On this CSO broadcast, Riccardo Muti leads Mozart’s Overture to The Marriage of Figaro and Mozart’s Piano Concerto No. 20 featuring soloist Mitsuko Uchida. The broadcast continues with a 1996 recording of Varèse’s Déserts conducted by Pierre Boulez. Rounding out the program, Riccardo Muti conducts Stravinsky’s Divertimento, Suite from The Fairy’s Kiss and Suite from The Firebird.
On this Chicago Symphony Orchestra broadcast, Kirill Karabits leads Mendelssohn’s Piano Concerto No. 1 and Capriccio brillant for Piano and Orchestra, both featuring pianist Sunwook Kim. The program also includes Prokofiev’s Overture on Hebrew Themes, Lutosławski’s Concerto for Orchestra, and concludes with a 1978 Deutsche Grammophon recording of Schubert’s Unfinished Symphony led by CSO principal guest conductor Carlo Maria Giulini.
Prokofiev Overture on Hebrew Themes, Op. 34b Mendelssohn Piano Concerto No. 1 in G Minor, Op. 25 Mendelssohn Capriccio brillant in B Minor for Piano and Orchestra, Op. 22 Beethoven Adagio cantabile (second movement) from Piano Sonata No. 8 in C Minor, Op. 13 (Pathétique) Sunwook Kim, piano Lutosławski Concerto for Orchestra Kirill Karabits, conductor Originally recorded at concerts in October 2019
Schubert Symphony No. 8 in B Minor, D. 758 (Unfinished) Carlo Maria Giulini, conductor DGG 1978
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The program opens with Sergei Prokofiev’s Overture on Hebrew Themes a work that comes from the busy year of 1919, when the Russian composer was living in New York City, giving recitals and struggling to complete his opera The Love for Three Oranges for the Chicago Opera.
That fall, Prokofiev bumped into some classmates from the St. Petersburg Conservatory. They had formed a chamber group called the Zimro Ensemble, comprised of a clarinet, strings and piano, and named for the Hebrew word for “singing.” They were in New York to raise money for a new conservatory in Jerusalem.
The musicians handed Prokofiev a notebook of traditional Jewish themes and asked if he’d write them a piece. He initially declined their request but kept the notebook as a gesture. Then, one evening, Prokofiev sat down at the piano, opened the book and began improvising accompaniments to the melodies. He was so enthralled by music that within two days he’d sketched out the Overture on Hebrew Themes. The Zimro Ensemble introduced it at a New York recital in January 1920.
The program also features Mendelssohn’s First Piano Concerto, a work that stemmed from a trip to Italy in 1830, and which seems to have been inspired by a young woman he met along the way named Delphine von Schauroth. This performance features Sunwook Kim, a 2006 winner of the Leeds Piano Competition.
And not to be missed is Lutoslawski’s Concerto for Orchestra. This remains one of his most popular works, and highlights his strengths as an orchestrator and a champion of Polish identity.
Listen to the full show above. This program will be available until April 19, 2023.
Alsop also conducts Rachmaninoff’s Second Symphony, a large, brooding and ultimately triumphant score. Plus: a look at how Brahms used German drinking songs in his Academic Festival Overture. Listen here:
Brahms Academic Festival Overture, Op. 80 Sibelius Violin Concerto in D Minor, Op. 47 Hilary Hahn, violin Rachmaninov Symphony No. 2 in E Minor, Op. 27
Marin Alsop, conductor Originally recorded at concerts in May 2019
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Jean Sibelius was 14 when he took up the violin. He wrote in his diary that, for the next decade, it was his “overriding ambition to become a great virtuoso.” But Sibelius never developed much skill on the instrument, hampered by a late start and by a lack of high-caliber teachers in Finland. Some listeners hear his Violin Concerto as a kind of wistful farewell to that childhood dream. Hahn says that she’s been performing this work for some 25 years. She hears an inner struggle below the work’s soaring and brilliant surfaces.
“I wonder sometimes, because Sibelius had such a connection with the violin — he played it, he wanted to be a professional, and wound up composing instead,” Hahn says. “He didn’t write that many pieces that featured the violin besides this concerto. There’s a feeling I have that he is struggling against the instrument but in a way that only someone who knows the instrument very well can tow that line.”
Listen to the full show above. This program will be available until August 25, 2021.
Program notes for Brahms’s Academic Festival Overture, Sibelius’s Violin Concerto, and Rachmaninov’s Symphony No. 2 are here.
On this Chicago Symphony Orchestra broadcast, Riccardo Muti leads the CSO and Chorus in the Rossini Stabat mater, one of the composer’s most stirring and evocative scores. The program also includes Mozart’s Kyrie in D Minor and Cherubini’s Chant sur la mort de Joseph Haydn.
More about this program:
Mozart: Kyrie in D minor is a seven-minute shot of intense, somber emotions, written for chorus and orchestra. And we have no idea how it came to be. The composer never mentioned it in his letters. There were evidently no reviews of the piece, and it’s nowhere to be found in a catalog of works that Mozart kept. The score was published after his death but the manuscript has long been missing. Listen above to learn more about its genesis.
