Classical Classroom

It’s Classical Classroom’s first field trip! We go to the studio of Early Music expert and musician, Matthew Dirst – home to the professor’s lovely harpsichord. Matthew transports us to a long time ago in a galaxy far, far away, when there was a harpsichord in (almost) every home. He also tells us what’s going on in Harpsichordia now, and what may be to come. Audio production by Todd “Tickling the Ivories” Hulslander, with backup dancing by Dacia Clay. Music in this episode: – Music of the Hydraulis: www.youtube.com/watch?v=atT7Tjpn5js – Harpsichord Prelude and Fugue in C major, BWV846, by J.S. Bach, performed by Ton Koopman – Concerto for Harpsichord, Flute, Oboe, Clarinet, Violin, and Cello by Manuel de Falla – Les Citations Diptych for Oboe, Harpsichord, Double bass , and Percussion by Henri Dutilleux – Domenico Scarlatti For more about Matthew Dirst and Ars Lyrica: www.arslyricahouston.org

You’re at a classical music concert. The music stops and the crowd goes wild! Wait. No. Only YOU are going wild. And everyone is staring at you. You sink down low in your seat and hide… Don’t let this happen to you! Listen to this enlightening episode of Classical Classroom with MusicLab intern Zoe Miller to find out when it is and isn’t a good idea to clap, and why. Learn about the movements of a symphony and how to tell where you are in a performance. Yaaaay! Audio production by Todd “Tiberius” Hulslander with overzealous applause by Dacia Clay. Music in this episode: – Symphony No. 6, Op. 74 (Pathetique), mvmts 3 & 4, by Peter Tchaikovsky – Symphony No. 3 in F major, Op. 90 by Johannes Brahms – Music from Richard Wagner’s “Parsifal” – Violin Concerto No. 3 in E major by Niccolò Paganini – Bugs Bunny as Leopold Stokowski

We put on our pith helmets, grab our binoculars, and train our compasses south for this Classical Classroom expedition to Brazil and Argentina. Pianist and educator Tali Morgulis talks about composers Villa-Lobos, Ginastera, Prado, and Piazzolla, how the classical music of South America differs from that of Europe, and…the tango! Audio production by Todd “Tango” Hulslander, with nuevo by Dacia Clay. All music used in this episode comes from the CD Archipelago of Light by Tali Morgulis: – Sonata No. 1, Op. 22 by Alberto Ginastera – Children’s Carnival by Heitor Villa-Lobos – Tango Suite by Astor Piazzolla – Islands by Almeida Prado For more about Tali Morgulis: www.tali.morgulis.net

In this special 4th of July edition of Classical Classroom Research Presentations, Dacia ponders why Americans listen to Russian music on their Independence Day. She uncovers the [not really that] secret history of how one man and his love of pyrotechnics made Tchaikovsky’s 1812 Overture the theme music for America’s most patriotic celebration. Written, produced, and otherwise manhandled by Dacia Clay. Music used in this episode includes: – Pyotr Tchaikovsky’s 1812 Overture, Boston Pops Orchestra, RCA 63516 References: For information on David Mugar, Arthur Fiedler, and the Boston Pops Orchestra, click here and here. For information about Tchaikovsky’s 1812 Overture, click here. Photograph: Bettmann/Corbis

Ravel’s Boléro. Next to most of the soundtrack to Koyaanisqatsi, it’s possibly the most repetitive piece of music ever written, amiright (respect, Philip Glass)? As it turns out, I am wrong, so wrong. In fact, Boléro is a piece built entirely around change. Howard Pollack, professor at Moores School of Music, author, lecturer, and guest on BBC specials and NPR shows like Morning Edition and Fresh Air, is our tour guide through this amazing piece of music by a very subtle and sneaky composer. Audio production by Todd “Treble Clef” Hulslander with bass clef by Dacia Clay. Music in this episode: “Dance of the Sugar Plum Fairy” from The Nutcracker Suite by Pyotr Ilyich Tchaikovsky Boléro by Maurice Ravel as performed by Orchestre Symphonique de Montréal, conducted by Charles Dutoit For more about Howard Pollack: www.uh.edu  

