Classical Classroom

Conductor JoAnn Falletta walks through Rimsky-Korsakov’s symphonic poem. Who was Nikolai Rimsky-Korsakov and why does he have two last names? And why would a 19th century Russian composer write a symphonic poem based on a collection of West and South Asian folk tales written in Arabic in the 16th century? What does it all mean?? Most* of these questions and more are all answered within by Buffalo Philharmonic/Virginia Symphony Orchestra conductor, guitarist, music advocate, and all around amazing lady, JoAnn Falletta. Music in this episode from the Buffalo Philharmonic’s recording of Rimsky-Korsakov’s “Sheherazade,” conducted by JoAnn Falletta.   Conductor JoAnn Falletta. Photo by Mark Dellas, courtesy of JoAnn Falletta. Audio production by Todd “Twister” Hulslander with high kicks by Dacia Clay and editing by Mark DiClaudio. For more about JoAnn Falletta: www.joannfalletta.com *We still don’t know what’s up with the two names thing.

    This week, composer Nico Muhly is premiering a brand new work, How Little You Are, in Austin. He talks about the classical (or, concert) music world’s premiering process, and about how and why listening to classical music golden oldies is different than listening to a new work, about the inspiration for his new piece, and of course, about Prince. Music in this episode: – Mozart: Magic Flute. Conducted by John Eliot Gardiner. – Bach: Magnificat.  – Stravinsky: Petrouchka. Michael Tilson Thomas conducts the Philharmonia Orchestra. – Joni Mitchell: A Case of You (from Blue) – Prince: A Case of You (from A Tribute to Joni Mitchell) – Nico Muhly: Sensational Calligraphic Scribble / Amor Nos Une / Room Song (from Object Songs) – Philip Glass: Koyaanisqatsi (from Koyaanisqatsi – Life Out of Balance motion picture score) – Nico Muhly: Mothertongue Pt. 1: Archive (from Mothertongue)   Audio production by Todd “TIE fighter” Hulslander with lightsaber skills by Dacia Clay. Editing by Mark DiClaudio. For more about

Branford Marsalis‘ stark 2014 solo album In My Solitude includes jazz standards like “Stardust” next to C.P.E. Bach’s Sonata in A Minor for Oboe, Wq. 132. His jazz discography is peppered with classical releases. What’s that all about?! Where do jazz and classical intersect? How is playing one different from the other – or is it? Find out in this episode! Branford Marsalis. Photo by Palma Kolansky. Courtesy of the artist’s website. Audio production by Todd “The Twister” Hulslander with a firm handshake from Dacia Clay and editing by Mark DiClaudio. Music in this episode: Lee Dorsey: “Working In The Coal Mine” (1966) Murray Perahia & Radu Lupu: Mozart – Sonata in D Major for Two Pianos Andrew Litton, Branford Marsalis & English Chamber Orchestra: “L’Isle Joyeuse” from Romances for Saxophone  Ferenc Erkel Chamber Orchestra & Jozsef Kiss: CPE Bach – Sonata in A Minor for Oboe Solo, Wq. 132: 1. Poco adgio   …and from Branford Marsalis’ In My Solitude: Live at Grace Cathedral:  CPE Bach – Sonata in

March is Music in Our Schools month! In this second edition of our MusicWorks series, we take a field trip to an public high school that’s a kind of music education utopia – Houston’s High School for the Performing and Visual Arts (HSPVA) (or, Fame High School, as I like to imagine it). We chat with Brad Smith – HSPVA’s orchestra conductor – and with two student musicians about classical music’s role at their school and in their lives. Music in this episode all played by the HSPVA Orchestra and conducted by Brad Smith. HSPVA Orchestra conductor Brad Smith. Photo courtesy of his website. Audio production by Todd “Tryhard” Hulslander with emojis by Dacia Clay. Editing by Mark DiClaudio. For more about HSPVA: www.houstonisd.org/hspvarts For more about Brad Smith: www.bradsmithconductor.com For more about Music in Our Schools month: www.nafme.org/programs/miosm

