2024-03-29T00:32:46Z
http://archive.org/services/oai2.php
oai:archive.org:ISGM_Podcast-The_Concert-1
2019-04-05T19:41:49Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-edelcorrallira
collection:fav-franjm
collection:fav-jahamos
collection:fav-jonkh
collection:fav-martha_carson_wade
collection:fav-runcible
http://archive.org/details/ISGM_Podcast-The_Concert-1
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Claremont Trio
Corey Cerovsek
Paavali Jumppanen
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
In this program, we hear two Beethoven pieces for strings and piano: a tuneful early violin sonata and the famous “Ghost Trio,” written 12 years later, and look at Beethoven’s dramatic transformation through the lens of his chamber music works. Violinist Corey Cerovsek, pianist Paavali Jumppanen and the Claremont Trio play Beethoven’s Violin Sonata No. 3 in E-flat Major, Op. 12, No. 3 and Beethoven’s Piano Trio in D Major, Op. 70, No. 1 (“Ghost”). Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #1 - Beethoven: Before & After
oai:archive.org:ISGM_Podcast-The_Concert-10
2023-01-27T22:35:02Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-dougbee
http://archive.org/details/ISGM_Podcast-The_Concert-10
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Chopin
Liszt
Cecile Licad
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Chopin and Liszt were two of the greatest pianist/composers of the Romantic era, and both got their start at intimate salons and private soirees, where a pianist would play for the small group gathered. A dazzling technique was particularly prized at these recitals. As the piano itself evolved to be capable of making a bigger sound, pieces written for the instrument increasingly called on the pianist to sound like an entire orchestra, with a range of dynamics, emotions and articulations. Pianist Cecile Licad plays Chopin’s Scherzo for piano No. 1 in B minor, Op. 20 & Nocturne for piano No. 13 in C minor, Op. 48, No. 1, and Liszt’s Mephisto Waltz No. 1 for piano, S. 514 (arr. Busoni). Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #10 - Parlor Orchestra
oai:archive.org:ISGM_Podcast-The_Concert-11
2019-03-26T15:30:58Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-dougbee
collection:fav-prose
collection:fav-raleighmarcell
http://archive.org/details/ISGM_Podcast-The_Concert-11
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Mozart
Borromeo String Quartet
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
Both string quartets featured in this podcast were published as part of a group of six string quartets Mozart dedicated to Haydn, and Haydn’s influence shows. The first quartet on the program, number 16, takes a great deal from Haydn’s string quartets. The first movement begins with a slow, somewhat mysterious, introduction, and moves on to a good-humored romp, full of Haydn’s playful style. The third movement, the minuet, also delights in unexpected hesitations and interruptions. But, while the quartet is inspired by Haydn, it remains distinctively Mozart in sound. The second quartet on the podcast, the “Dissonant” quartet, begins with an even more surprising introduction. The tonality of the piece comes into focus only after this ambiguous start, the source of the “Dissonant” nickname. After this disorienting introduction, the quartet picks up a bright, spirited allegro, now securely in C Major. The minuet of this quartet again recalls Haydn, with its witty rhythmic and harmonic surprises. But its “dissonant” introduction foreshadows something much more modern, even to listeners two and a half centuries later. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #11 - Mozart’s ‘Haydn’ Quartets
oai:archive.org:ISGM_Podcast-The_Concert-12
2019-03-26T13:27:54Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-jkheinz
http://archive.org/details/ISGM_Podcast-The_Concert-12
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Bach
Corey Cerovsek
John Gibbons
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
Bach was a talented keyboard player, performing as an organist in many of his church jobs and playing many other keyboard instruments at concerts and social gatherings. He was quite interested in new developments in keyboard instrument-making, and the birth of the two-manual harpsichord was possibly the inspiration for his Italian Concerto. In the Italian Concerto, Bach simulates the exchanges between solo instruments and the full orchestra using the new double-manual harpsichord. The result, for the harpsichord player, and the listener, is an incredibly complex piece. Particularly in the final movement, you may need to remind yourself that you’re listening to only one person playing only one instrument! Violinist Corey Cerovsek and harpsichordist John Gibbons play Bach’s Sonata for violin and keyboard No. 4 in C minor, BWV 1017 and Italian Concerto for harpsichord, BWV 971. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #12 - Bach’s Keyboard
oai:archive.org:ISGM_Podcast-The_Concert-14
2019-03-29T20:09:30Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-bernyhi
collection:fav-drigoval
collection:fav-oldmanrobot
collection:fav-pattiob
http://archive.org/details/ISGM_Podcast-The_Concert-14
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Vivaldi
Brahms
Gardner Chamber Orchestra
Wendy Warner
Eileen Buck
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
