Classical Classroom

The Classical Minds Festival and Competition just took place here in Houston, and though the festival is all about classical guitar, Dr. Tamara McCoy was there on piano. She stopped by the Geary Studio at Houston Public Media to record and teach about Franz Liszt’s Totentanz. As it turns out, the only thing harder than playing the piece was writing it — it took Liszt almost 20 years. Learn all about the piece, the inspiration behind it, and…Steve Holt! Download Tamara McCoy’s performance of the piece (used in this episode and produced by Todd Hulslander) here: Audio production for Classical Classroom by Todd “Totentodd” Hulslander with Lisztomania by Dacia Clay. Many thanks to the awesome Valerie Hartzell for her help in making this episode happen!

  If you’ve never lived through one, David Hanlon’s chamber opera After the Storm is a good place to begin to understand what “hurricane” really means. The opera premiered with Houston Grand Opera‘s HGOco via their Song of Houston initiative this May. In this episode, composer Hanlon talks about conducting research for the opera, which included investigating Galveston’s 1900 Storm, about capturing the awesomeness of a massive hurricane in a chamber opera, and about living through a monster storm himself. Hunker down and gather canned goods before listening.   Music in this episode: Excerpts from David Hanlon’s After the Storm, provided by Houston Grand Opera. “Riders on the Storm,” by the Doors. From L.A Woman. Radio voiceovers in the opera by Houston Public Media’s Carrie Feibel and Michael Hagerty.  Audio production for this episode by Todd “Typhoon Todd” Hulslander with window taping by Dacia Clay. To hear more about After the Storm, check out Amy Bishop’s piece, “New Hurricane Opera Hits Close to Home f

“All I have is a voice.” ― W.H. Auden “I was never particularly fond of my voice.” — David Bowie   Countertenor John Holiday says that he’s never wanted to emulate anyone else’s voice, and that instead, he’s tried to find and be true to his own. And the unique sound that he belts out will make you believe that he alone can produce anything like it. But as it turns out, there’s a whole history behind voices like his. Learn all about the countertenor voice, as well as it’s historical relationship to the castrati in this episode. John also teaches about the opera world’s embrace of gender fluidity for art’s sake throughout the ages.  Audio production by Todd “Tremolo” Hulslander with side eye from Dacia Clay. Music in this episode includes: Skyline Sessions: John Holiday, “Stille amare” by G.F. Handel:   David Daniels, “Ombra mai fu,” Xerxes by Handel:   Alessandro Moreschi, “Ave Maria”:   Ewa Podleś, La Cieca “Voce di donna o d’angelo” from La Gioconda by A. Ponchielli. Marian Anderson & William Primrose, 

Allegedly, as of this posting, there are still about three weeks of spring to go. But in Houston, spring has already died of heat exhaustion. That’s why we decided to bring back this episode about Igor Stravinsky’s Rite of Spring. The episode was originally recording in the fall of 2013. This all totally makes sense. We think. Then again, it’s really hot, so this could be faulty logic. In any case, this is a great episode from the Wayback Machine about an iconic piece of music. Enjoy! Igor Stravinsky’s The Rite of Spring was so revolutionary that its alien sounds literally incited a riot at its premiere. Dr. Ana María Otamendi, Venezuelan pianist and professor at the University of Houston tells us why! And btw, we areaware that it’s Fall. But we don’t even care! Audio production by Todd “Travesty” Hulslander with aspersions cast by Dacia Clay. Music in this episode: Igor Stravinsky’s The Rite of Spring

  British-style brass bands are of the people, for the people, and by the people. They’re made up of unpaid citizens who get together to play classical music just because they love to. They have this crazy working class history that dates back almost 200 years to British industrialization. At competitions, fans express allegiance to their local brass bands with the same passion that they do sports teams. And many of the musicians are one life choice away from being professional players. Robert Walp of the Houston Symphony and the Houston Brass Band explains all about the history and culture of the British-style brass band, and what these bands look like in America today.   Music in this episode (all from the Houston Brass Band’s CD One): Fantasia Brilliante on Rule, Britannia. Thomas Arne/John Hartmann. Pizzicato Polka. Johann & Josef Strauss, arr. by D. Ashmore. Tuba Copper. Gilbert and Sullivan, arr. by S. Roberts. Prelude for an Occasion. Edward Gregson. Audio production for this episode by Todd “

