ūüéß ¬†Resources for Each Class Meeting - Fall 2019


Class #4, Monday October 7: 

Resources for (1) Gustav Holst. (2) Holst’s The Planets. (3) Samuel Barber. (4) Barber's violin concerto (5) James Ehnes, violinist

(1) Gustav Holst

(2) Holst’s The Planets

0:00 Mars 

7:27 Venus 

14:52 Mercury 

18:39 Jupiter

  26:11 Saturn

  35:26 Uranus

  41:12 Neptune

A performance by the Philadelphia Orchestra, Eugene Ormandy, conducting, 1977, recorded live for TV broadcast. 

01:20 Mars 

08:12 Venus 

16:14 Mercury 

20:30 Jupiter 

28:51 Saturn 

37:19 Uranus 

42:53 Neptune

(3) Samuel Barber

(4) Barber's, Violin Concerto, Op. 14

    • Gil Shaham, violin. David Robertson, conductor, BBC Symphony Orchestra

                I. Allegro (00:00) 

                II. Andante (10:25) 

                III. Presto in moto perpetuo (19:11)

(5) James Ehnes, violinist:

Class #5, Monday October 21: 

Resources for (1) Joseph Haydn, (2) Haydn’s String Quartet Op. 77.1, (3) Grazyna Bacewicz (4) Bacewicz: String Quartet No. 4 (5) The Vision String Quartet

 (1) Joseph Haydn

(2) Haydn’s String Quartet Op. 77.1

The Attacca Quartet, Live recording, Holy Trinity Lutheran Church, NYCity, Oct 18, 2012

(3) Grazyna Bacewicz 

4) Bacewicz: String Quartet No. 4 

  • Program note on the quartet with short biography and composing history from CulturePl, a website for Polish art and culture. ¬†¬†
  • A performance

  • The Kuanas String Quartet, 2010. Static camera work of this live performance, but a solid interpretation of the music.¬†
  • A performance by the Silesian Quartet

II Andante

III Allegro giocoso

(5) The Vision String Quartet

Class #6, Monday October 28: 

Resources for (1) Robert Schumann, (2) Schumann’s String Quartet #41.3; (3) Tchaikovsky; (4)Tchaikovsky Piano Concerto #2 ; (5) Anne Marie McDermott, pianist

(1) Robert Schumann 

(2) Schumann’s String Quartet #41.3; 

Program notes from the Brentano Quartet, a very helpful listening guide by Misha Amory. 

Program notes from the online site earsense, with some biographical information and a listening guide.  

  • A performance taped live:¬†The Avalon String Quartet, concert in¬†Harrisburg, PA. 2014

I. Andante espressivo - Allegro molto moderato 

II. Assai agitato at  07:10

III. Adagio molto at 14:30

IV. Finale. Allegro molto vivace - Quasi Trio at 22:50

  • A fine recorded performance by the Ying Quartet (2014)

I. Andante espressivo - Allegro molto moderato

II. Assai agitato - Un poco adagio - Tempo risoluto

III. Adagio molto

IV. Finale: Allegro molto vivace

(3) Tchaikovsky 

(4) Tchaikovsky Piano Concerto #2 

A performance 

  • Martha Argerich, pianist. Charles Dutoit¬†conducting,¬†Orchestre de la Suisse Romande 1975.

(4) Anne Marie McDermott, pianist

Class #7, Monday November 4: 

Resources for: (1) Dmitri Shostakovich; (2) Shostakovich Symphony #10

(1) Dmitri Shostakovich

  • Musicologist Michael Parloff‚Äôs absorbing and authoritative lecture on the life and music of Dimitri Shostakovich. ¬†¬†

(2) Shostakovich Symphony #10

Class #8, Monday November 18: 

Resources for¬†Handel; for¬†‚Äėoratorios'; ¬†for The¬†Providence Singers¬†



Class #9, Monday December 2: 

Resources for Handel’s other oratorios, Messiah libretto, Messiah program notes.


Resources from Fall 2019: 

Class #1, Monday September 9:

Resources for (1) A history of the concerto as a musical genre. 

