Classical Classroom

Classical Classroom is finally coming back. Dacia Clay will be asking even more, even dumber questions about classical music to really smart people like Joshua Bell, Sharon Isbin, Hillary Hahn, Miro Quartet, Jono Hill, Anne Akiko Meyers, and many, many more. 

We just heard that Classroom guest Peter Boyer is up to some big stuff (go Peter, it’s your birthday…): First, the National Symphony Orchestra – that’s the orchestra in residence at the Kennedy Center for the Performing Arts in Washington D.C. – will be playing Peter’s work Rolling River (Sketches on “Shenandoah”) on the West Lawn of the U.S. Capitol on September 3, 2017; And also, on September 9th, in an “It’s a Small Classical Music World After All” moment, Classroom alum Brett Mitchell will be conducting the Colorado Symphony and soloist Renee Fleming in a performance of Peter’s New Beginnings. In honor of this news, we decided to rerun Peter’s episode. Enjoy! Why do composers write symphonies? What goes into writing a symphony? If it has three movements, is it still a symphony? I mean, really: What IS a symphony anyway?! Grammy-nominated composer and conductor Peter Boyer answers all of these questions and more by taking us deep into his Symphony No. 1. From making dots on a page, to recording the piece w

Greetings listeners! We’re rerunning this episode of the podcast in honor of Karim Al-Zand’s recent premiere of the new work, “The Prisoner,” at the Cabrillo Festival of Contemporary Music in Santa Cruz, California. The piece was inspired by the writings of a Guantanamo Bay prisoner.  This episode is about something else: pattern preludes. 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! Music in this episode: Bach’s Well Temper

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 Philharmonic “Vesti la Giubba” from Pagliacci by Ruggero Leo

This episode does double duty: teaches you all about the trumpet and trumpet playing, while carrying out the secondary mission of Classical Classroom, i.e., the humiliation of the show’s host. Trumpet players George Chase and Jason Adams of the River Oaks Chamber Orchestra teach former trumpet player Dacia a trumpet lesson. Along the way, they say all kinds of important things about the history of the instrument. Plus, there are duck calls! Music in this episode: Brandenburg Concerto No. 2 in F Major Mvt. 3 -Bach played by the River Oaks Chamber Orchestra Duo No. 1 by Chris Gecker played by George Chase and Jason Adams Audio production by Todd “Ah!” Hulslander with running and hiding by Dacia Clay.

The story of Mozart’s death has, over the years, taken on an awful lot of…story. Extant theories regarding how he died number in the hundreds and are still emerging. Even yours truly did an episode of Classical Classroom to try to get to the bottom of the whole thing. In this episode, Dr. Robert Greenberg, a music historian and bestselling creator of courses for the Great Courses and the Teaching Company (and now, for Robert Greenberg Music), explains the facts that we know that we know about how Mozart died. Plus, we explore why it’s so hard for us to accept that incredible human beings like Mozart can, and do die, of totally boring, normal causes. Audio production by Todd “Wolfie” Hulslander with suspicious eyeballing by Dacia Clay.

Classical music: the future frontier. These are the voyages of the podcast Classical Classroom. It’s mission: to explore strange new music – Sorry. I’ll stop. Where was I? Right! Composer, performer, and Mannes College of Musiccomposition faculty member, Missy Mazzoli talks to us about the future of classical music, from the future, aka, New York. Also talked about in this episode: Beth Morrison, Schoenberg, David Little, pillow fights, Lars von Trier, eighth blackbird, Richard Reed Parry, Bryce Dessner, Victoire, Abigail Fischer, “bands” vs. “ensembles”, operatic voice, and streaming music. PS, If you’re in the Houston area, Missy’s opera, Song from the Uproar, will be making its premiere here at Da Camera in March of 2015. For more info, click here! Audio production of this episode by Todd “Tisk Tisk” Hulslander with buckets of help from Dacia Clay. All music in this episode was composed by Missy Mazzoli. For more about Missy Mazzoli: www.missymazzoli.com

Pianist, Shepherd School of Music professor, and recording artist Jon Kimura Parker – or as we like to call him, Captain Jon Solo – talks about the hidden world of the guest soloist. From the singular experience of performing with an orchestra in one ear and a concert hall in the other, to rehearsal times that will give you stage fright just hearing about them, it’s a behind-the-scenes tell-all exposé of concertic proportions. (That’s a word. We swear.) Music in this episode was recorded live with Jon Kimura Parker in the Geary Performance Studio at Houston Public Media except for: Ludwig van Beethoven: Klavierkonzert Nr. 1 C-Dur, op. 15 played by Martha Argerich and the Bavarian Radio Symphony Orchestra P.D.Q. Bach: Concerto for Two Pianos vs. Orchestra, S. 2 are better than one (P.D.Q. Bach). Audio production by Todd “The Tobogganator” Hulslander with a running start by Dacia Clay.

