Sticky Notes: The Classical Music Podcast

Grieg's Peer Gynt suites are among the best-known and best-loved works of classical music in the world. They are practically embedded into popular culture, being used in a dizzying number of cartoons, advertisements, and films. In the classical music world, as with Beethoven's 5th symphony, they have almost become a cliché, and they are often performed on so-called Pops concerts. The two big hits from Peer Gynt, Morning Mood and In the Hall of the Mountain King, are instantly recognizable to the general public, even if they don't know who wrote the music or where it comes from. And where all this music comes from is really interesting, and is going to be one of the main topics of this show. Because the famous music from Peer Gynt comes from the two suites that Grieg took from his massive score of incidental music to Henrik Ibsen's play in verse, Peer Gynt. The two suites together take about 45 minutes to perform, but Grieg actually wrote an extra hour's worth of music! He then extracted, for his suites, the music that he felt would stand on its own without the text, and this was quite a good decision, as they are certainly his most popular pieces and have etched his name into the classical music pantheon forever. But what about the rest of that music? What about the play itself? Today, on this Patreon-sponsored episode, we'll tell the story of the origins of Peer Gynt, both from Ibsen and from Grieg, and then we'll go through the nearly 2 hours of incidental music, most of it in a bit of a cursory way (which frankly is perfectly appropriate for Grieg, whose music abounds with naive simplicity and gorgeous tunes), but all the way through we are going to tell the wacky, wonderful, and way-ahead-of-its-time story of Peer Gynt, all through the music that Grieg wrote. On the show today you'll hear some of the most famous music in the world, and then some music that only the most passionate of connoisseurs have encountered. So, in essence, my kind of show. Join us!

It took a lot to make the composer and critic Virgil Thomson happy. He was famous for savaging new works he didn't like, and the truth is, he didn't like very many new works at all. One exception was Bohuslav Martinů's very first symphony, written in 1942. Thomson said this: "The Martinů Symphony is a beaut. It is wholly lovely and doesn't sound like anything else." The story of how this symphony came to be is as fascinating as the music itself, and it's perfectly in keeping with the relentless curiosity of Martinů as a composer. Martinů, a prolific composer who wrote nearly 400 works, had just arrived in the US in 1941 as a refugee from war-torn Czechoslovakia. He was 51 years old and had never written a symphony before. This delay wasn't a case of crushing self-doubt, as it was for Brahms. It was actually a seeming lack of interest in the symphonic genre, which was not unusual at the time. But in 1942, Martinů sent a letter to Serge Koussevitzky, the music director of the Boston Symphony Orchestra and a friend to the dozens of refugee composers who had arrived from Europe during the early days of World War II. Koussevitzky commissioned Martinů to write a large-scale work, and Martinů responded with his First Symphony -- a perfect welcome to his new home, and to the grand adventure he was setting off on in a country he found intimidating, exciting, and full of opportunity. The result is a piece of remarkable contrast, energy, light, and boisterous hope, given the situation back in his homeland. As the sponsor of this episode, Pere Casan Bonet, put it, the symphony is "a pool of energy that makes me feel optimistic even at my lowest points." We'll start today with a quick overview of Martinů's life and work, since he might not be the most familiar composer to you, and then we'll talk our way through this incredible First Symphony. Martinů has always been one of my favorite "underrated" composers, so it's a thrill to get to talk to you about him today. Join us!

In the 1960s, Leonard Bernstein famously helped to popularize the music of a then relatively obscure composer, Gustav Mahler. His work, as well as the work of other conductors, made Mahler into a classical-music household name. Mahler's symphonies are played every year all over the world, and he is firmly ensconced in the so-called canon of standard orchestral repertoire. Would it surprise you to know that Franck's D Minor Symphony once had the same reputation? It was played almost every year by most major orchestras, it was recorded by all the great conductors, and it was a fixture of the canon just like a Brahms symphony. Nowadays you would be lucky if, outside of France and Belgium, you hear Franck's Symphony once every five years, if that. The truth is that, other than a short golden period for this symphony, it has either been controversial (around the time it was premiered) or ignored (nowadays), which is a real shame, since it is a glorious piece that I would argue is drastically underrated in our modern world. The symphony was radically innovative for its time, which probably explains some of the more virulent criticism it received, but even though those innovations now sound completely normal to our ears, they are still at the heart of what makes this symphony so profoundly satisfying to listen to. Ahead of my performances of the symphony in Lille this December, I wanted to dive in and explore this unfairly ignored masterpiece. In about 40 minutes of music in three grand movements, Franck pours his soul into this work. That phrase sounds a bit cliché, I know, but I really mean it; there is an earnestness about this music that I find deeply moving, and it is something we will explore together today. We will talk about Franck's late entry into the world of composition, his reputation as an organist, and the challenges he faced in finding acceptance as a composer. Along the way, we will discuss this gorgeous piece in all of its passion and intensity. Join us!

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!