(1) The concerto:

Class #2, Monday September 16: 

Resources for: (1) Rachmaninoff, (2) Rachmaninoff Piano Concerto #3, ) (3pianist Yefim Bronfman. (4) The piano

(1) Sergei Rachmaninoff 

  • An excellent documentary on Sergei Rachmaninoff from the BBC:¬†‚ÄúThe Joy of Rachmaninoff.‚ÄĚ
  • A video documentary of Rachmaninoff‚Äôs life told through his words (mostly) and his music.¬†

The Harvest Of Sorrow. 

(2) Rachmaninoff’s Piano Concerto #3

Conductor Valerie Gergiev with the Vienna Philharmonic

0:28 I. Allegro ma non tanto 

10:10 Ossia Cadenza 

16:20 II. Intermezzo: Adagio 

26:01 III. Finale: Alla breve

  • A performance by¬†Rachmaninoff¬†

  • ¬† ¬†¬†¬† ¬† ¬† ¬† ¬†¬†Rachmaninoff plays his own Piano Concerto No. 3 (Part 1) - 1939

               First movement Part 2. 

               Second movement here.

               Third movement here

(3) Pianist Yefim Bronfman

  • Yefim¬†Bronfman‚Äôs website
  • Interview with Bronfman¬†in Haifa, Israel after his performance of Brahms‚Äô 2nd Piano Concerto with the¬†Israel Philharmonic Orchestra. In this interview, he discusses the music scene in Israel, what influences him as a musician, the importance of studying the history of the music that he plays, and why classical music is relevant to everyone.¬†Part I,¬†¬†¬†Part II

(4) The Piano:

Class #3, Monday September 23: 

Resources for: (1) Bela Bartok; (2) Bartok’s Concerto for Orchestra;  (3) BramwellTovey

(1) Bela Bartok: 

  • An excellent short¬†biography of Bartok from the Classical Nerd.¬†
  • One of many internet¬†text biographies of Bartok,¬†this one based on research by Malcom Gillies, from Music Academy OnLine.¬†
  • A worthwhile six-part video documentary of Bartok‚Äôs life from the Canadian Broadcast Co. Much of it is in black and¬†white, it is a bit slow and of poor visual quality, but it is thorough, with historical footage and very well conceived. Bartok‚Äôs¬†Concerto for Orchestra¬†is heard throughout this¬†documentary.¬†Part I. ¬†¬†Part II. ¬†¬†Part III. ¬† ¬†Part IV. ¬†¬†Part V. ¬† ¬†Part VI
  • LLC‚Äôer Liz Palter‚Äôs excellent¬†biography of Bela¬†Bartok¬†

(2) Bartok’s Concerto for Orchestra

  • The Frankfurt Radio Symphony , ¬†Andr√©s Orozco-Estrada,¬†conductor, ¬†June 9, 2017 ‚ąô

I. Introduzione 0:09 

II. giuoco delle coppie 10:37 

 III. Elegia 17:16 

IV. intermezzo interrotto 24:53 

V. Finale 29:24

(3) Bramwell Tovey:

  • Links¬†on Bramwell Tovey (downloadable)
  • Bramwell¬†Tovey‚Äôs¬†Urban Runway, origin and short listening guide, from the¬†Los Angles Philharmonic.¬†


Appendix Interesting resources from past semesters: 


Brahms Piano#2

‚ÄĘ ¬†¬†¬†Excerpts from Yale U. Prof. Craig¬†Wright‚Äôs introduction to Beethoven:

                   ◦ The three periods of Beethoven’s music

                   ◦ The Beethovenian Heroic Sound 

¬†¬†¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†‚󶬆Beethoven as¬†‚ÄėRomantic‚Äô Genius¬† ¬† ¬†¬†

                   ◦ Beethoven’s Deafness and Disability

‚ÄĘ ¬†¬†¬†An outstanding documentary on Beethoven‚Äôs life and music by conductor¬†

         Charles Hazelwood in collaboration with the BBC. 

