Sticky Notes: The Classical Music Podcast

• Ravel and Falla: Echoes of Spain

  Nowadays it's hard to imagine Maurice Ravel as a "bad-boy" revolutionary, a member of a group whose name can be loosely translated as The Hooligans. To most listeners today, Ravel's music is the very picture of sumptuous beauty. But the group he belonged to, Les Apaches ("The Hooligans"), earned its name because of its members' uncompromising attitudes about music; attitudes that clashed sharply with the conservative tastes of the establishment. Another composer who belonged to Les Apaches was the Spanish composer Manuel de Falla. Falla is certainly not as well known as Ravel, but the two became fast friends when he arrived in Paris in 1907. They formed a kind of mutual-admiration society that proved immensely fruitful for both of them. Falla was deeply impressed by Ravel's Spanish-inflected music, marveling at its authenticity given that Ravel was French. But Ravel, now a symbol of French music, was the son of a Swiss father and a Spanish-speaking mother, and he was born just eleven miles from the Spanish border in the Basque region. His Spanish voice was no affectation; it came from somewhere deep within, and Falla noticed this immediately, remarking that Ravel's Rapsodie espagnole was "a Spain ideally presented by his mother." Today on the show we'll explore the Spanish world of Falla and Ravel through two central works: Falla's Nights in the Gardens of Spain and Ravel's Rapsodie espagnole. These pieces, both astonishing in their creativity and craftsmanship, offer a wonderful opportunity to compare and contrast the music and approaches of these two close friends. We'll also talk about Les Apaches and their goals, legacy, and some of their legendary members. All this and more is coming up on this final collaboration on Ravel and Friends with G. Henle Publishers! Join us!

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• Shostakovich Symphony No. 10 LIVE w/ The Aalborg Symphony

  Longtime listeners of Sticky Notes know that Shostakovich's 10 symphony was the inaugural piece covered on the show. It's been 8 years(!) since that show, so I've totally re-written the episode and had the privilege of presenting this new version live with the Aalborg Symphony Orchestra last week in Aalborg. Shostakovich, like so many composers before him, was obsessed with musical codes and messages, with songs that expressed two or more meanings, with ideas that were at once black and white and profoundly complex. This also describes Shostakovich himself, a man who was incredibly guarded with his public persona, and even his private persona as well. It is impossible to know anything for sure with Shostakovich, and to me therein lies the greatest strength of his music. The 10th symphony has been described as a portrayal of the Stalin years, as a portrayal of obsessive love, as a requiem, as sarcastic, as humorous, as agonizing, as triumphant, as, as, as….and the truth is that like all of the greatest works of Western Classical music, it is all of those things and so much more. It is a work of profound intensity, grabbing you from the start and not letting go for nearly 50 minutes, which makes sense considering that the piece was written in the shadow of another momentous event, the death of Joseph Stalin. There are very few experiences like hearing Shostakovich's 10th symphony live, and it is the kind of piece that, by the end of it, leaves you a slightly different person than you were when it started. Today on the show, we're going to be talking about a wide range of topics, from orchestral color to Joseph Stalin, from symphonic form to obsessive love, and much more. Join us!

