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Sticky Notes: The Classical Music Podcast: Daily Summaries Delivered
by Joshua Weilerstein
Sticky Notes is a classical music podcast for everyone, whether you are just getting interested in classical music for the first time, or if you've been listening to it and loving it all your life. Interviews with great artists, in depth looks at pieces in the repertoire, and both basic and deep dives into every era of music. Classical music is absolutely for everyone, so let's start listening! Seasons 1-5 will be returning over the next year. They have been taken down in order to be re-recorded in improved sound quality!
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- 1 weeks ago49 min
Mozart String Quartet, K. 419, "Dissonance"
You might be wondering: why on earth would I choose a piece that is literally called "Dissonance" when I was looking for something a bit simpler or cleaner to talk about on the show today? Actually, Mozart's Dissonance quartet, probably his most famous and beloved quartet, was not called "Dissonance" by Mozart, and the rest of the piece is thought of as one of Mozart's most outgoing and cheerful works, though I think there's a bit more to it than that. This quartet was part of a set of quartets dedicated to his friend and mentor Joseph Haydn, the father of the String Quartet. Upon their publication, Mozart wrote to Haydn: "Behold here, famous man and dearest friend, my six children. They are, to be sure, the fruit of long and arduous work, yet some friends have encouraged me to assume that I shall see this work rewarded to some extent at least, and this flatters me into believing that these children shall one day offer me some comfort." The final one of this set of six quartets is the one we're going to talk about today, the one that has been dubbed "Dissonance." This single dissonance caused massive controversy in its time, which we'll get to later, but it is a fascinating insight into the rules of harmony at the time. Our sojourns into late Romanticism over the last few weeks, and especially my conversation with Case Scaglione about Wagner and the Tristan Chord, should help us understand the intensely heated debates that arose over that chord I just played you. So today on the show, we'll spend some time on that famous dissonance, then dive right into this glorious quartet, exploring Mozart's unparalleled ability to write the most glorious melodies and the most perfect harmonies. Recording: Alban Berg Quartet First Sight Analysis: https://www.youtube.com/watch?v=IctjJOMU9dk Produced by: Charlie Koczela
- 3 weeks ago42 min
Bonus Episode: Beethoven 5 en français!
Bienvenue dans cette édition spéciale du podcast Sticky Notes en français ! Aujourd'hui, nous parlons de la symphonie la plus célèbre du monde, et de la symphonie que nous allons interpréter à Lille les 21, 22 et 23 mai, la 5e symphonie de Beethoven. Et veuillez me pardonner pour toutes les erreurs de prononciation dans ma deuxième langue ! Bonne écoute ! »
- 3 weeks ago1h 3m
Liszt Faust Symphony
Thank you to Jerry for sponsoring today's episode on Patreon! Goethe's Faust is considered to be the greatest work of German literature. This sprawling, 2-part play occupied Goethe's life for nearly 60 years, from its original version, begun in 1772, all the way to Goethe's final revisions before his death. It inspired just about every Romantic era composer who came after it, including Beethoven, Schubert, Schumann, Brahms, Berlioz, Gounod, Mahler, and our subject for the show today, Franz Liszt. Liszt, who was in many ways the world's first pop star, was initially skeptical of Faust, saying that he couldn't relate to the eponymous main character of the play. He wrote: "Faust's personality scatters and dissipates itself; he takes no action, lets himself be driven, hesitates, experiments, loses his way, considers, bargains, and is interested in his own little happiness." But slowly, Liszt began to be taken in by this remarkable play and decided to try his hand at a reflection on it, writing a massive, 3-movement, 75-minute-long symphony that never attempts to tell the story of Faust, but instead reflects on the psychological nature of the 3 central characters: Faust, Gretchen, and Mephistopheles (the Devil). A lot of English-speaking listeners will know this as the story of a man who sold his soul to the devil, but for Goethe it was much more than that, and it was for Liszt as well. I've never talked about Liszt on the show, because frankly I've never been in love with his music. But this is one of the great things that these Patreon-sponsored episodes can do — help me discover pieces that I've never come across before. So today, we're going to talk about Liszt, Faust, and then take a stab at some of the greatest moments in this symphony. We'll talk about thematic transformation, a technique Liszt essentially invented and which is a vital part of understanding this piece.
- 4 weeks ago6 min
Schubert: Die Schöne Mullerin Mini-Episode No. 1 (Free Preview)
This is a free preview of my new series of mini-episodes over on Patreon all about Schubert's Die Schöne Mullerin, one of the great masterpieces of the 19th century. Each week we'll explore one song from the cycle, in a series of 21 episodes! Come join us over on Patreon.com/stickynotespodcast and thanks for listening!