  Ottorino Respighi wasn’t a native of Rome, but he got there as quickly as he could. And then he set to writing lots of music about the place. Conductor Franz Anton Krager and Houston Symphony Principal Trumpet Mark Hughes teach all about Respighi, some of his Roman tone poems, and why he was a master of orchestration. Krager and Hughes will be performing Respighi together at the Texas Music Festival on June 11. It’s going to be fantastico! Music in this episode (all by Ottorino Respighi): “Circenses.” Festa Romane. Oslo Philharmonic Orchestra with Mariss Jansons. EMI 49964. Excerpts from Pines of Rome. Chicago Symphony with Fritz Reiner. RCA 68079. Audio production by Todd “Totally Tubular” Hulslander with “Like, ohmygawd!” by Dacia Clay and editing by Mark DiClaudio. Thanks to Susan Farb Morris for her help with this episode!

We’ve retrieved an episode from the Classical Classroom Wayback Machine for Chamber Music Month! Please, by all means, enjoy. ——————————————- The Grammy-nominated Enso String Quartet puts the “class” in this episode of Classical Classroom. We discuss where string quartets come from, why the instruments in a quartet go together so well, what sets Enso apart from other string quartets, and what it’s like to play live (which apparently sometimes includes hitting yourself in the face and dancing to get away from bees). Music in this episode includes: Franz Joseph Haydn, String Quartet in C Major, Op.76 No.3 Hob. III:77, “Emperor”, Mvt. 1. Allegro & Mvt 2 Poco adagio, cantabile. Performed by the Kodaly Quartet (Naxos, 8.550314) Franz Schubert, Quartet No. 12 in C minor, “Quartett-Satz”. Performed by Enso String Quartet Kurt Stallman, “Following Franz” Richard Strauss, Quartet in A Major, Op. 2: 1. Allegro Audio production by Todd “He-Man” Hulslander with a few carefully-worded complaints from Dacia Clay.

  We are endorsing this Classical Classroom guest — Rodney Waters — to replace the Most Interesting Man in the World, and not just because of his amazing beard. He’s a musician, a humanitarian, a photographer, and he’s currently training to become a Jungian analyst. In this Choose Your Own Adventure episode (listen for details), Rodney first explains Jungian theory, archetypes, myths, and fairy tales, and then walks us through pieces of classical music that exemplify those things. You’ll confront your Shadow Self, experience catharsis, and ultimately find spiritual wholeness just by listening. It’ll be a hoot!   All music in this episode was performed by Rodney Waters (piano) and Judy Dines (flute), and recorded at the Jung Center by Todd Hulslander. Pan. Albert Roussel. “Song to the Moon” from Rusalka. (Antonin Dvorak/Waters) Syrinx. Claude Debussy. Undine Sonata for Flute and Piano. Carl Reinecke. Falling (Twin Peaks theme). Angelo Badalamenti. Audio production by Todd “Trickster” Hulslander with heroic

    We could just as easily have called this episode, Growing Up Beethoven, or Build-A-Beethoven, or Beethoven: From Boy to Boss, but “actualization” is more accurate. As violist Simone Gramaglia of Quartetto di Cremona explains, like any artist we study in hindsight, Beethoven’s creative development has distinct, identifiable periods. Unlike other artists, as he evolved, Beethoven moved increasingly away from rules and conventions, and into something transcendent: a full expression of his own unique creative vision. What I’m trying to say is that Beethoven had a lot in common with Prince.     All music in this episode from Quartetto di Cremona’s Beethoven: Complete String Quartets, including: String quartets Op. 16, 95, and 132 Audio production by Todd “La Dolce Todda” Hulslander with Vespa riding by Dacia Clay and editing by Mark DiClaudio.

Today – that is April 18th 2016 – much of our fair city of Houston is underwater. There was a big scary flood, the power’s out, the roads are lakes, and we, the Classical Classroom team, literally can’t get to the station to access the files we need to post our new episode. We tried to cobble together an ark, but it turns out that’s a whole thing. However! Through sheer grit, determination and the power of the human spirit to use computers, we have unearthed this episode with Todd Reynolds, which we think – nay! – we know you will enjoy. Also, on a serious note, our city is in bad shape and a lot of folks are going to need some help after the floodwaters subside. If you can help, visit the Texas Red Cross Gulf Coast Region website and make a donation. That’s also a good place to go if you are in need of help.   What do we mean when we say “classical music”? Sure, sure: it refers to a period of music, like “Baroque” or “Romantic”. But we largely use the word as a sort of generic brand-name for a specific vari

