collide. Discover how this piece reflects inner conflicts amidst World War II’s chaos. The contrasting movements, from a serene adagio to a somber march, weave a narrative of beauty amidst sorrow. Explore the dual themes of optimism and despair, revealing a symphony that transcends mere notes, inviting listeners into its profound emotional landscapes.

Dive into the fascinating connection between literature and classical music. Explore how composers like Mahler and Schubert drew inspiration from literary works, infusing their music with emotional depth. Discover Hildegard's innovative blend of music and theology, along with the vivid storytelling in Strauss's orchestral nod to 'Don Quixote.' Delve into the themes of jealousy and obsession portrayed through musical color in Schubert's pieces. This exploration uncovers why literary influences make compositions more compelling and rich in meaning.

The muses were Ancient Greek goddesses of inspiration. Throughout history, the term muse has been used to describe any number of people, all of whom inspired works of great art and/or literature. In the popular imagination, muses are almost always women, inspiring brilliant men to their greatest artistic achievements. Why am I bringing this up? Because in the case of the piece we are going to talk about today, the Brahms Clarinet Quintet, the muse, and the source of inspiration, was very different. In 1890, Brahms retired from composing. In a way this was very rare. Composers very rarely retired, and most went on composing until their deaths, leaving unfinished works, but Brahms declared that he had nothing left to contribute, and that a younger generation should take over. He was only 57 years old, but he had become embittered both with the world of music and with the world as a whole. His 4th symphony had ended in a kind of apocalyptic destruction of the symphonic genre as a whole; a paroxysm of disillusionment with the direction music was going and with the direction of politics in Europe. But in March of 1891, Brahms heard a clarinetist named Richard Muhlfeld. Muhlfeld quickly became, for lack of a better word, Brahms' muse. His playing directly inspired Brahms to write 4 works for the clarinet, a trio, 2 sonatas, and a quintet, the topic for today's show. The clarinet quintet is practically the definition of the so-called autumnal Brahms. The clarinet quintet is one of Brahms' most expansive chamber works, and it is Brahms at his most wistful, nostalgic, and even tragic. Today on the show I'll take you through this magisterial work, exploring all of the things that make this piece so special, so touching, and so unforgettable. Join us!

Classical music and politics have never been easy bedfellows. Composers and performers throughout history have relied on patronage and support from wealthy sources in order to keep their dreams afloat, and so unlike many other forms of music, classical music often has the reputation of being a politics-free zone. But the truth is that there is a whole repertoire of classical music that is infused with politics, and not just music from the 20th and 21st centuries. Today, with the American election looming just around the corner, we'll explore a series of pieces that all had political messages, the stories behind them, the motivations of the composers who wrote these pieces, and of course, the music itself. We'll be covering music by Haydn, Smyth, Shostakovich, Verdi, Adams, and much more today - join us!

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written. The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring. No Broadway show had ever been so gritty, so tragic, and so raw. The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City. The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators. Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere. The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since. So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

Caroline Shaw is one of the most fascinating, innovative, and brilliant composers of our time. Since winning the Pulitzer Prize in 2013, she rocketed onto the scene and has stayed there ever since, writing music that has captivated audiences around the world. In this conversation, which dates back to 2020(so there is a bit of pandemic talk at the beginning), we talked about her musical upbringing, the shock and surprise of her Pulitzer win, her compositional process, and much much more. This was a really fun and edifying conversation and I hope you enjoy it as much as I did!

In 1929, the conductor Nicolas Slonimsky contacted the American composer Charles Ives about performing one of his works. This was a bit of a surprise for Ives, since he had a checkered reputation among musicians and audience members, if they even were familiar with his name at all. In fact, he was much more famous during his lifetime as an extremely successful insurance executive! Ives mostly composed in his spare time, and his music was mostly ignored or ridiculed as that of a person suffering from a crisis of mental health. Most of his music was never performed during his lifetime, and even today, he is thought of as a great but extremely eccentric composer, and orchestras and chamber ensembles often struggle to sell tickets if his name appears on the program. But for those who love Ives, there is an almost evangelical desire to spread his music to the world. I'm one of those people who loves Ives, and it is one of my personal missions to bring his music to as many places as possible. The piece I chose to talk about today is Three Places in New England, or the New England Symphony, a piece that is a perfect amalgam of what makes Ives such a spectacular composer - his radical innovations, his ahead of his time experiments, his humor, his humanity, his warmth, and the staggering creativity that marked all of Ives' great works. We'll start with a little biography of Ives in case you're not familiar with him, and then we'll dive into Three Places in New England. By the end of the show, I hope, if you're not already, that I will have converted you into an Ives fan for life!