Producer Todd thought he needed to take a “vacation” with his “family” last week, so we are giving you this month-appropriate rerun before returning next week with a slew, a treasure trove, a veritable cornucopia of new episodes. Meanwhile, sit back, relax, and learn about these great women of classical music. – Dacia —————————————– It’s Women’s History Month up in the Classroom! Houston Public Media’s own Amy Bishop (see also, Episode 9: Tone Poems) teaches us all about female classical music composers, from the millennia-old ethereal sounds of Hildegard von Bingen, to the contemporary works of Jennifer Higdon. Why have so many women composed classical music but so few have become household names (yet)? We jiu jitsu that question and others in this episode! Audio production by Todd “von Toddgen” Hulslander with double-plus masterful editorial decisions by Dacia Clay. Music in this episode: – Hildegard von Bingen: Caritas Abundat in Omnia (Love Abounds All) – Clara Schumann: Piano Concerto in a minor, Opus 7

What’s it like to be more or less the only character in a live, full-length opera, playing the role of a real-life intense person who lived life intensely, while accompanied by an electric guitar? Mezzo-soprano Abigail Fischer dishes about playing Isabelle Eberhardt, the inspiration for Missy Mazzoli’s opera Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt, with the NOW Ensemble. Mezzo-soprano Abigail Fischer. Photo courtesy of Ms. Fischer’s website. Audio production by Todd “Touché!” Hulslander with karate chops from Dacia Clay. Music in this episode is all from Missy Mazzoli’s Song from the Uproar which you can hear and purchase on Bandcamp. PS, If you liked this, check out Classical Classroom, Episode 69: The Kids Are Alright, With Missy Mazzoli. If you’re in Houston, you can see Abigail Fischer in Song this coming Friday 3/20. For tickets go to: www.dacamera.com For more about Abigail Fischer: www.abigailfischer.com

Why did the number of female guitarists diminish over time? Was it a comet?? Find out here! It’s Women’s History Month, and all month, we’re bringing you amazing women in classical music! In this episode, guitarist Valerie Hartzell, creator/director of the Classical Minds Festival and Competition, talks about the ladies of classical guitar. Who are they? Why did their numbers diminish over time? And what can we do about it?? Audio production by Todd “Not Tony Danza” Hulslander with editing by Mark DiClaudio and bossing by Dacia Clay. Music in this episode: – “Rosita” by Francisco Tarrega. Played live in studio (also available on Valerie’s Ex Tenebris Lux CD). – Chaconne in G Major by George Frideric Handel. Played by Ida Presti and Alexandre Lagoya. For more about Valerie Hartzell: www.valeriehartzell.com Want to learn more about women in classical guitar? Check out this information from guitarist and scholar, Candice Mowbray: Dr. Mowbray wrote her doctoral dissertation about Ida Presti; she’s also been writi

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It

“Indie-Classical”, “Alt Classical”, “Nonclassical”… whatever you want to call it, George Gershwin may have been one of the first people to do it. Pianist Simone Dinnerstein explains Gershwin’s sound, its French influences, and what makes it uniquely classical. Pianist Simone Dinnerstein. Photo by Lisa-Marie Mazzucco. Courtesy of Ms. Dinnerstein’s website. Audio production by Todd “Teeny” Hulslander with editing by Mark DiClaudio, and one giant leap by Dacia Clay. Music in this episode: “Rhapsody in Blue” by George Gershwin, from Simone Dinnerstein’s new album, Broadway-Lafayette. “An American in Paris” by George Gershwin. For more about Simone Dinnerstein: www.simonedinnerstein.com