          Part I      Part II   Part III

VIVALDI: La Tempesta di Mare, 1728


00:00 - 04:45 The Circenses and the Circus Maximus (in Roman times): A threatening sky hangs over the Circus Maximus. The howling of wild beasts mingles with the strains of a religious chant sung by the martyrs as they are led into the arena. 

04:50 - 12:00 The Jubilee (in Late Medieval times): Pilgrims trail along the highway praying. Finally they see the Holy City. "Rome! Rome!" they cry and a hymn of praise bursts forth.

12:05 - 19:35 The October Festival (in Renaissance times): In the Roman 'Castelli' we hear echoes of the hunt, tinkling bells, songs of love and a romantic serenade from a mandolin.

19:40 - 25:28¬†The EpiphanyÔĽŅ (in early Modern times):¬†The night before Epiphany in the Piazza Navona. A frantic clamour of saltarellos, barrel-organs, popular songs and drunken revellers with their hoarse cries of "We are Romans! Let us pass!‚ÄĚ

4. Puccini:

Resources for: Philip Glass and his Violin Concerto #1. 

      Movement #2                 Movement #3

Resources for: (1) Bach/Stokowski: Toccata and Fugue in D minor. (2) Torke, his Bright Blue Music., and on the phenomenon of synesthesia  (3) Mussorgsky (4) Mussorgsky/Ravel’s Pictures at an Exhibition (5) Conductor Anu Tali

(1) Bach/Stokowski: Toccata and Fugue in D minor. 


(2) Torke’s Bright Blue Music: A performance by the Baltimore Symphony Orchestra, David Zinman conducting.

(3) Mussorgsky biographies and  . . .

(4) Mussorgsky/Ravel’s Pictures at an Exhibition 

(5) Conductor Anu Tali:

Resources for:  Introduction to George Gershwin (2) Gershwin’s Cuban Overture and Rhapsody in Blue. (3) Gershwin’s I Got Rhythm Variations (plus Howard Goodall’s video on Rhythm). (4)  Introduction to Aaron Diehl

(1) Introduction to George Gershwin and program notes for the concert selections.  

(2) Performances of Gershwin’s Cuban Overture:

(3) Performances of Gershwin’s Rhapsody in Blue. 

(3) Gershwin’s I Got Rhythm Variations. 

(4)  Introduction to pianist Aaron Diehl: His website, with information and performance clips. 

Resources for: (1) Introduction to Paul Hindemith. (2) Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria Von Weber  (3) Hindemith’s Kammermusik No. 1 (4) Bonus resources on dissonance, counterpoint, and Hindemith’s harmonic system. 

 (1) Introduction to Paul Hindemith. 

(2) Hindemith’s Symphonic Metamorphosis on Themes of Carl Maria Von Weber  

      (Mvt 1) Piano, 4 hands, op. 60 No. 253,        (Mvt 2) Turnadot theme, op 37, 

      (Mvt 3) Andantino for piano, op. 10/2,           (Mvt 4) Maestoso for piano op. 60/7

(3) Hindemith’s Kammermusik No. 1

    di Santa Cecilia, Rome.

Bonus resources: 

Resources for: (1) Introduction to Edward Elgar. 

     Part I,      Part II,   Part III, Part IV

(2) Elgar Cello Concerto  

  • A performance with Jacqueline DuPre, cello, and Sir John Barbirolli conducting the London Symphony Orchestra.¬†¬†link to the video. Movement 1 starts at: ¬†0:13;¬† ¬† ¬†Movement 2 starts at:¬†8:03;¬† ¬† ¬†Movement 3 starts at:¬†12:35;¬†Movement 4 starts at: ¬†17:45ÔĽŅ. ¬†


(1) Introduction to Ralph Vaughn Williams.

(2) A sampling of Vaughn Williams' various musical styles:

(3) Vaughn Williams' Dona Nobis Pacem.  