Hélène Grimaud‘s recent release on Deutsche Grammophon, is a true “concept album.” Flowing with water themed music from the classical repertoire it also bathes us with new musical bridges and transitions from composer and producer, Nitin Sawhney. “What inspired the idea to record this album is really the fascination that so many composers of the 19th and 20th centuries seem to have had with the element of water,” Grimaud states. In this episode, Hélène and Dacia surf through the music selections, and wade through the details of how a project such as this ebbs and flows. They navigate through the process, from a tiny ripple of an idea to a tsunami of musical expression in the final CD release. They also dive into the ecological importance of conservation and Hélène’s goal of streaming awareness for safe, clean water around the world. With all of the good music on this show, you might need a bigger boat! Featuring works by nine composers: Berio’s Wasserklavier and includes Takemitsu’s Rain Tree Sketch II, Fau

While we are cooking up new episodes for your enjoyment, please enjoy this delicious dish from our archives. Don’t miss Avi’s recent in-studio performances at WQXR, btw!  According to Deutsche Grammophonrecording artist Avi Avital, while the bass is not bad, it’s more about that mandolin. Which is also what this whole episode is about! Avi tells all: Where did the mandolin come from? Who composes for it? Why does he advocate for such a strange instrument? And how much did he play that one REM song in high school? Learn all of this and more right here! Audio production by Todd “Terrific” Hulslander with electric slides by Dacia Clay and editing by Mark DiClaudio. Music in this episode: The Music of Brazil / Jacob do Bandolim, Vol. 1 / Recordings 1949 – 1958. “Choro de varanda”. Mike Marshall and Chris Thile: “Fisher’s Hornpipe”. From Into the Cauldron. Hamilton ee Holanda: Choro Caprice for Caprichos. Ludwig van Beethoven: Sonatina for Mandolin and fortepiano in C Major. Diego Fasolis and Duilio Galfetti. Dom

Louis Andriessen is one of the most important contemporary composers you’ve (probably) never heard of. His work isn’t widely played because he’s written many pieces for varieties of ensembles that don’t exist. In fact, specially created ensembles have sprung up because of Andriessen’s pieces, including the famous British ensemble, Icebreaker. Guitarist, composer, and co-founder of Liminal Space Contemporary Music Ensemble, George Heathco, teaches us all about Andriessen and his contributions to the alt classical movement. Or indie classical. Or whatever you wanna call it. Music used in this episode includes: Hoketus  by Louis Andriessen De Materie  by Louis Andriessen (begins with 144 repetitions of same chord) De Staat  by Louis Andriessen Yo Shakespeare  by Michael Gordon Pierced  by David Lang “Bone Chapel” from O Death by Oscar Bettison Audio production from Todd “Twinkles” Hulslander with very marginal oversight from Dacia Clay. PS, One of the images attached to this article is not George Heathco, but

  Happy Bach’s 331st birthday! To celebrate, we had a partita party with violinist Rachel Barton Pine. (What’s a “partita,” you ask? Listen and learn, my friends.) Rachel explains Bach’s sonatas and partitas and what makes them unique, and walks us through several examples from her new album Testament, which she released on March 21st to coincide with Bach’s bday. Also discussed: What Bach means to her personally, and whether one needs to wear a beret when playing French music (spoiler alert: oui). 99% of the music in this episode is from Rachel Barton Pine’s new release,  Testament: Complete Sonatas & Partitas for Solo Violin by J. S. Bach. The other 1% is the producer’s fault.    Audio production by Todd “Partodda” Hulslander with sarabande by Dacia Clay and editing by Mark DiClaudio.

  Nadia Sirota is a busy lady. She’s a violist and recording artist, she’s a member of yMusic, Alarm Will Sound, and ACME (the American Contemporary Music Ensemble), she commissions work from new composers, she collaborates with classical and rock music makers (Missy Mazzoli, Nico Muhly, Jónsi, and Arcade Fire to name a few) and she’s the host and co-producer of Q2 Music’s contemporary classical music podcast, Meet the Composer. In this episode of Classical Classroom, Sirota talks about new classical music, from what to call it (Alt classical? Concert music? Music?) to the people who are making innovative work right now. Hear music so fresh it will make your clothes smell good.    Music in this episode: Clip from Meet the Composer, episode 10 Andrew Norman “Music in Circles” Caroline Shaw “Partita for 8 Voices” Donnacha Dennehy “Gra Agus Bas” Nico Muhly “Drones and piano” Audio production by Todd “Touché” Hulslander with whale song by Dacia Clay and editing by Mark DiClaudio. To learn more, check out Nadia

