Five hundred years of incredible music. No expertise is necessary. All you need are ears. If you’ve ever been even slightly curious about classical music then t...
Mini-episode: Why is some Classical Music so damn long?
There’s a string quartet written by the American composer Morton Feldman in the 1980s that is about 6 hours long. ‘Einstein on the Beach’, the opera by Phillip Glass and Robert Wilson, is about five hours long and is performed without an interval. There is of course plenty of classical music that is well under these eye-watering durations. A Vivaldi concerto can be over in ten minutes… Samuel Barber’s ‘Fanfare for the Common Man’ is under four minutes and most Chopin Nocturnes are three to five minutes long. But there is still a perception and an understandable one… that classical music is long. And it is a quick leap to the conclusion that it is too long. Well, there might be another way of looking at it.
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14:49
Night… Classical music after the sun has set.
This episode of Classical For Everyone is all about Night.. music that evokes the night… that captures the different moods of nighttime, and music written to be performed at night. Night in the Gardens of Spain, Moonlight over the Suffolk Coast, Midnight in a Chapel, Goblins in the bedroom, a walk in a deep, dark forest at night… a Nocturne… and a little night music. Sixty minutes of music by Manuel De Falla, Frederic Chopin, Benjamin Britten, Marc-Antione Charpentier, Maurice Ravel, Arnold Schoenberg and Wolfgang Amadeus Mozart.
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1:02:51
An Introduction to the Podcast… with a little music.
Maybe the place to start... An eight-minute overview of the podcast including some unfairly brief excerpts from music by Ludwig van Beethoven, Dmitri Shostakovich, Johann Sebastian Bach, John Adams, Wolfgang Amadeus Mozart, George Gershwin and Ross Edwards.
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8:22
Mini-episode: Why does the word 'sonata' keep turning up?
If you're exploring classical music, you'll bump into the term 'sonata' everywhere - piano sonatas, violin sonatas, trio sonatas… even sonata-form. This mini-episode untangles the many meanings of this surprisingly variable word, from its simple origins in Italian to its complex modern uses. And suggests perhaps why composers keep using it when they want you to really listen.
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12:44
The Sea… When composers face the deep.
Composers have drawn inspiration from the sea for centuries but only with the rise of the larger orchestras of the nineteenth century did they get the palate needed to create fully persuasive depictions of it. So, apart from one piece for solo piano, major orchestral works are what you will hear in this episode... ‘The Sea and Sinbad’s Ship’ from Nicolai Rimsky-Korsakov’s ‘Sheherazade’ an unfairly short interlude from Benjamin Britten’s opera ‘Peter Grimes’, the overture to Richard Wagner’s ‘The Flying Dutchman’, Claude Debussy’s ‘The Sunken Cathedral’, New Zealander Gareth Farr’s massive ‘From the Depths sound the Great Sea Gongs’ and more Debussy… ‘Games of the Waves’ from ‘La Mer’ or ‘The Sea’.
Five hundred years of incredible music. No expertise is necessary. All you need are ears. If you’ve ever been even slightly curious about classical music then this is the podcast for you.
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