Franz Schubert was a man on a mission, distracted from composing music by neither the praise of Beethoven, nor the prospect of his own death. But the dude still had to pay the rent. Internationally acclaimed classical pianist, music teacher, and performer Clive Swansbourne explains what “impromptus” were, and how Schubert took them to the next level with the power of the pinky finger. Audio production by Todd “Drop It Like It’s Todd” Hulslander with backup dancing by Dacia Clay. Music used in this episode: Impromptu No. 3 in G Flat Major, D. 899 (Op. 90) by Franz Schubert played by… Clive Swansbourne and Vladimir Horowitz Impromptu by Jan Václav VoÅ™íšek For more about Clive Swansbourne: www.cliveswansbourne.com

How did classical guitar – and therefore, all guitar as we know it – almost become extinct? Who was the hero who saved it from the brink of doom? Why aren’t guitars an orchestral instrument? And why are guitarists nails so shiny? Classical guitarist Valerie Hartzell – member of the Presti Trio and director of the Classical Minds Guitar Institute – answers all of these burning questions and more in the big 5-0 episode of Classical Classroom. Audio production by Todd “Terrific” Hulslander with “helpful” input from Dacia Clay. Music in this episode: – Oud music by Said Chraibi – Spanish guitar in the Renaissance and Baroque by José Miguel Moreno – “Be M’An Perdut, chanson de troubadour” by Bernart De Ventadorn (c.1140-c.1200) – Recuerdos de la Alhambra by Francisco Tarrega, from Ex Tenebris…Lux, performed by Valerie Hartzell – Danzas Gitanas, Op. 55: I. Zambra by Joaquin Turina from the self-titled CD by Presti Trio For more about Valerie Hartzell: www.valeriehartzell.com For information about the Classical Mind

How are the Black Keys and Beethoven alike? They both had the low-down dirty blues. JK! They both compose(d) music for two instruments! You’ve heard his symphonies. Now hear cellist Norman Fischer – of the Fischer Duo, the Concord String Quartet, and Rice University’s Shepherd School of Music – talk about Beethoven’s chamber works for cello and piano. Why did Beethoven create music for a new, tiny arrangement of instruments? Did he do it for the dolla dolla billz? Did he do it to impress a king? Find out in this episode of Classical Classroom! Audio production for this episode by Todd “Tiddlywinks” Hulslander with no production help whatsoever from that lazy nogoodnik Dacia Clay. All music in this episode performed by the Fischer Duo, and most of this comes from the Fischer Duo’s new CD, “Beethoven: Cello and Piano Complete“.

Since it’s the end of National Chamber Music Month, we thought it would be fitting to give you a taste of our upcoming episode, featuring Norman Fischer. Norman plays cello in the Fischer Duo, and is on the Board of Directors at Chamber Music America, the group who invented National Chamber Music Month. The full episode will be coming your way Monday, June 2nd! Audio production by Todd “Totaled Todd” Hulslander with catering by Dacia Clay. Music in this preview: – Sonata in A Major, Op. 69 by Ludwig van Beethoven, from The Fischer Duo’s CD “Beethoven: Cello and Piano Complete” For more about the Fischer Duo: www.music.rice.edu/facultybios/fischerduo.shtml PS, We’re on Stitcher Radio now!

Take in tenor types with two of the Texas Tenors. How, exactly, does one know that he is a “light lyric tenor,” or a “Spinto tenor,” or a “dramatic tenor”? Is there like, a Tenor Task Team? Two members of the Texas Tenors – JC Fisher and John Hagen – teach the types of tenor to us. We also learn about “classical crossover” music and why it is a gateway drug, turning innocent classical music newbies into addicts by the thousands. By the way, if you like this episode, check out the Texas Tenors on Houston Public Media TV 8 Monday August 7, 2017 (local PBS show times here). Music in this episode: “La donna è mobile”, by The Three Tenors, from the Three Tenors in Concert, Los Angeles (1994) “Celeste Aida”, by Giuseppe Verdi, performed by Giuseppe Giacomini Tosca, by Giacomo Puccini, performed by Luciano Pavarotti (James Levine on piano) Otello, by Giuseppe Verdi, performed by Placido Domingo “Principe più non se” from La Cenerentola by Gioachino Rossini, performed by Juan Diego Florez with Los Angeles Philharmon