  Masterpiece’s Downton Abbey came to an end last night after six seasons. In this tell-all exposé, Scottish composer John Lunn talks about his years with the Crawley family, what Lord Grantham really thought of Branson, and his thoughts on Thomas Barrow’s perpetual bad attitude. Okay, okay — not exactly. But Lunn does talk about how he got into writing for TV, how it’s different than writing operas and violin concertos, and about being part of the Downton team for six seasons. Past (and future!) secrets are revealed. All in a lovely Scottish accent.     All music in this episode (except for the Bach) from the CD, Downton Abbey: The Ultimate Collection: Prelude & Fugue No. 24 in B Minor BWV 893. JS Bach. Angela Hewitt.   The Suite Such Good Luck Escapades End of An Era Audio production for this episode by Todd “Lord of Toddington” Hulslander with pregnant pauses by Dacia Clay and assistance from Mark DiClaudio. Learn more about John Lunn here. For more about Downton Abbey, go here. 

  Classical music renaissance man, Hugh Sung Hugh Sung is a modern classical music renaissance man: He’s a podcaster, a techie, a pianist who’s collaborated with people like Jennifer Higdon and Hillary Hahn, an author, an inventor, a former Curtis Institute Professor who now teaches online. Sung has crafted a life — and a career — that keeps him close to his passion and that constantly engages his busy mind. In this MusicWorks episode, learn how and why Hugh does it, and be inspired to create your own Musical Life. Music in this episode: Myths Op.30: I. The Fountain Of Arethusa. Karol Szymanowski. Performed by Aaron Rosand with Hugh Sung.  Man of Steel. Hugh Sung Capriccio-Waltz In E Major Op.7. Henryk Wieniawski. Performed by Aaron Rosand with Hugh Sung. Four Souvenirs: Samba. Paul Schoenfield. Performed by Jasmine Choi and Hugh Sung.   Audio production by Todd “Mind Like a Steel Trap” Hulslander with x-ray vision by Dacia Clay and editing by Mark DiClaudio. To hear Dacia Clay’s interview on Hugh’s podc

Beyond Pluck is a harp duo, comprised of Paula Bressman and Rachel Miller. In addition to the classical repertoire, they also like arranging pop songs for the harp, working with scientists and artists, touring clubs as well as concert halls, and long walks on the beach. In this episode, Paula and Rachel talk about the history of the harp and how it works, its repertoire, conjuring fairies, and why anyone would want to play something so ginormous. They also perform, illustrating the range of the harp, from Bach to Rihanna. That’s right: we found harp in a harpless place.   All music in this episode played by Beyond Pluck. Audio production by Todd “Tragically Hip” Hulslander with cagey responses by Dacia Clay and editing by Mark DiClaudio.

In honor of Presidents Day, we are rerunning not one, but TWO very presidential episodes of Classical Classroom. Originally, our discussion with AFA’s ‎executive and artistic director Michael Remson was so epic — spanning John Adams’ entire Nixon in China opera — that we divided it into two episodes. For your listening pleasure, we’ve merged the two episodes into one here. So, go get some apple pie, your whittling tools, and a glass of whiskey (this is how we imagine you listen to all Classical Classroom episodes) and settle in. In the first part of our conversation with composer, author, educator, and executive director of the American Festival for the Arts, Dr. Michael Remson, we cover Act 1 of Nixon in China:  world history, music history, and singing politicians. In Act 2, we meet the ladies. You don’t want to miss Mme. Mao yelling, opera-style. Richard Nixon playing piano in Beverly Hills, Calif., 1962 Audio production by Todd “The Toddler” Hulslander, with management oversight by Mr. Torey Malatia. JK

  Start your Valentine’s Day week with cellist Alisa Weilerstein’s introduction to the music of Sergey Rachmaninov. Who was this romantic man, and what makes him different from all the other guys – I mean, composers? Weilerstein walks us through Rachmaninov’s Sonata in G Minor for Cello and Piano. Plus, she talks about her musical relationship with performing partner, pianist Inon Barnatan, and what it’s like to be part of a long-term creative duo.   \ Music in this episode is all from Weilerstein and Barnatan’s CD, Chopin and Rachmaninov Cello Sonatas: Sonata in G Minor for Cello and Piano, Opus 19. Sergey Rachmaninov. Audio production by Todd “Toight like a toiger” Hulslander with grrrr aargh’s from Dacia Clay and editing by Mark DiClaudio. If you enjoyed this episode with Alisa Weilerstein, check out her other Classical Classroom episode – all about the Aspen Music Festival and playing solo cello.