They say every person on earth is connected by, at most, six degrees of separation. This week in our 14th episode of “The Concert,” we’ll listen to some Vivaldi and Brahms, two composers from totally different times and places who are connected by just one degree of compositional separation—Johann Sebastian Bach. Vivaldi was a very prolific composer, and many of his works were relatively unknown after his lifetime. As Vivaldi became increasingly popular, though, people started to realize what an influence he’d had on Bach. It’s no secret that Bach, in turn, had a great influence on Brahms. In the second piece on this program, Brahms’ cello sonata in E minor, you’ll particularly hear the influence of Bach’s fugues in the final movement. And maybe you’ll even hear a trace of Vivaldi’s counterpoint. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #14 - One Degree of Separation: Vivaldi and Brahms
oai:archive.org:ISGM_Podcast-The_Concert-15
2019-04-09T09:13:39Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
http://archive.org/details/ISGM_Podcast-The_Concert-15
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Mozart
Gleb Ivanov
Orion String Quartet
Ida Kavafian
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
Generations of writing teachers have passed down the familiar edict: write what you know. In this week’s episode of the concert we’ll hear two composers who heeded that advice. Beethoven made his recital debut as a pianist at just eight years old, and he studied and played the instrument all his life. Being a baroque keyboard player was a bit like being a modern jazz pianist today; you were expected to have a strong foundation in harmony, so that you could improvise variations or play in ensembles, where the keyboardist created his part from a harmonic score a lot like a jazz lead sheet, rather than having a completely notated part. And it can’t be coincidence that in this famous piece, the Moonlight Sonata, the emphasis is on harmony. It’s the beautiful, undulating harmonies underneath the melody that we remember. Mozart also played both violin and keyboard, but when playing chamber music with his friends the instrument he favored was the viola. And in the Mozart piece on this program the instrument he adds to the standard string quartet is an extra viola. This added richness in the middle range, combined with a string player’s ear for long, singing melodic lines, show Mozart’s inner violist. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #15 - Write What You Know: Beethoven and Mozart
oai:archive.org:ISGM_Podcast-The_Concert-16
2019-03-23T14:23:57Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-hlmprod
collection:fav-jahamos
collection:fav-shallowgal
http://archive.org/details/ISGM_Podcast-The_Concert-16
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Bach
Schubert
Colin Carr
Seymour Lipkin
128Kbps MP3
128kbps M3U
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
This week, we’ll be listening to two pieces for two very different solo instruments: piano and cello. First on the program, cellist Colin Carr will play one of the six solo suites Bach wrote for the cello. In these pieces, made up of solo melodic lines, harmony still plays a big role. In fact, while you’re listening you may notice your ear filling in notes that aren’t actually played, like connecting the dots on a page. In this suite, Bach gives the listener just enough dots to evoke those harmonies, while still retaining a melancholy sparseness in the music. After the delicacy of the Bach’s cello suites, the opening of Schubert’s A minor piano sonata seems downright bombastic. The first movement shuttles back and forth between declarative chords, like the opening, and longer, poetic lines, a familiar hallmark of Schubert’s style. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #16 - Music for One by Bach and Schubert
oai:archive.org:ISGM_Podcast-The_Concert-17
2019-04-11T19:31:50Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-djnevin
collection:fav-favsong47
collection:fav-northoftexas
collection:fav-shallowgal
http://archive.org/details/ISGM_Podcast-The_Concert-17
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Claremont Trio
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
This week’s episode is dedicated just one piece: Beethoven’s “Archduke” trio. This piece was named for the Archduke Randolph, a student and friend of Beethoven’s for many years. But many performers and writers note that the evocative “Archduke” title seems to fit the music. The words “noble” and “grand” crop up frequently in descriptions of the piece, which is an expansive 45 minutes long and contains, according the authoritative “New Grove Dictionary”, one of the most beautiful slow movements Beethoven ever wrote. The premiere performance of the “Archduke” trio, in 1814, also has the unhappy distinction of being Beethoven’s last public appearance as a pianist. Violinist Louis Spohr, who played with Beethoven in the recital, recalled the experience vividly. “In the forte passages,” he wrote, “the poor deaf man pounded on the keys until the strings jangled, and in the piano [or quiet sections] he played so softly that whole groups of notes were omitted.” But Beethoven’s playing may tell us something else about the piece. It is a sweeping, monumental work, and the immense variation Beethoven was aiming for in loud and soft perhaps hints at the vast territory he was trying to cover in this, his last piano trio. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #17 - The Archduke
