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Insights are generated by CastFox AI using publicly available data, episode content, and proprietary models.
Total monthly reach
Estimated from 5 chart positions in 5 markets.
By chart position
- 🇳🇱NL · Music Commentary#1161K to 10K
- 🇮🇹IT · Music Commentary#1791K to 10K
- 🇮🇸IS · Music Commentary#3810K to 30K
- 🇵🇱PL · Music Commentary#1003K to 10K
- 🇳🇿NZ · Music Commentary#179500 to 3K
- Per-Episode Audience
Est. listeners per new episode within ~30 days
11K to 44K🎙 Biweekly cadence·115 episodes·Long inactive - Monthly Reach
Unique listeners across all episodes (30 days)
16K to 63K🇮🇸48%🇳🇱16%🇮🇹16%+2 more - Active Followers
Loyal subscribers who consistently listen
4.7K to 19K
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* Data sourced directly from platform APIs and aggregated hourly across all major podcast directories.
On the show
Recent episodes
Des Knaben Wunderhorn - Urlicht
Mar 23, 2021
1h 46m 09s
Mahler Lieder Eines Fahrenden Gesellen – Die Zwei Blauen Augen (The Two Blue Eyes)
Mar 23, 2021
17m 01s
Klavierquartett - Piano Quartet Movement in A minor (1876)
Mar 23, 2021
13m 26s
Mahler Kindertotenlieder – Intro
Mar 22, 2021
9m 03s
Mahler Kindertotenlieder – Nun will die Sonn’ so hell aufgeh’n
Mar 22, 2021
12m 09s
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| Date | Episode | Description | Length | ||||||
|---|---|---|---|---|---|---|---|---|---|
| 3/23/21 | ![]() Des Knaben Wunderhorn - Urlicht | A listening guide of Des Knaben Wunderhorn - Urlicht with Lew Smoley from ClassicalPodcasts.com. | 1h 46m 09s | ||||||
| 3/23/21 | ![]() Mahler Lieder Eines Fahrenden Gesellen – Die Zwei Blauen Augen (The Two Blue Eyes) | The final movement culminates in a resolution. The music, also reused in the First Symphony (in the Scherzo “Funeral March in Callot’s manner”), is subdued and gentle, lyrical and often reminiscent of a chorale in its harmonies. Its title, “Die zwei blauen Augen von meinem Schatz” (“The Two Blue Eyes of my Beloved”), deals with how the image of those eyes has caused the Wayfarer so much grief that he can no longer stand to be in the environment. He describes lying down under a linden tree, al... | 17m 01s | ||||||
| 3/23/21 | ![]() Klavierquartett - Piano Quartet Movement in A minor (1876) | Gustav Mahler score Klavierquartett, piano quartet, Movement 1: in A. --- A listening guide of Klavierquartett with Lew Smoley. | 13m 26s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – Intro | Kindertotenlieder (Songs on the Death of Children) is a song cycle for voice and orchestra by Gustav Mahler. The words of the songs are poems by Friedrich Ruckert (1788-1866). The original Kindertotenlieder were a group of 428 poems written by Rückert in 1833-1834 in an outpouring of grief following the illness (scarlet fever) and death of two of his children. Karen Painter describes the poems thus: “Rückert’s 428 poems on the death of children became singular, almost manic documents of the p... | 9m 03s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – Nun will die Sonn’ so hell aufgeh’n | A listening guide of Kindertotenlieder – Nun will die Sonn’ so hell aufgeh’n with Lew Smoley. | 12m 09s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – Nun seh’ ich wohl, warum so dunkle Flammen | A listening guide of Kindertotenlieder – Nun seh’ ich wohl, warum so dunkle Flammen with Lew Smoley. | 12m 51s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – Wenn dein Mütterlein | A listening guide of Kindertotenlieder – Wenn dein Mütterlein with Lew Smoley. | 4m 30s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – Oft denk’ ich, sie sind nur ausgegangen | A listening guide of Kindertotenlieder – Oft denk’ ich, sie sind nur ausgegangen with Lew Smoley. | 12m 51s | ||||||
| 3/22/21 | ![]() Mahler Kindertotenlieder – In diesem Wetter, In diesem Braus | A listening guide of Kindertotenlieder – In diesem Wetter, In diesem Braus with Lew Smoley. | 21m 51s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Intro | Das Lied von der Erde (The Song of the Earth) is a composition for two voices and orchestra by Gustav Mahler (1860-1911). Composed between Year 1908 and Year 1909 following the most painful period in Mahler’s life (Year 1907). The songs address themes such as Living, Parting and Salvation. Mahler had already included movements for voice and orchestra in his Symphony No. 2, No. 3, No. 4 and No. 8. Das Lied von der Erde is the first work giving a complete integration of song cycle and symphony... | 25m 20s | ||||||