Violinist Rachel Barton Pine loves playing challenging music (and apparently, being on Classical Classroom, as this is her third time on the show). So it makes sense that she would want to play the musical equivalent of running a marathon for her latest album: Bel Canto Paganini: 24 Caprices. In this episode, Rachel talks about who Paganini was. As it turns out, he was much more than just a classical music proto-goth with what some thought was a supernatural ability to play the violin. Music in this episode: Rachmaninov: Rhapsody on a Theme of Paganini –  Nikolai Lugansky, Sakari Oramo City of Birmingham Symphony Orchestra Breaking The Rules: Pagan Annie Richard Greene, Jon Kurnick, Denny Seiwell All other music from Bel Canto Paganini by Rachel Barton Pine  Audio production by Todd “Sheriff Harry S. Truman” Hulslander with from Dacia Clay.

This show is from the Wayback Machine, and Emily has done a lot since this. She currently does a podcast called Level with Emily Reese for one, and she runs a company called Joon Media. (I’ll post what she was doing at the time of our interview below.) What I remember most about this interview is 1) having my mind blown about Beethoven’s Fifth Symphony, and 2) Emily’s laugh, which I think you’ll agree is pretty great. ———————————————————————————————- Beethoven’s Fifth. We’ve never done a show on it because everybody knows it! Right? Emily Reese, on air host for Classical Minnesota Public Radio, host of Top Score (part of the Infinite Guest podcast series), and creator of MPR’s Learning to Listen, says that we are wrong, so wrong! Emily takes us through the entire symphony, which, as it turns out, is completely surprising and amazing. Plus, we play drinking games! Or at least give you some to play. Music in this episode: Symphony No. 5, Ludwig van Beethoven. Played by Orchestre Révolutionnaire et Romantique,

Violist, composer, and educator Jessica Meyer has a unique story in the classical music world; it starts with a viola, and ends with a viola, but goes a lot of unpredictable places in between. Hear the story of her creative journey from focused specialist to Renaissance woman, and hear some of her incredible music along the way. Music in this episode (all written and performed by Jessica Meyer): “Source of Joy” “The dappled light just beyond her skin…”  “But Not Until” (viola and cello duo feat. Andrew Yee) “Released” Audio production by Todd “Electrotodd” Hulslander with unplugging by Dacia Clay and assistance from Mark DiClaudio.

Conductor Fabien Gabel came to Houston to conduct the Symphony in a program of pieces by Mendelssohn and Tchaikovsky. In this episode, he gives a primer on Mendelssohn, talks about what a “Fingal’s Cave” is, and gives the world’s first audible eye roll at the use of the term “Suicide Symphony” (re: Tchaikovsky’s Pathetique). Also discussed: the difference between love and obsession with regard to Mexican food. Music in this episode: Mendelssohn, The Hebrides, Op. 26 “Fingal’s Cave,” Slovak Philharmonic Orchestra Mendelssohn, Piano Concerto No. 1 in G Minor, Rudolf Serkin Tchaikovsky, Symphony No. 6 in B Minor Op. 74, TH.30 (Pathetique), Czech Philharmonic  Audio production by Todd “Todd’s Cave” Hulslander with Indiana Jones-ing by Dacia Clay and assistance from Mark DiClaudio. 

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. 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 Audio production by Todd “Treble Clef” Hulslander with bass clef by Dacia Clay.  

Violinist/fiddle player Gaelynn Lea came to Houston fresh off of performing at South by Southwest and spent some time with the Classical Classroom(and Skyline Sessions – check out her video performances!). She talks about how music has gradually become her life. From first finding an instrument that was right for her body as a kid (she has a rare condition called Brittle Bones Disease that means she’s got different physical challenges than others), to meeting and collaborating with Alan Sparhawk (of the band Low), to winning the Tiny Desk Contest and selling her home to go on tour. Music in this episode: Violin Partita, No 1 in B Minor “Gentle,” by Low from Ones and Sixes Plus, music performed by Gaelynn Lea Audio production by Todd “Turnt Up” Hulslander with dinosaur acts by Dacia Clay and help from Mark DiClaudio.