This episode is so old that Producer Todd didn’t even have funny middle names yet. But it’s so good that we wanted for you guys to hear it again. Because Debussy. And Tracy Jacobson. I mean, come on. Back next week with more new stuff! —————————– WindSync Wind Quintet bassoonist, Tracy Jacobson, takes Dacia along on her journey to continue her musical education as a professional musician. She steps outside of her comfort zone and into Debussy’s piano works. Come with us to Paris, talk in your museum voice, and have some wine. It’ll be awesome! Audio production by Todd Hulslander with encouraging yelps from Dacia Clay, and s few nods and shakes of the head from Tracy Jacobson, too. For more about WindSync: www.windsync.org. Thumbnail photo of Tracy Jacobson courtesy of WindSync’s website. Debussy's piano works! In this episode, Windsync bassoonist, Tracy Jacobson, takes Dacia on her journey to continue musical education as a professional musician. She steps outside of her comfort zone and into Debussy. Come wi

Composer Stephen Paulus passed away last October and left a void in many hearts along with an amazing legacy. Composer Alex Freeman teaches about Paulus the man, and the music he left for us. Music in this episode (both by Stephen Paulus): – Pilgrims’ Hymn – Concerto for Violin and Orchestra Composer Alex Freeman. Photo by Aino Launis. Courtesy of the composer’s website. Audio production by Todd “Tastee Freez” Hulslander with punches and kicks from Dacia Clay. For more about Stephen Paulus: www.stephenpaulus.com For more about Alex Freeman: www.alexfreemanmusic.com  

We’re excited to share our new subseries, MusicWorks! It’s a show where you’ll learn about what classical music is doing in the world right now. You’ll hear inspiring artist stories, plus we’ll go into the sometimes unexpected places we’ve discovered classical music thriving while we’ve been learning about it on the Classical Classroom. We hope you dig it! In our first MusicWorks episode, soprano Sonya Yoncheva tells the story of how she happened upon her passion – singing opera – by being true to herself (and listening to her mother) and by practicing her buns off. This put her in a position to be ready when she got that call from the Met to fill in at the last moment. And the rest, as they say, is in the podcast. Soprano Sonya Yoncheva. Photo © Ruven Afanador. Courtesy of Ms. Yoncheva’s website. Audio production by Todd “Totally” Hulslander with awesomeness by Dacia Clay. Music in this episode: Giacomo Puccini: La Boheme – Donde lieta usci Charles Lecocq: Les Cent Vierges, Act III, No. 10 Je soupire et ma

One of the distinguishing characteristics of chamber music is its inherent “democracy” – each part is of equal importance. Aaron Humble and Paul Rudoi of the Cantus Vocal Ensembleexplain how it works when everyone involved in making the music is a special snowflake. Audio production by Todd “Sir Toddsalot” Hulslander with unflagging devotion to somethingerother by Dacia Clay. Music in this episode, all by Cantus: From A Harvest Home –  “My Journey Yours” “How Can I Keep from Singing?” “The Pasture” “Fiddle Tune” “Eventide” From On the Shoulders of Giants: “Zikr” For more about Cantus Vocal Ensemble: www.cantussings.org. Chamber Music Houston is bringing Cantus to Houston in February! For more information, go to CMH’s website: www.chambermusichouston.org.

Okay. So our HAL 9001 hasn’t come in yet, and you’re getting another rerun episode. But dang – it’s a good one! And! We have so much new stuff we can’t wait to share with you once HAL arrives. Stick with us!

What makes Mozart’s violin concertos so special? Is it that he only wrote 5 of them? That he wrote him when he was a teenager? That they are both beautiful AND hilarious? What is it?? Violinist Rachel Barton Pine returns to the Classroom to spell out why these pieces are so special – generally and personally – that she decided to record all of them. Violinist Rachel Barton Pine. Photo by Andrew Eccles. Courtesy of rachelbartonpine.com.Audio production by Todd “Mr. Titters” Hulslander with that funky monkey, Dacia Clay. All music in this episode is from Rachel Barton Pine’s new CD, Mozart: Complete Violin Concertos, Sinfonia Concertante K364, with Matthew Lipman, Academy of St. Martin in the Fields, and Sir Neville Marriner conducting. (Avie 2317) You can also hear Rachel in episode 43, and in our short, “Rachel Barton Pine Rocks and Bows”.