Dacia Clay is either presenting a case to the Supreme Court or having a pint in Adams Morgan, I can’t remember which. Anyway, she has not shown up to work, so we are going to re-run a previous show about chamber music. What’s that? It is National Chamber Music Month? Well now, that just works out, doesn’t it? Enjoy…  –Todd Chamber music, performing live as a group, and how movement informs music! In this episode, WindSync wind quintet talk about all of those things and about life as a touring group. Hotel rooms are trashed (okay, not really)! Miley Cyrus is discussed (very probably)! WindSync gets schooled by tango (definitely)! Audio production by Todd “Ermahgerd” Hulslander with “help” from Dacia Clay. For more about WindSync, go to www.windsync.org.  For more about Classical Classroom, go to www.classical917.org/classroom. Love our shows? Show us by donating a few bucks here: bit.ly/UQweya. Donations contribute directly to your own continued audio happiness! Music in this episode includes performances by W

Learn 100% more about the tuba in this episode than you’ve ever known! Norwegian tuba soloist and chamber musician Øystein Baadsvik is the only tuba virtuoso in the world to make a career exclusively as a soloist. He is also the only tuba player in the world to have a great story about touring with a punk band. He joins us all the way from Norway to tell us about this shadowy instrument: its size, its repertoire, and its fnugg. Audio production by Todd “Tall Texan” Hulslander with slings and arrows by Dacia Clay. Music in this episode: – Bass Tuba Concerto in F Minor, 1st mvmt, by Ralph Vaughn Williams. Performed by Øystein Baadsvik. – Concerto for Tuba and Orchestra 1st mvmt, by John Williams. Performed by Øystein Baadsvik. – Fnugg from The Front Row – Reserved (a Houston Public Media compilation CD). Performed by Øystein Baadsvik. – Fnugg from YouTube video – Blood Sweat and Tears tuba solo from YouTube video – The Cod Lovers – Encounters II for solo tuba, performed by Roger Bobo – Csárdás by Vittorio Monti

May is National Chamber Music Month! Oh, what? You’re not excited? Maybe that’s because you don’t know exactly what chamber music is yet. Which means you should probably listen to this research presentation to find out more about it. Then you, too, can get excited about a form of music that’s had an effect on everything from symphonies to garage bands. Whoo chamber music!! Audio production by Todd “T Bone” Hulslander with apoplectic paroxysms of approval from Dacia Clay. Music in this research presentation includes: – “(Nothing But) Flowers” performed by David Byrne, Ethel, and Thomas Dolby – “I Wanna Be Sedated” from Road to Ruin by the Ramones – “New England Journey” by Brad Sayles – February: Scherzo from Das Jahr by Fanny Mendelssohn-Hensel, played by Sarah Rothenberg – “Cuckolds All A-row” from the Art of the Bawdy Song by the Baltimore Consort – “Joyne Hands” by Thomas Morley played by the Baltimore Consort – Quartet No. 62 in C major (“Emperor” or “Kaiser”), Op. 76, No. 3, FHE No. 42, Hoboken No. III:7

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 variety of sound. In this episode of Classical Classroom, genre-ignoring violinist Todd Reynolds attempts to define classical music. Does he succeed? Does he give up and just start talking about Prince instead? Maybe and maybe! Listen to this episode to find out. Audio production by Todd “Timbalander” Hulslander with at least 3 really good suggestions from Dacia Clay. Music in this episode: – Third Construction by John Cage – Composition for Four Instruments by Milton Babbitt – “Pulses” from Music for 18 Musicians by Steve Reich – Symphony No. 41 (the “Jupiter Symphony”), Molto Allegro by Wolfgang Amadeus Mozart – “Happy” from G I R L by Pharrell Williams – “Let’s Go Crazy” from Purple Rain by Prince and the Revolution – “Crossroads” and “Taskforce: Farmlab” from Outerborough by Todd Reynolds – Fantasia in G Major, B