Note: This episode was originally posted on April 13, 2015. This week [see above], composer Nico Muhly is premiering a brand new work, How Little You Are, in Austin. He talks about the classical (or, concert) music world’s premiering process, and about how and why listening to classical music golden oldies is different than listening to a new work, about the inspiration for his new piece, and of course, about Prince. Music in this episode: Mozart: Magic Flute. Conducted by John Eliot Gardiner. Bach: Magnificat.  Stravinsky: Petrouchka. Michael Tilson Thomas conducts the Philharmonia Orchestra. Joni Mitchell: A Case of You (from Blue) Prince: A Case of You (from A Tribute to Joni Mitchell) Nico Muhly: Sensational Calligraphic Scribble / Amor Nos Une / Room Song (from Object Songs) Philip Glass: Koyaanisqatsi (from Koyaanisqatsi – Life Out of Balance motion picture score) Nico Muhly: Mothertongue Pt. 1: Archive (from Mothertongue) Audio production by Todd “TIE fighter” Hulslander with lightsaber skills by Dac

Simone Dinnerstein just came out with a new album called Mozart in Havana. While we weren’t able to sync up our interview schedules this time around, we had to at least give her a shout out with this rerun because she is awesome. She may be coming to a city near you! ———————————————————- Pianist Simone Dinnerstein talks all about her educational initiative, Bachpacking, and her community initiative, Neighborhood Classics, Bach Inventions, and how Led Zeppelin is more like Bach than Jay Z. Music in this episode: Bach Inventions, played live by Simone Dinnerstein, and from her new album, J.S. Bach: Inventions & Sinfonias “Suit and Tie“, from the 20/20 Experience by Justin Timberlake, feat. Jay Z “Misty Mountain Hop“, from untitled album by Led Zeppelin Audio production by Todd “Toddsy Turvy” Hulslander with yips of joy from Dacia Clay.

Concert pianist and entrepreneur Richard Dowling illuminates some of Chopin’s pieces by “ragging” them on the piano. It’s a lesson in classical music and ragtime all rolled up in one, topped with live performances, and served with a side of fries. Music in this episode includes live performances by Richard Dowling of: Frederic Chopin, Nocturne in E-flat Major, Op. 9 No. 2 Ethan Uslan, Chopin’s Knocked Urn Frederic Chopin, “Revolutionary” Etude in C Minor, Op. 10 No. 12 Joseph Lamb, Ragtime Nightingale Claude Debussy, Golliwogg’s Cakewalk (not performed by Mr. Dowling) Audio production by Todd “Toddry” Hulslander with sarcastic slow claps of approval from Dacia Clay.

Percussion is almost anything that we say ‘yes’ to playing.” – Sean Connors  Wait. A percussion-only ensemble? Is that, like, a fancy drum circle? Sean Connors of the Grammy-winning percussion quartet Third Coast Percussionexplains that this is not too far off. But the operative word is “fancy.” As Connors describes it, percussion ensembles are the mad scientists of the music world. Any object in the world is a potential instrument. And when they’ve run out of objects, they invent more. (Fun fact: Third Coast sometimes works with actual scientists at the University of Notre Dame where they are ensemble in residence.) Learn all about the crazy world of percussion ensembles and hear some amazing music in this show. Music in this episode: Mallet Quartet: III (Fast), by Steve Reich, from Third Coast Grammy performance with Ravi Coltrane Wild Sound, mvt 4, by Glenn Kotche (Arduino and marimba versions) Audio production by Todd “Neil Peart” Hulslander with air drumming by Dacia Clay and video production and gen

Craig Johnson wrote a beautiful piece of music that commemorates a tragic event: the brutal beating of a young gay man. The piece asks listeners to consider Matt Shepard, the person who lived through the event, and to consider the life Shepard lived prior to the beating. In this episode, part 2 of our 2-part series on activism in classical music, Johnson talks about his Grammy-nominated choral work, “Considering Matthew Shepard.” He also talks about the strong and effective tool that classical music can be in bringing people together and in shedding light upon dark places. Music in this episode: Music from “Considering Matthew Shepard,” by Craig Hella Johnson By Johann Sebastian Bach B Minor Mass Prelude in C major from Book I of The Well-Tempered Clavier St. Matthew Passion Audio production by Todd “Hella” Hulslander with assistance from Dacia Clay and Mark DiClaudio. To learn more about Conspirare, go here. To learn more about the Laramie Project, go here.

It’s the first of April and we are welcoming a special guest (believe us: you will know him when you hear him). He introduces us to a fascinating mix of early music and Renaissance era instruments and performs examples of how each sounds. Music in this episode: Songs From The Labyrinth, by Sting Walsingham – John Dowling, composer /perf – Edin Karamazov and Sting Come Again – John Dowling, composer/ perf – Edin Karamazov and Sting The Art of the Bawdy Song, Baltimore Consort featuring Merry Companions Pox on you for a fop Cuckolds all a-row I gave her cakes and I gave her ale The blame and audio production credit for this episode lie with Todd “Totally Redonk” Hulslander, with assistance from Mark DiClaudio and head shaking from Dacia Clay.