- May 1, 202650 min
Wagner: Prelude and Liebestod from Tristan and Isolde w/Case Scaglione
This is a continuation of my new series where I learn about a new piece from a great friend/musician. This week I'm thrilled to welcome Case Scaglione, the Music Director of the Orchestre National D'Ile de France, for a discussion of the Prelude and Liebestod from Wagner's Tristan and Isolde. This is one of the most beloved pieces in the entire repertoire, and my longtime skepticism of Wagner has always kept me away. But Case has such a beautiful way of talking about Wagner that I might very well be convinced to give it another shot! This is a really fun and also philosophical episode - I hope you enjoy it! https://open.spotify.com/track/3HcRU6WhAZ6ZON9tFhanJv?si=4cf47cfde06a4434 https://open.spotify.com/track/7AtzmeOGG4PdXcfoVklSo1?si=69034a5a52704929
- Apr 16, 202646 min
Lili Boulanger: Psalm 130
The story of Lili Boulanger's life is one of the most fascinating and tragic in all of musical history. A remarkably precocious talent, Boulanger learned to read sheet music before the alphabet, played the violin, piano, cello, and harp, and composed regularly from a young age. Despite her talent and commitment, Boulanger suffered from chronic illness her entire life, which severely dampened her budding career and prevented her from reaching her potential. She died at the age of just 24, likely from Crohn's disease, and left behind several spectacular pieces that unfortunately were soon relatively forgotten. Boulanger's sister, Nadia, became one of the preeminent composition teachers of the 20th century, working with luminaries such as Aaron Copland, Elliott Carter, David Diamond, Philip Glass, Astor Piazzolla, and many more. But throughout the 20th century there was very little interest in Lili Boulanger's musical output. That has changed somewhat with a renewed focus on bringing the works of female composers to the stage, and this has led to an explosion of performances of a few works, specifically Boulanger's brilliant short orchestral pieces D'un Matin de Printemps and D'un Soir Triste. But there is still a dearth of performances of some of Boulanger's great choral pieces, and in particular of Psalm 130, a piece that I find to be absolutely stunning but which is almost never performed. The piece, written in memory of Lili and Nadia's father Ernest, is a lament that shows off the potential of the 22-year-old composer, writing a piece far beyond her years in its emotional maturity and technical construction. In many ways, Lili Boulanger should be thought of in the pantheon of the great musical prodigies in Western classical music. Unfortunately she should also be thought of in the pantheon of the great composers who died tragically young. Today on the show, we're going to do a brief overview of Lili Boulanger's life to orient you into her style, and then we'll go through this gorgeous piece, talking about Boulanger's influences and her creative use of those influences, and discussing whether the piece was autobiographical or not. I think you will really discover something very special with this piece, so come join us!
- Apr 2, 202648 min
Tchaikovsky Symphony No. 6 (Part 2)
In a letter to Tchaikovsky's nephew Vladimir Davydov, Tchaikovsky wrote: "I'm very pleased with its content, but dissatisfied, or rather not completely satisfied, with the instrumentation. For some reason it's not coming out as I intended. It would be typical and unsurprising if this symphony were torn to pieces or little appreciated, as that wouldn't be the first time such a thing had happened. But I absolutely consider it to be the best, and in particular the most sincere, of all my creations. I love it as I have never loved any of my other musical offspring." I'm returning to that word sincere this week for Part 2, because it's the through line that makes Tchaikovsky's music so immediately arresting. You always know exactly where you stand with Tchaikovsky, since he always seems to be speaking so honestly in his music. Well, almost always. The last two movements of Tchaikovsky's 6th Symphony are among the most fascinating in the entire Western classical repertoire, and the reason for their fascination (beyond simply being wonderful movements) is the order in which Tchaikovsky places them. In a typical symphony, the third movement would be either a fast scherzo or a slow movement, depending on what the second movement had been. Since the second movement of this symphony was a waltz, audiences would have expected a slow third movement followed by a fast finale to send them home with some energy. But that is not what Tchaikovsky does. Instead, we hear a thrilling, exhilarating scherzo followed by a devastating slow movement, a choice that completely upended the form of the symphony as a genre, and was revolutionary for its time. Why did Tchaikovsky do this? And why did this decision, in part, fuel massive controversy surrounding his death, just nine days after the symphony's premiere? We're going to explore all of that today, including the many theories about Tchaikovsky's death, before examining the 3rd and especially the 4th movements of this masterpiece in detail, unpacking the nuances of these profoundly contrasting movements.
- Mar 21, 202650 min
Tchaikovsky Symphony No. 6 (Part 1)
The great and somewhat controversial conductor Leopold Stokowski said this about Tchaikovsky: "His musical utterance comes directly from the heart and is a spontaneous expression of his innermost feeling. It is as sincere as if it were written with his blood." I couldn't agree more with Stokowski, because I think he hits on a word that has made Tchaikovsky's music so powerful to almost every audience that encounters it: sincere. Tchaikovsky's music is so profoundly moving because you feel as if there is no gap between the music and Tchaikovsky's emotions. It's as if he is earnestly speaking to you through his music. But paradoxically, this ability that Tchaikovsky had made him a punching bag of critics and cynics throughout his career and even into today. Even though Tchaikovsky remains one of the most popular composers in the Western Classical canon, his name is still not treated with the respect of a composer like Beethoven or Brahms or other luminaries. I understand that, but I also think Tchaikovsky's skills as a composer are extremely underrated, which brings me to Tchaikovsky's 6th and final symphony, nicknamed the "Pathetique." Tchaikovsky's 6th symphony essentially rewrites the traditional symphonic form. It is one of the few 19th century symphonies that end quietly, and that ending is one of the most extraordinary and daring in the entire repertoire. It is a piece of remarkable complexity and brilliant construction, and it packs an emotional wallop that leaves you walking out of the hall slightly changed from the way you walked in. In fact, this piece is so multi-layered that I wanted to devote some extra time to it, so I've decided to make this a two-part episode. This week, we're going to talk about the controversies over Tchaikovsky's emotional state as he composed this symphony, and the first two movements of the piece: a massive, 17-minute first movement that ingeniously melds multiple different symphonic forms into one long breath, and a waltz with a twist. We'll get into a lot more detail than we usually do, giving us a chance to really give Tchaikovsky the respect he deserves.
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About Sticky Notes: The Classical Music Podcast
Sticky Notes is a classical music podcast for everyone, whether you are just getting interested in classical music for the first time, or if you've been listening to it and loving it all your life. Interviews with great artists, in depth looks at pieces in the repertoire, and both basic and deep dives into every era of music. Classical music is absolutely for everyone, so let's start listening! Seasons 1-5 will be returning over the next year. They have been taken down in order to be re-recorded in improved sound quality!
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