    That’s not a violin – it’s a woodbox! Daniel Bernard Roumain talks about creative appropriation in classical music. The Haitian-American composer’s creative world was cracked open when he realized that everything – including the definition of “violin” – was ripe for reinterpretation. As a kid in garage bands, he took the decidedly uncool violin and made it his own. As a classically trained musician, he brings classical music together with hip hop, rock, bluegrass, and other genres to create his signature sound. We talk about DBR’s creative journey and about how innovators like John Cage have changed classical music by adding an important ingredient to the genre: imagination. Audio production by Todd “T-Dawg” Hulslander with super disco breaking by Dacia Clay. Music in this episode: Lots of woodbox improvisation by Daniel Bernard Roumain “Sonata No. 2” from Sonatas and Interludes for Prepared Pianoby John Cage, played by Boris Berman “Sonata for Violin and Turntables, Part 1” from Woodbox Beats & Ba

The bass: classical music’s strange, lonesome hero. In this episode, bassist and composer Michael Kurth gives us a glimpse into the Bizarro World of bass players. Then, he talks about why he started composing, and what inspires him – including the Pixies and ring tones. Listen, if you dare! Audio production by Todd “Toasty” Hulslander with happy whistles, clicks, and beeps from Dacia Clay. Music in this episode includes: – Music from Michael Kurth’s website: www.reverbnation.com/michaelkurth – “Wave of Mutilation” from Doolittle by the Pixies

  Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient piece is given new life by each new musician who plays it. Rachel Barton Pine, classical violinist, and member of the metal band Earthen Grave, has played with orchestras all over the world, and under the baton of many renowned conductors. But in this episode of the Classical Classroom, she comes back to a piece – over, and over, and over, and over – studied by every young violin player. Rachel shows us how Mendelssohn’s Violin Concerto in E Minor has been interpreted by violinists across history and cultures, and how this ebullient pie

Coming at you this Friday, Rachel Barton Pine teaches all about the many different sounds of Mendelssohn’s Violin Concerto in E Minor. Hear how violinists have interpreted the piece over the years, and learn why Rachel was dressed like a cowgirl. 

It’s Women’s History Month up in the Classroom! Houston Public Media’s own Amy Bishop (see also, Episode 9: Tone Poems) teaches us all about female classical music composers, from the millennia-old ethereal sounds of Hildegard von Bingen, to the contemporary works of Jennifer Higdon. Why have so many women composed classical music but so few have become household names (yet)? We jiu jitsu that question and others in this episode! Audio production by Todd “von Toddgen” Hulslander with double-plus masterful editorial decisions by Dacia Clay. Music in this episode: – Hildegard von Bingen: Caritas Abundat in Omnia (Love Abounds All) – Clara Schumann: Piano Concerto in a minor, Opus 7 (first movement) – Jennifer Higdon: Blue Cathedral For more about Classical Classroom, go to www.houstonpublicmedia.org/classroom. For more about Women’s History Month, go to www.womenshistorymonth.gov.

Pattern preludes are enigmas inside of conundrums wrapped in a warm flour tortilla. No – wait. That’s not right… Pattern preludes, according to composer Karim Al-Zand’s website, are, “…pieces constrained by a single idea (usually a rhythmic or textural ostinato) through which a composer expresses a narrowly focused thought. Patterning is especially well-suited to preludes, which are by convention short, concise and introductory.” Bach, Chopin, Debussy, and others wrote pattern preludes. These little pieces function as a tool by which classical music newbies can get to know a composer’s style. Learn aaall about them in this episode! Audio production by Todd “Titters” Hulslander with almost zero production input from Dacia Clay. Music in this episode: Bach’s Well Tempered Clavier C major prelude book 1 Chopin’s C major Etude, Op 10, No.1, played by Vladimir Ashkenazy Chopin/Bach, played by Kana Mimaki Al-Zand Pattern Prelude No. 1 (after Bach), played by DiLiberto Schumann Album Leaves Op. 124, No. 17, played