Performance Today®

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.

The Los Angeles Guitar Quartet visits the PT studios.

The first musical instruments, back in the caveman days, were percussion instruments. Discarded bones, hollow logs covered with animal skins. A battery of noisemakers designed to instill fear in one's enemies and keep evil spirits at bay. Today, we'll meet a percussion instrument that would have fit right in in those early times, the lion's roar. Jerry Junkin and the Dallas Wind Symphony put the lion's roar to good use in a set of Renaissance dances. Plus, a couple of woodland sketches and one of the greatest musical sunrises ever, the opening of Edvard Grieg's Peer Gynt Suite.