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| 3/22/21 | ![]() Mahler Das Lied von der Erde – Der Abschied | The final movement is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking. Mahler himself added the last lines. This final song is also notable for its text-painting, using a mandolin to represent the singer’s lute, imitating bird calls with woodwinds, and repeatedly switching between the major and minor modes to articulate sharp contrasts in the text. --- A listening guide of Das Lied von der Erde – Der ... | 1h 43m 18s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Der Trunkene im Frühling | The second scherzo of the work is provided by the fifth movement. Like the first, it opens with a horn theme. In this movement Mahler uses an extensive variety of key signatures, which can change as often as every few measures. The middle section features a solo violin and solo flute, which represent the bird the singer describes. --- A listening guide of Das Lied von der Erde – Der Trunkene im Frühling with Lew Smoley. | 31m 27s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Von der Schönheit | The music of this movement is mostly soft and legato, meditating on the image of some 'young girls picking lotus flowers at the riverbank'. Later in the movement there is a louder, more articulated section in the brass as the young men ride by on their horses. There is a long orchestral postlude to the sung passage, as the most beautiful of the young maidens looks longingly after the most handsome of the young men. --- A listening guide of Das Lied von der Erde – Von der Schönheit with Lew S... | 28m 06s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Von der Jugend | The third movement is the most obviously pentatonic and faux-Asian. The form is ternary, the third part being a greatly abbreviated revision of the first. It is also the shortest of the six movements, and can be considered a first scherzo. First this movement was called ‘Der Pavillon aus Porzellan’ (‘The pavilion made of porcelain’). --- A listening guide of Das Lied von der Erde – Von der Jugend with Lew Smoley. | 14m 30s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Der Einsame im Herbst | This movement is a much softer, less turbulent movement. Marked ‘somewhat dragging and exhausted’, it begins with a repetitive shuffling in the strings, followed by solo wind instruments. The orchestration in this movement is sparse and chamber music-like, with long and independent contrapuntal lines. The lyrics, which are based on the first part of a Tang Dynasty era poem by Qian Qi, lament the dying of flowers and the passing of beauty, as well as expressing an exhausted longing for sleep. ... | 32m 53s | ||||||
| 3/22/21 | ![]() Mahler Das Lied von der Erde – Das Trinklied vom Jammer der Erde | The first movement continually returns to the refrain, Dunkel ist das Leben, ist der Tod (literally, 'Dark is life, is death'), which is pitched a semitone higher on each successive appearance. Like many drinking poems by Li Bai, the original poem 'Bei Ge Xing' (a pathetic song) mixes drunken exaltation with a deep sadness. The singer's part is notoriously demanding, since the tenor has to struggle at the top of his range against the power of the full orchestra. This gives the voice its shril... | 44m 56s | ||||||
| 3/22/21 | ![]() Lieder Und Gesänge Aus Dem Jugendzeit – Intro | A listening guide of Lieder Und Gesänge Aus Dem Jugendzeit – Intro with Lew Smoley from ClassicalPodcasts.com. | 6m 51s | ||||||
| 3/22/21 | ![]() Lieder Und Gesänge Aus Dem Jugendzeit – Selbstgefühl (My Mood) | The final song, “Selbstgefühl” (My mood), starts with a dynamic of forte. To maintain a high level of playfulness, the tubist must observe the strict dynamic indications. Mahler indicated that the octave in the left hand of the piano part can be omitted throughout the song if the additional low notes create too thick of a texture in this register. The piano extends the melodic line throughout this final song, playing the same melody in the right hand and completing the soloist’s musical thoug... | 3m 11s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Nicht Wiedersehen! (Never