The Listeners’ Club

Canto: Adam Schoenberg’s Dream-Lullaby

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“Canto is about family and love” writes American composer Adam Schoenberg, describing his 2014 composition commissioned by the Lexington (Kentucky) Philharmonic. The brief orchestral work was written after the birth of Schoenberg’s son, Luca. It opens with a sudden, colorful, mysterious cluster of sound, initiated by the strummed strings of the piano, which instantly thrusts us into its distinctly dreamy sound world. The tonal colors are soft and muted, but there’s a sense …

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Beethoven and the Spirit of Gratitude

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Intense, heroic struggle culminating in transcendent exultation and joy- these are elements that we often associate with the music of Beethoven. But lately I’ve noticed that in rare, fleeting moments throughout Beethoven’s works another power seems to emerge, mysteriously. It can best be described as gratitude- a sense of surrender and a glimpse of the transcendent. It’s something we hear in the “Holy song of thanksgiving of a convalescent to the Deity, …

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New Release: The San Francisco Symphony’s Debussy Album

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Conductor Michael Tilson Thomas and the San Francisco Symphony have just released an exciting new Debussy album. The disk features two orchestral showpieces: the three movement Images pour orchestre (the interior movement, Ibéria, evokes the bright, sunny rhythms of Spain) and the ballet score, Jeux. The sensuous, gypsy-inspired waltz La plus sue lente rounds out the album. The performances were recorded live at Davies Symphony Hall. Jeux (Games), described as a “poème dansé” (“a danced poem”), was Debussy’s last orchestral work. It was written quickly in …

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Schubert’s Time-Altering Nocturne

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This week, I’m playing Schubert’s monumental Ninth Symphony (the “Great”). It’s a piece which pushes the envelope towards Romanticism in some interesting ways. Can you think of any other symphony from the 1820s that starts this way with a single melodic line in the horns or uses the trombones as a prominent solo voice? The Ninth was Schubert’s last completed symphony and it was virtually unknown until Schumann and Mendelssohn rediscovered it in …

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New Release: Lisa Batiashvili plays Tchaikovsky, Sibelius

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Georgian-born violinist Lisa Batiashvili’s newest album offers a surprisingly fresh take on two standard pillars of the violin repertoire- the Tchaikovsky and Sibelius Concertos. Batiashvili is joined by conductor Daniel Barenboim and the Staatskapelle Berlin on this Deutsche Grammophon recording. Batiashvili’s interpretation of the Tchaikovsky is full of fluid tempo changes. It’s generally more contemplative than the classic performances of Heifetz and Oistrakh. (For example, listen to the burning intensity just below the surface of the second movement’s hushed stillness or …

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The Cohen Variations

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The last refuge of the insomniac is a sense of superiority to the sleeping world. -Leonard Cohen Pianist Simone Dinnerstein describes The Cohen Variations, written in 2009 by New York composer Daniel Felsenfeld, as a nocturne- music which evokes the atmosphere of the night and suggests the wildly adventurous harmonies of Frédéric Chopin’s Nocturnes. (For a particularly magical example, listen to the Nocturne in D-flat Major, Op. 27). The Cohen Variations are based on Leonard Cohen’s song, Suzanne. The …

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Angela Hewitt Plays Ravel

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Many of Maurice Ravel’s shimmeringly colorful orchestral compositions were written originally for solo piano. One example is Le Tombeau de Couperin, which we explored in an earlier post. This six-movement suite, written between 1914 and 1917, pays homage to the elegant, dance-like keyboard music of François Couperin (1668–1733) and other baroque composers. Ravel dedicated each movement to the memory of a friend or relative who died fighting the First World War. But the music doesn’t …

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