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• Barber Violin Concerto

  There are so many great apocryphal stories in the long history of classical music, from the reason Tchaikovsky wrote his Sixth Symphony to what famous composers supposedly said on their deathbeds, to my favorite story: how Joseph Haydn's Symphony No. 96, The Miracle, got its name. Apparently, during the premiere of the symphony, a chandelier fell, but miraculously didn't hit anyone. Hence, The Miracle Symphony. The chandelier did, in fact, fall, but we now know it happened during the premiere of Haydn's Symphony No. 102, which has no nickname. Coincidentally, or perhaps not so coincidentally, the 96th Symphony is performed far more often than the 102nd, likely because of its nickname, even though it's the nickname of the wrong symphony. The Barber Violin Concerto has a great and true story behind it. But before certain information was revealed in 2010, the story everyone knew was quite different. The original version goes like this: Barber had completed the first two movements of his Violin Concerto and sent them to the soloist scheduled to premiere the work, Iso Briselli. Briselli didn't like the concerto, claiming it wasn't virtuosic enough, and asked Barber to write something more difficult. Barber, perhaps with an evil laugh, obliged and returned with the third movement. When Briselli received it, he realized he couldn't play it because of its extreme difficulty and ultimately withdrew from the premiere, which instead went to violinist Albert Spalding. It's a perfect "Icarus flying too close to the sun" kind of classical music story, but as it turns out, it isn't the full story. In 2010, letters were released between Barber, Briselli, and the real instigator in this little operetta, Briselli's violin teacher, Albert Meiff. I'll get into the whole story later, but it's a good one, even if it's not quite as cinematic as the legend. More important than the dispute over its last movement is the remarkable beauty and creativity of this masterful 20th-century concerto. Barber's Violin Concerto is one of my favorite pieces to play and to conduct, and it has charmed audiences ever since its premiere. It features Americana music of a kind only Copland could equal, as well as a heartbreaking oboe solo that might be one of the greatest moments in the history of American classical music. And then there's that pesky third movement, a challenge to every violinist (and orchestra) and a movement that remains controversial for many reasons.

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• 100 Years of Beethoven's Eroica (recordings)

  One of my favorite things about having Patreon sponsors is that they often suggest the most fascinating pieces and topics for shows. Adrian, who sponsored a show last year, gave me one of my favorite prompts when he suggested looking at works based on literature. Now he's sponsored another episode, this time with an equally compelling idea that I was eager to explore right away. His prompt was: "The evolution of conducting techniques throughout recorded history. How have innovations from great conductors changed how music is performed and understood?" As a conductor, the thought of diving into different recordings of a single piece naturally whets my appetite. But the real reason I was so excited about this episode is that interpretation is, in my view, wildly misunderstood. I've tried to tackle this idea in many different ways, in my episode about the sound of the violin with Soovin Kim and my dad, Donald Weilerstein; in my "What Does Music Mean?" episode; and even in "What Does a Conductor Really Do?" But I've never taken a single piece and focused solely on its interpretation, and on how that interpretation has changed over time. This gives us the chance to dig deeply into what makes an interpretation. So today, I'm going to share a set of recordings of one piece (and don't worry, I'll reveal which one in a moment). I'll talk about what sets them apart, both the obvious differences, like pitch and extremes of tempo, and the more subtle ones, like vibrato, phrasing, and other elements of performance that most listeners aren't trained to notice. So, let's do some exploring together, coming right up, on Sticky Notes.

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• The Life and Music of Grazyna Bacewicz

  The great Polish composer Witold Lutoslawski said this after the premature death of his contemporary Grazyna Bacewicz: "She was born with an incredible wealth of musical talent, which she succeeded to bring to full flourish through an almost fanatical zeal and unwavering faith in her mission. The intensity of her activities was so great that she managed, in a cruelly-shortened life, to give birth to such treasures that any composer of her stature with a considerably longer life span could only envy." Bacewicz is a name that is probably not that familiar to you, but during her lifetime she was an extremely popular composer in her native Poland and across Europe as well. In the United States, her music has been rarely performed, though this has started to shift thanks to a renewed interest in female composers of the past. This new look at Bacewicz has revealed an incredible wealth of music. Bacewicz was one of the most prolific composers of the 20th century, writing over 200 works during her short lifetime! Some call her style neo-classical, but the main thing that I hear in her music is a sharp originality that permeates her music and makes her compositions a thrill to listen to. The vitality, energy, and creativity that embodies Bacewicz's works will be the main part of the show today, as we'll go through a set of some of her most representative pieces, pieces that I hope will enter the standard repertoire of performers all over the world even more so than they already have. So join me today to explore the life and music of this unfamiliar but vital 20th century master!

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