Episodes
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Bruckner scholars seem to focus on psychoanalysis rather than closing their eyes and listening to the music. To listen to Anton Bruckner’s eighth symphony is to listen to the summit of his music. The Toronto Symphony Orchestra performs this work with conductor Peter Oundjian on May 7, 2018. Listen to Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about Bruckner’s eighth symphony.
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Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about Saariaho’s violin concerto which was featured as part of the 2017 Ideas of North festival produced by the NAC Orchestra. Saariaho is seen as a wonderful and intriguing contemporary composer who will stand the test of time, with master works into the turn of the century.
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This work opens many doors to wonderful and exciting musical study. It is a fine example of Orientalism and our perception of “the other”. Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about who Rimsky-Korsakov was, his 19th-century influences from Mendelssohn to Wagner, and his contributions to the music of the 20th century.
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Your hosts Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about Shostakovich’s Violin Concerto No. 1 in A minor, Op. 77, which will be performed by Guy Braunstein with the NAC Orchestra in January 2018. This work in four movements is technically and emotionally challenging for the soloist. It’s been termed “probing” and “sarcastic” – which may be why it spent time on the shelf after being completed in 1947-48, before seeing the light of day after Stalin’s death in 1953.
Jean-Jacques and Marjolaine also talk about Shostakovich’s second piano concerto, which appears in the NAC Orchestra program in March 2018 and sees Russia-born Israeli pianist Boris Giltburg at the keyboard. This work was born after Stalin’s death, and was written for the composer’s 19-year-old son, Maxim, a detail that upholds what some have said was the youthful character of the final movement.
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Jean-Jacques van Vlasselaer and Marjolaine Fournier present part two of their 2017-2018 podcasts on Sibelius. In this episode, hear them trace the trajectory of Sibelius’ six symphonic poems, all performed by the NAC Orchestra during the 2017 Ideas of North festival. Composed between 1896 and 1927, they delineate the “itinerary of Sibelius, the young composer who wanted to express Finnish worlds.” Drawing from the myths of Northern countries, he “moved from the creation of the world [with the first symphonic poem] to the end of his musical writing.”
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Jean Sibelius , born Johan Julius Christian Sibelius, was a Finnish composer and violinist of the late Romantic and early-modern periods. He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia.
Sibelius started work on his Symphony No. 1 in E minor, Op. 39, in 1898 and completed it in early 1899, when he was 33. The work was first performed on 26 April 1899 by the Helsinki Philharmonic Orchestra, conducted by the composer, in an original, well received version which has not survived. After the premiere, Sibelius made some revisions, resulting in the version performed today. The revision was completed in the spring and summer of 1900, and was first performed in Berlin by the Helsinki Philharmonic, conducted by Robert Kajanus on 18 July 1900. The symphony begins with a highly original, rather forlorn clarinet solo backed by subdued timpani.
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The story of the polarizing Métis leader and Canada’s westward expansion is told in this landmark work. Composed by Harry Somers for our nation’s centennial in 1967, this uniquely Canadian contribution to the opera world is returning on the work’s 50th anniversary, and will help mark the 150th anniversary of Canada’s Confederation.
The National Arts Centre has joined with the Canadian Opera Company to proudly present this new production of Louis Riel.
Music by Harry Somers
Libretto by Mavor Moore with the collaboration of Jacques Languirand
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Jean Sibelius, born Johan Julius Christian Sibelius (8 December 1865 – 20 September 1957), was a Finnish composer and violinist of the late Romantic and early-modern periods. He is widely recognized as his country's greatest composer and, through his music, is often credited with having helped Finland to develop a national identity during its struggle for independence from Russia.
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Robert Schumann[1] (8 June 1810 – 29 July 1856) was a German composer and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
In 1840, Schumann married Friedrich Wieck's daughter Clara, against the wishes of her father, following a long and acrimonious legal battle, which found in favor of Clara and Robert. Clara also composed music and had a considerable concert career as a pianist, the earnings from which, before her marriage, formed a substantial part of her father's fortune.