The HAL 9000 that we use to produce these little gems has met an untimely demise. Fear not! We’ve got a brand new HAL 9001 on order. Until next week, please enjoy this old gold from the Classroom vault. ——————————— Was Tchaikovsky’s Symphony VI (aka “Pathetique”, aka “Suicide Symphony”) a suicide note or did he die of cholera, per the Official Word? You decide after this intweeging lesson with clarinetist and Shepherd School of Music Professor of Music, Michael Webster! Audio production by Todd “Toddsy Woddsy” Hulslander with roof raising by Dacia Clay.

Muzio Clementi is often called the “Father of the Piano” and is known for his sonatinas. But as it turns out, this smarty pants single-handedly changed classical music and made it what we know today. Jeremy Eskenazi, founder of the Muzio Clementi Society, tells all about the quiet mover and shaker in this episode – from a Tardisin Australia (seriously!). Jeremy Eskenazi, founder of the Muzio Clementi Society. Photo courtesy of the Society. Audio production for this episode by Todd “Tall Texan” Hulslander with smiles for miles by Dacia Clay. Music in this episode: (By Muzio Clementi) Toccata op.11 in Bb major Sonata op.34 no.1 3rd movement in C major Sonata op.7 no.3 3rd mvt on clementi piano Symphony no.3, 2nd movement (Not by Muzio Clementi) Theme song from Doctor Who, 11th Doctor edition

        Think you know Beethoven’s Fifth? Think again! Beethoven’s Fifth. We’ve never done a show on it because everybody knows it! Right? Emily Reese, on air host for Classical Minnesota Public Radio, host of Top Score (part of the Infinite Guest podcast series), and creator of MPR’s Learning to Listen, says that we are wrong, so wrong! Emily takes us through the entire symphony, which, as it turns out, is completely surprising and amazing. Plus, we play drinking games! Or at least give you some to play.   Audio production by Todd “The Tower” Hulslander with fear of heights by Dacia Clay. Music in this episode: – Symphony No. 5, Ludwig van Beethoven. Played by Orchestre Révolutionnaire et Romantique, and conducted by John Eliot Gardiner. Archiv.

The former Moores School director and composer teaches us about carols, and shares some of his favorites. It’s Christmastime in the Classroom! David Ashley White – Professor of Composition at (and former director of) the Moores School of Music, composer, and guy who writes hymns for actual hymnals – teaches us what makes a “carol” and shares some of his favorites with us. There are oldies, goodies, and stuff you’ve never heard. We assure you, it will put you in the Christmas spirit. Not the ghosty kind. The happy kind. PS, MERRY CHRISTMAS, listeners! We hope your holidays are both merry and bright.   Composer David Ashely White. Photo courtesy of the Moores School website. Audio production by Todd “Feliz Navi-Todd” Hulslander with elfin shenanigans by Dacia Clay. Music in this episode: Handel: Messiah, HWV 56 – For Unto Us A Child Is Born, Susan Gritton, Bernarda Fink, Etc.; Paul McCreesh: Gabrieli Consort & Players. Handel: Messiah (Disc 1). Mary Had A Baby, Kathleen Battle, Christopher Parkening. Ange

  Pianist, Shepherd School of Music professor, and recording artist Jon Kimura Parker – or as we like to call him, Captain Jon Solo – talks about the hidden world of the guest soloist. From the singular experience of performing with an orchestra in one ear and a concert hall in the other, to rehearsal times that will give you stage fright just hearing about them, it’s a behind-the-scenes tell-all exposé of concertic proportions. (That’s a word. We swear.)   Audio production by Todd “The Tobogganator” Hulslander with a running start by Dacia Clay. Music in this episode was recorded live with Jon Kimura Parker in the Geary Performance Studio at Houston Public Media except for: – Ludwig van Beethoven: Klavierkonzert Nr. 1 C-Dur, op. 15 played by Martha Argerich and the Bavarian Radio Symphony Orchestra – P.D.Q. Bach: Concerto for Two Pianos vs. Orchestra, S. 2 are better than one (P.D.Q. Bach). For more about Jon Kimura Parker: www.jonkimuraparker.com