00:00 - I. 'Agnus Dei' (Lento) 

03:59 - II. 'Beat! beat! drums!' (Allegro moderato) 

07:55 - III. Reconciliation (Allegro moderato) 

15:05 - IV. Dirge for Two Veterans (Moderato alla marcia) 

26:42 - V. 'The Angel of Death has been abroad' (L'istesso tempo) 

30:10 - VI. 'O man greatly beloved’

Resources for: (1) ¬†MartinŇĮ:¬†Nonet No. 2, H. 374. (2) Nielsen:¬†Serenata in vano, FS 68. (3) Strauss/Hasen√∂hrl: ¬†Till Eulenspiegel einmal anders, a frolic, op. 28. (4) Spohr:¬†Nonet in F Major, op. 31

(1) MartinŇĮ: Nonet No. 2, H. 374.¬†

(2) Carl Nielsen: Serenata in vano, FS 68.

  • Nielsen composed the¬†Serenata in vano¬†in 1914 for clarinet, bassoon, horn, cello and bass.¬†
  • A readable and helpful¬†biography¬†plus a few interesting links from AllMusic.¬†
  • A¬†very thorough biography¬†from Wikipedia.
  • Nielsen‚Äôs words about the Serenata in Vano:¬†"Serenata in vano is a humorous trifle," Nielsen wrote. "First (from 0:00 - 4:00), the gentlemen play in a somewhat chivalric and showy manner to lure the fair one out onto the balcony, but she does not appear. Then they play in a slightly languorous strain (Poco adagio, from 4:00 - 6:20), but that hasn't any effect either. Since they have played in vain (in vano), they don't care a straw and shuffle off home to the strains of the little final march (6:30 - 8:20), which they play for their own amusement."
  • A performance¬†by an unidentified chamber group.¬†

(3) Strauss/Hasenöhrl:  Till Eulenspiegel einmal anders, a frolic, op. 28.

  • Richard Strauss composed¬†Till Eulenspiegels lustige Streiche¬†(Till Eulenspiegel's Merry Pranks), Op. 28 in 1894 - 1895.¬†Hasen√∂hrl composed his verson¬†for horn, violin, clarinet, cello & double bass in 1954.
  • Here is¬†an introduction to Hasenohrl from Joseph Stevenson at AllMusic, with an explanation of the way he adapted Strauss' piece for a large symphony orchestra into a charming piece for woodwinds and string quintet. (Downloadable)
  • Here are two videos (¬†#1¬†¬†#2) that tell the story of¬†Till Eulenspiegel, the Merry Prankster. Each video ties the story to the musical themes of Strauss‚Äô¬†¬†symphonic poem, "Till Eulenspiegel.‚Ä̬†Both previews are worth viewing.¬†
  • Here is an outstanding performance of the¬†chamber music version of Strauss‚Äô symphonic tone¬†poem, "Till Eulenspiegel‚ÄĚ. Tthe performance is from the Curtis Institute with¬†Nadir Khashimov - violin, Juyong You - clarinet, Nate West - double bass, ¬†Catherine Chen - bassoon, Austin Larson - horn.¬†

(4) Louis Spohr: Nonet in F major op. 31

00:00 - I. Allegro 

08:07 - II. Scherzo (allegro) 

15:14 - III. Adagio 

22:33 - IV. Finale (vivace)

(1) R. Strauss, Burleske.  

(2) Hector Berlioz Symphonie Fantastique. 

15:00 2nd Movement

21:24 3rd Movement 

38:30 4th Movement 

43:13¬†5th MovementÔĽŅ

(3) Beethoven Symphony #4. 

00:00-   03:30  introduction

03:30 - 15:05   first movement

15:20 -  25:25  second movement

25:40 -  31:35  third movement 

31:50 -  38:32 fourth movement 



Interesting extras from past semesters: 

¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†An outstanding documentary on Beethoven‚Äôs life and music by conductor¬†

         Charles Hazelwood in collaboration with the BBC. 

          Part I      Part II   Part III


(1) Mahler’s Symphony #1 (Titan)

¬† ¬† ‚ÄĘ ¬†¬†¬†Documentary of Mahler‚Äôs life and music,¬†‚ÄúOrigins and Legacy,‚Ä̬†¬†

        from Keeping Score, a series by Michael Tilson Thomas and 

        the San Francisco Symphony Orchestra.