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Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier, Elektra, Die Frau ohne Schatten and Salome; his Lieder, especially his Four Last Songs; his tone poems, including Don Juan, Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony; and other instrumental works such as Metamorphosen and his Oboe Concerto. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire.
Also sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name.The composer conducted its first performance on 27 November 1896 in Frankfurt. A typical performance lasts half an hour.
The work has been part of the classical repertoire since its first performance in 1896. The initial fanfare – titled "Sunrise" in the composer's program notes – became particularly well-known after its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey.
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Igor Fyodorovich Stravinsky was a Russian composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.
Pulcinella is a ballet by Igor Stravinsky based on an 18th-century play—Pulcinella is a character originating from Commedia dell'arte. The ballet premiered at the Paris Opera on 15 May 1920 under the baton of Ernest Ansermet. The dancer Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. It was commissioned by Sergei Diaghilev.
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Pyotr Ilyich Tchaikovsky was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension.
The Symphony No. 5 in E minor, Op. 64 by Pyotr Ilyich Tchaikovsky was composed between May and August 1888 and was first performed in St Petersburg at the Mariinsky Theatre on November 17 of that year with Tchaikovsky conducting.
The Symphony No. 6 in B minor, Op. 74, Pathétique is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. The composer entitled the work "The Passionate Symphony", employing a Russian word, Pateticheskaya, meaning "passionate" or "emotional", that was then mistranslated into French as pathetique, "evoking pity", yet the mistranslation survived subsequent productions in every country but Russia.
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Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Initially establishing his reputation as a composer of works in the romantic vein of Weber and Meyerbeer, Wagner revolutionized opera through his concept of the Gesamtkunstwerk, by which he sought to synthesize the poetic, visual, musical and dramatic arts, with music subsidiary to drama. - Wikipedia
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"Treating each film as an 'opera without singing' (each character has his or her own leitmotif) Korngold created intensely romantic, richly melodic and contrapuntally intricate scores, the best of which are a cinematic paradigm for the tone poems of Richard Strauss and Franz Liszt. He intended that, when divorced from the moving image, these scores could stand alone in the concert hall. His style exerted a profound influence on modern film music."
— Brendan G. Carroll, Korngold, Erich Wolfgang, The New Grove Dictionary of Music and Musicians
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By far the bulk of Gershwin’s output is devoted to songs – more than five hundred of them, most of which come from his more than four dozen works for the musical stage. Two of these stage works are operas – the short Blue Monday Blues and the full-length Porgy and Bess. Gershwin also wrote music for four films (Shall We Dance is the most famous), a few piano pieces and a handful of concert works: Rhapsody in Blue, An American in Paris, Cuban Overture, Concerto in F, Second Rhapsody and Variations on “I Got Rhythm.”
Gershwin’s style is derived from the American soul and spirit. “Epitomizing the Jazz Age in every pore of his suave being,” writes critic Alex Ross, “Gershwin was the ultimate phenomenon in early-twentieth century American music, the man in whom all the discordant tendencies of the era achieved sweet harmony.” Many of Gershwin’s works are infused with jazz, and if he can be said to have made one single overriding accomplishment in his life, it was to create a bridge between jazz and the concert hall.
- Robert Markow
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In the first of the 2015-16 season's "Explore the Symphony" podcasts, the NAC Orchestra's assistant principal double bass Marjolaine Fournier and one of Canada's foremost music journalists Jean-Jacques van Vlasselaer discuss Mahler's Symphony No. 4.
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Words like “epic” and “timeless” are regularly applied to Bruckner symphonies. They have a pace of their own. But let yourself get in synch with their pulse, and you’ll be richly rewarded. The Ninth inspires awe, as its sweeping score unfolds, rising—like spires of a grand cathedral—to God.
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Join Marjolaine Fournier and Jean-Jacques Van Vlasselaer for an intriguing look into Maurice Ravel's life and his two piano concertos.
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A conversation with Josée Beaudet, the author of Jean-Marie Beaudet, l'homme orchestre. Beaudet was the very first music director at the NAC - he founded the orchestra, secured its first conductor, concertmaster and new members, and then quietly disappeared.
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Marjolaine and Jean-Jacques reveal Schumann's relationship with the Rhine.
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