Romantic Period

Schumann’s Musical Descent into Insanity

by

On Monday, we listened to Robert Schumann’s Symphony No. 1 “Spring,” a sunny piece written in the “springtime” of Schumann’s life, shortly after his marriage to Clara. Now let’s hear a different, darker side of Schumann: two strange, haunting works from the final years of the composer’s life, written as he descended into insanity. It’s now believed that Schumann suffered from tertiary syphilis, a disease which appeared gradually over time and produced a host of …

Read more

A Brief Look Back at James Levine’s Tenure at the Met

by

Last week, the Metropolitan Opera announced that James Levine will be stepping down as music director after four decades and 2,551 performances. Levine, who is 72, has been battling Parkinson’s Disease along with other ailments. Levine, who became music director of the Met in 1976, has been credited with raising the level of the company. In this interview he reflects on some of his achievements. Recently, Alex Ross summed up Levine’s tenure …

Read more

Schumann’s First Symphony: Spring Blooms Forth

by

It begins with a majestic trumpet and horn fanfare…a triumphant invocation of spring, inspired by these lines from a poem by Adolf Böttger: O wende, wende deinen Lauf— Im Thale blüht der Frühling auf! O turn, O turn and change your course— In the valley spring blooms forth! It’s hard to imagine a piece more infused with the spirit of spring than Robert Schumann’s First Symphony. Schumann had just married Clara, a renowned …

Read more

Hindemith’s “Flying Dutchman” Parody

by

If you’re a longtime Listeners’ Club reader, you know that I’m often playing opera this time of year. This month I’ve been staying busy with Virginia Opera’s production of Wagner’s The Flying Dutchman.  The Flying Dutchman is the work of a young, 26-year-old Wagner. In many ways, it anticipates the more mature, leitmotif-laden Wagner operas which would follow. Wagner ultimately broke down the traditional “stop and start” recitative-aria structure that had previously been the structural …

Read more

Viola Power: Dvorak’s “American” Quartet

by

The viola is the stereotypical underdog of the string family. The occasional butt of lighthearted jokes, in the orchestra it often escapes the limelight. When the first violins claim the melody and soar into the sonic stratosphere, the violas provide a mellow and essential inner voice. But this is only half the story. The viola comes with its own distinct voice and persona, and when it takes center stage, it has a …

Read more

Tchaikovsky’s Rhythmic Games

by

For all of its perceived bombast and emotional excess, a unique kind of elegance, lightness, and motion lies at the heart of much of Tchaikovsky’s music. Even when Tchaikovsky was not writing for the ballet, ballet music, with its eternal sense of motion, seemed to be coming out. Tchaikovsky was obsessed with the music of Mozart, perhaps the epitome of classical elegance. He said Mozart’s works were “the highest, most perfect culmination ever …

Read more

The Pastoral Sounds of Brahms’ Second

by

When it came to the symphony, Johannes Brahms was haunted by a ghost. Approaching the age of 40, Brahms declared, “I shall never write a symphony! You can’t have any idea what it’s like always to hear such a giant marching behind you!” That giant was Beethoven, who elevated the symphony to new, and previously unimaginable, dramatic heights. As a result, it took Brahms fifteen years to complete his First Symphony. Set in the …

Read more