Like a seasoned antique hunter with a nose for overlooked gems, conductor JoAnn Falletta has a real knack for bringing hidden treasures to light. In today's show, Falletta leads the Buffalo Philharmonic in Franz Schreker's "Prelude to a Drama." Schreker is largely forgotten today, but was an important opera composer in the early 20th century. Schreker's "Prelude to a Drama" comes from his opera "The Marked Ones."
When you think of three instruments that just naturally belong together, it's not likely your first thought would be banjo, string bass, and tabla (Indian drums). Banjoist Bela Fleck, bassist Edgar Meyer, and tabla player Zakir Hussain come from very different musical backgrounds, but they've formed a unique and compelling trio that is capturing the attention of music lovers. PT's Fred Child hosted a live event recently in Miami, featuring interviews and performances by Fleck, Meyer, and Hussain. We'll hear highlights on today's show.
Live performance with Bela Fleck, Edgar Meyer and Zakir Hussain
There's a new movie opening this weekend. It's called "A Late Quartet," the story of a string quartet that's been together for 25 years. The movie does a good job portraying the very close, and sometimes very messy, relationships that develop when a quartet plays together for 25 years. Jealousy, passion, conflict, boredom. In the final scene, we see them on stage playing Beethoven's Op. 131 quartet. You can hear some of the beautiful intimacy and beautiful messiness of the human condition in Beethoven's music. The film's stars, including Christopher Walken and Philip Seymour Hoffman, do a passable job of pretending to play instruments. Today, we'll hear the real musicians who recorded soundtrack of "A Late Quartet," the Brentano Quartet.
Perhaps no other instrument has as many facets as the guitar. It's part of nearly every culture and sub-culture in the world. John Dearman, one of the members of the Los Angeles Guitar Quartet, says that's the key to its success. He says, "The way to make classical guitar work is to exploit the diversity." John Dearman and the other members of the LAGQ will be in the PT studios today, following their own advice, exploiting the diversity of the guitar. We'll hear them in everything from 17th century Spain to modern-day jazz.
When he was a teenager in the early 1920s, Dmitri Shostakovich played piano in movie theaters for silent films. A few years later, he wrote a Piano Concerto that in places almost sounds like music he might have riffed for a Charlie Chaplin comedy. It's the rollicking, jazz-inflected Piano Concerto No. 1 by Shostakovich. We'll hear a powerhouse performance by Olga Kern (pictured) and the Nashville Symphony.
Times were desperate in the Soviet Union in 1944. World War II was raging. Millions died from injuries, disease, and starvation. And somehow, in spite of that (or perhaps because of it), Sergei Prokofiev managed to write a symphony that he dedicated "to the nobility of the human spirit." He later confessed that it surprised even him. He said, "I can't say I chose the music. It was born deep inside me, matured within me, and clamored for expression." Today, as much of the country struggles to recover from Hurricane Sandy, we'll hear Alan Gilbert and the New York Philharmonic in a performance of Prokofiev's Fifth Symphony, from a concert earlier this year.
When the 23-year-old Hector Berlioz saw a production of Shakespeare's Hamlet, he fell truly-madly-deeply in love with the actress who played Ophelia. He sent her passionate letters, which she ignored as the ravings of a crazed fan. So Berlioz wrote a bizarre symphony that told the story of their torrid (and completely imaginary) relationship, complete with betrayal, murder, and a descent into the underworld. For today's Halloween show, highlights from the Symphonie Fantastique by Hector Berlioz, from the 2012 Aspen Festival.
Perhaps no other instrument has as many facets as the guitar. It's part of nearly every culture and sub-culture in the world. John Dearman, one of the members of the Los Angeles Guitar Quartet, says that's the key to its success. He says, "The way to make classical guitar work is to exploit the diversity." John Dearman and the other members of the LAGQ will be in the PT studios today, following their own advice, exploiting the diversity of the guitar. We'll hear them in everything from 17th century Spain to modern-day jazz.
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