To Meet Again) | Balancing the soft low texture with piano remains one of the main challenges for tubists in the penultimate song in this collection, “Nicht wiedersehen!” (Never to meet again). It is scored very low on the piano and would be easy to lose the melody inside of the harmony of the accompaniment. Mahler instructs the pianist to use the pedals freely, however perhaps the dampening pedal should be the most important. The effect of the sustain pedal will be too much for this song, especially when the... | 7m 30s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Scheiden Und Meiden (Parting And Fleeing) | “Scheiden und Meiden” (Partings) explores the metric juxtaposition of two versus three used in “Ablösung im Sommer.” “Trumpetlike” is the first expression in the music as F major arpeggios rise from the tuba and piano. Despite the repeated ascending passages, the first dynamic is piano so the tubist should strive to be precise to start with soft dynamics. In this song, the pianist must take care to follow dynamics, which do not always coincide with those of the tubist. The rhythmic motor of t... | 4m 18s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Ablösung Im Sommer (Relief In Summer) | Misprints are rare, but this song contains one incorrect note in the piano part. In measure 3 of the IMC edition, the first left hand note should be A instead of F. Few instances exist where Mahler uses a hemiola effect in the piano. Measures 10 and 11 are a wonderful example of this effect, where the pianist can bring out the left hand duple feel by playing stronger. “The changing of the summer guard”. --- A listening guide of Lieder Und Gesänge Aus Dem Jugendzeit – Ablösung Im Sommer... | 2m 52s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Zu Strassburg Auf Der Schanz (At Strasbourg On The Battlement) | The tenth song in this collection, “Zu Strassburg auf der Schanz” (At Strasbourg on the battlement), starts with a very colorful piano entrance marked “as a folk tune” and “imitating the shawm.” As Donald Mitchell points out, this is of a type very characteristic of Mahler in his vocal as well as symphonic output: the slow farewell song or funeral march…We have a relatively simple example of the kind, remarkable chiefly for the piano’s imitation of the “Schalmei,” the chalumeau or herds... | 8m 05s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Starke Einbildungskraft (Strong Imagination) | One of the challenges with the ninth song in this collection, “Starke Einbildungskraft” (Strong imagination), concerns clarity of articulation. Sixteenth-note passages sound unclear with the piano part due to the imbalance of lower tones produced by both the piano and tuba. Changes have been notated in the tuba version to reflect these issues of clarity. Staccato markings and accents on the fronts of passages as well as the sixteenth-notes should ensure a clearer melodic line. The tubist coul... | 2m 07s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Aus! Aus! (“Over! Over!”) | The majority of the songs in this collection begin with very soft dynamics. Eleven of the fourteen songs begin with the dynamic of piano, one song begins at pianissimo, and the remaining two songs (this song and the last song in the collection) begin at the dynamic of forte. The tubist should take advantage of this diversity of dynamics and style. The eighth song in this collection, “Aus! Aus!” (Over! Over!), has a strict sense of time. While some of the songs have a lyrical quality that allo... | 7m 05s | ||||||
| 3/22/21 | ![]() Mahler Lieder Und Gesänge Aus Dem Jugendzeit – Ich Ging Mit Lust Durch Einen Grünen Wald (I Went Joyfully Through The Green Woods) | “I went joyfully through a green wood,” is a beautiful slow melody challenging the tubist to keep a consistent color of sound in the low register of the bass tuba. The first note is the lowest in the entire collection, a low G. Fingered 2-3-4-5 on a German Rotary F tuba, this pitch is a whole step above the fundamental of the instrument and somewhat unresponsive with less secure intonation and tone. Starting the C major arpeggio on a low G, this opening phrase serves as a wonderful exercise f... | 4m 27s | ||||||
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Chart Positions
6 placements across 5 markets.
Chart Positions
6 placements across 5 markets.