Cherubini: Chant sur la mort de Joseph Haydn In 1805, Luigi Cherubini received a commission to write a funeral cantata for Joseph Haydn. Cherubini was a big fan of Haydn: The two composers were fellow freemasons, and they’d met earlier that year when the Frenchman presented his colleague with an honorary diploma from the Paris Conservatory. So Cherubini got to work, setting verses from a French poem about the death of a swan on the banks of the Danube. He called his cantata Chant sur la mort de Joseph Haydn — dirge on the death of Joseph Haydn. But there was one problem: Haydn wasn’t dead yet.
Rossini: Stabat Mater After composing 39 operas, many phenomenally successful, Gioachino Rossini surprised the music world by announcing his retirement. He was just 37. But just as he was settling into a comfortable life as a foodie and bon vivant, he accepted a new commission. During a trip to Madrid, a Spanish cleric asked him to compose a setting of the Stabat Mater, the 13th century Latin poem about the Virgin Mary grieving at the cross of Jesus.
MozartKyrie in D Minor, K. 341 Chicago Symphony Chorus Duain Wolfe, director
Cherubini Chant sur la mort de Joseph Haydn Krassimira Stoyanova, soprano Dmitry Korchak, tenor Enea Scala, tenor Chicago Symphony Chorus Duain Wolfe, director
RossiniStabat mater Krassimira Stoyanova, soprano Ekaterina Gubanova, mezzo-soprano Dmitry Korchak, tenor Eric Owens, bass Chicago Symphony Chorus Duain Wolfe, director
Riccardo Muti, conductor Originally recorded at concerts in June 2018
Rossini Overture to William Tell Riccardo Muti, conductor Originally recorded at concerts in September 2017
Few composers of the 19th and early 20th centuries could evoke loneliness and solitude like Jean Sibelius. But his First Symphony contains far more: undercurrents of Finnish nationalism, hints of folk dances, and a stirring, Tchaikovskian passion. Finnish conductor John Storgårds makes his Chicago Symphony Orchestra debut in this concert leading his fellow countryman’s youthful and imaginative First.Continue reading “Chicago Symphony: John Storgårds Conducts Sibelius and Mendelssohn”
On this Chicago Symphony Orchestra broadcast, Susanna Mälkki and Branford Marsalis team up for a program with jazz and Spanish inspiration. The program also features the world premiere of the CSO commissioned work, Proceed, Moon, composed by Melinda Wagner. Concluding the program is one of Claude Debussy’s most popular works, Preludeto The Afternoon of a Faun, conducted by Cristian Măcelaru. Listen to the full show:
In a colossal career spanning more than 60 years, Igor Stravinsky was constantly reinventing himself with kaleidoscopic shifts in style. Along the way, the Russian composer forged key professional ties. In this program from the Chicago Symphony Orchestra, we hear three works linked to the CSO. Charles Dutoit conducts the Symphony in C, which Stravinsky wrote for the orchestra’s fiftieth anniversary.
We also hear The Firebird, which Stravinsky led in his CSO conducting debut in 1925, and to begin, the incendiary Fireworks. As a bonus, the program concludes with Esa-Pekka Salonen leading the CSO in a performance of Bartók’s Suite from The Miraculous Mandarin.
Stravinsky Fireworks, Op. 4
Stravinsky Symphony in C
Moderato alla breve
Tempo guisto alla breve
Stravinsky The Firebird
From performances in May 2016.
Bartók Suite from The Miraculous Mandarin, Op. 19
Esa-Pekka Salonen, conductor
From performances in April 2014. Photo: Charles Dutoit conducts the Chicago Symphony Orchestra (CSO).
Kirill Gerstein came to the WQXR performance studio to show why he believes history has embraced the “wrong” version of Tchaikovsky’s Piano Concerto No. 1. The Russian pianist had recently issued the world premiere recording of the concerto’s 1879 version.
As he discusses in this excerpt, the biggest difference between the 1879 and the more familiar 1894 version could be heard in the opening piano chords. Usually hammered out by hands crashing from a great height in three distinct registers, in the earlier, 1879 version, they were actually “rolled” sonorously, with an almost harp-like effect. Listen to this clip and read the full article.
While in the studio, Gerstein also gave a performance of Liszt’s Transcendental Etude No. 12 (Video: Kim Nowacki; Audio: Irene Trudel).
The Metropolitan Opera made news with its decision not to put darkening makeup on the face of the tenor singing the lead role in Otello, its 2015 opening-night production. Numerous newspaper articles followed. But largely absent from the discussion were the people with arguably the closest perspective on the issue: singers of color.
In this edition of WQXR’s Conducting Business podcast, we explored the issue with two African-American opera singers and one scholar who has written about portrayals of race in opera.
Joining host Naomi Lewin are:
• Lawrence Brownlee, who is one of today’s most in-demand tenors, and who frequently appears at the Met.
• Naomi André, co-editor of the book Blackness in Opera and a professor at the University of Michigan.
• Vinson Cole, a tenor who has sung with many of the world’s leading opera companies and orchestras over three decades.