(1) Beethoven’s Symphony No. 7 in A major, Op. 92

¬† ¬† ¬† ¬† ¬†¬†‚Äʬ†¬†¬†¬†Program notes from the¬†Kennedy Center


¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†¬†¬†A history and listening guide by¬†Michael Tilson Thomas.¬†

¬† ¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Leonard Bernstein discusses¬†Beethoven‚Äôs melodic style¬†

¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Excerpts from Yale U. Prof. Craig¬†Wright‚Äôs introduction to Beethoven:

                   ◦ The three periods of Beethoven’s music

                   ◦ The Beethovenian Heroic Sound 

¬†¬†¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†‚󶬆Beethoven as¬†‚ÄėRomantic‚Äô Genius¬† ¬† ¬†¬†

                   ◦ Beethoven’s Deafness and Disability

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†A video documentary by¬†Howard Goodall on Bernstein‚Äôs¬†

        musical career and its importance in 20th century music 

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From the¬†NYTimes‚Äô music critic Anthony Tommasini,¬†
        an overview of Bernstein’s three symphonies.

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From musicologist Dr. Philip Gentry (UDelaware),¬†

          an in-depth analysis of the symphony and its political-cutural moment, 

¬† ¬† ¬† ¬† ¬† "A Great American Symphony during McCarthyism.‚Ä̬†

¬† ¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†From class member Tom Backman, a list of links to videos¬†

          of Bernstein teaching, lecturing and/or conducting. 

¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬†Prokofiev‚Äôs Life in Context, an¬†introductory lecture by Harlow Robinson¬†

            for the Boston Symphony. Part I,  Part II   


Korngold’s Violin Concerto in D maj. Op. 35

¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬† A short documentary on the¬†life, career and music of Korngold.

¬† ¬† ¬† ¬† ¬†‚ÄĘ ¬†¬†¬† A ¬†BBC documentary on the impact of¬†

          Korngold’s music on Hollywood films, narrated by 

          conductor Leonard Slatkin,  whose family’s story is intertwined 

          with Korngold’s.  (Note: This video lacks sound for the 1st minute and half.)      

¬† ¬† ‚ÄĘ ¬†¬†¬† ¬†A listening guide from the¬†London Symphony Orchestra,¬†

          "Korngold's Violin Concerto: From the Silver Screen to 

¬† ¬† ¬† ¬† ¬† ¬†the Concert Hall‚ÄĚ ¬†(with audio clips)

¬† ¬†¬†‚ÄĘ ¬†¬†¬†¬† ¬†Violinist Stefan Jackiw explains the themes and bowing choices¬†

          for the first phrases of the concerto.

¬† ¬†¬†‚ÄĘ ¬†¬†¬†¬† ¬†Violinist Hilary Hahn talks about¬†playing of the final¬†movement

          of the concerto. 


Beethoven's Quartet in B-Flat Major, op. 130, with Grosse Fuge op. 133e

¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†An outstanding lecture from the Chamber Music Society at Lincoln Center (NYC)

         given by Michael Parloff, musicologist, conductor and flautist, 

         on Beethoven’s String Quartet opus #130 and the Grosse Fuge.   

         The relevant part of the lecture on the quartet begins at minute 26:00. The part 

          of the lecture on the Grosse Fuge begins at minute 48:00. 

¬† ¬† ¬† ¬†¬†¬†‚ÄĘ ¬†¬†¬†Program¬†Notes for Op. 130 from¬†Melvin Berger‚Äôs¬†A Guide to Chamber Music¬†

¬† ¬† ¬† ‚ÄĘ ¬†¬†¬†An in-depth listening guide to¬†Quartet #13¬†op. 130 from the¬†Brentano Quartet¬†¬† ¬† ¬†

¬†¬† ¬† ¬† ¬†¬†‚ÄĘ ¬†¬†¬†An in-depth listening guide to the¬†Grosse Fugue from¬†Earsense.¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬† ¬†

© Linda K. Shamoon 2013