oai:archive.org:ISGM_Podcast-The_Concert-18
2019-04-01T13:03:41Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-jahamos
collection:fav-jamalstevens
collection:fav-prose
http://archive.org/details/ISGM_Podcast-The_Concert-18
Gardner Museum
museum
podcast
the concert
classical music
Vivaldi
Schubert
Paula Robison
Seymour Lipkin
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
VBR M3U
VBR MP3
VBR ZIP
This week, we're featuring two works with great finales, the kind that make audiences jump to their feet, by Vivaldi and Schubert. The rollicking final movement on Vivaldi's concerto clocks in at just under one minute from start to finish, with the whole piece, all three movements, adding up to less than four minutes. Then, Schubert's Sonata in B-flat Major, a sonata that ends with a brilliant coda. The Gardner Chamber Orchestra, directed by flutist Paula Robison, plays Antonio Vivaldi's Concerto for orchestra in B-flat Major and pianist Seymour Lipkin plays Schubert's Sonata in B-flat Major, D. 960. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #18 - Finale! by Vivaldi and Schubert
oai:archive.org:ISGM_Podcast-The_Concert-19
2019-03-29T05:54:44Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
http://archive.org/details/ISGM_Podcast-The_Concert-19
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Mozart
Claremont Trio
Orion String Quartet
Ida Kavafian
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
VBR M3U
VBR MP3
VBR ZIP
This week, some music of contrast. Beethoven wrote the single movement "Alegretto" piano trio for a ten year old girl from Vienna. He wrote in the dedication that he hoped the piece would bring "encouragement in pianoforte playing." The simple but showy piano part was probably written by Beethoven to allow the young player to shine. The allegretto will be followed by Mozart's G minor string quintet. As we heard a few weeks ago, Mozart's choice to add an extra viola perhaps came from his personal love of viola playing. This quintet was written along with the C Major quintet, in a few weeks' time, and the two were probably written as a complementary pair. The G minor quintet on this program is the darker and more dramatic of the two, written to follow the beautifully simple last movement of the C Major quintet. In a similar vein to Mozart's intended pairing, we'll begin this week with Beethoven's Allegretto for piano trio. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #19 - Contrasting Beethoven and Mozart
oai:archive.org:ISGM_Podcast-The_Concert-2
2019-03-18T23:25:58Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-alehamdro
collection:fav-asveginor
collection:fav-christine28105
collection:fav-codewaggle
collection:fav-halstead7718
collection:fav-himelfarbfilms
collection:fav-jonkh
collection:fav-jstn
collection:fav-nykayn1
collection:fav-rogelio_sc
collection:fav-shallowgal
collection:fav-swbraden
collection:fav-titanium23
collection:fav-tuukka40
collection:fav-tvthayer
http://archive.org/details/ISGM_Podcast-The_Concert-2
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Mozart
Corey Cerovsek
Jeremy Denk
Kim Kashkashian
Gardner Chamber Orchestra
Douglas Boyd
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Join us for two performances celebrating the 250th birthday of music’s most notorious prodigy, Wolfgang Amadeus Mozart. These concerts, recorded live during our Mozart Marathon in January 2006, feature some of our favorite soloists as well as the Gardner Chamber Orchestra, the museum’s resident ensemble. To start, violinist Corey Cerovsek and pianist Jeremy Denk perform Mozart’s delightful violin sonata in E minor. Then, Corey is joined by violist Kim Kashkashian and the Gardner Chamber Orchestra for a fiery rendition of Mozart’s violin-versus-viola showdown, his Sinfonia Concertante. Mozart himself was a violist, like our Music Director (and violist) Scott Nickrenz. Perhaps when he wrote this piece he was trying to settle the age-old rivalry between violists and violinists. Mozart challenges the technical boundaries of both instruments and asks the question: can a violist keep up with a violinist? Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #2 - Mozart Mini-Marathon
oai:archive.org:ISGM_Podcast-The_Concert-20
2019-03-28T01:09:16Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-christine28105
collection:fav-codewaggle
collection:fav-fizz3530
collection:fav-jahamos
http://archive.org/details/ISGM_Podcast-The_Concert-20
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Vivaldi
Gardner Chamber Orchestra
Paula Robison
Corey Cerovsek
Paavali Jumppanen
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
VBR M3U
VBR MP3
VBR ZIP
We're hoping to ring in the spring in chilly New England with these two charming works perfect for the season. The Gardner Chamber Orchestra, directed by flutist Paula Robison, plays Antonio Vivaldi's Concerto for flute and orchestra in F Major, "con sordino," and violinist Corey Cerovsek and pianist Paavali Jumppanen play Beethoven's Sonata for violin and piano No. 5 in F Major, Op. 24, "Spring." Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #20 - Springtime for Vivaldi and Beethoven
oai:archive.org:ISGM_Podcast-The_Concert-21
2019-03-12T18:12:04Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-webbles
http://archive.org/details/ISGM_Podcast-The_Concert-21
Gardner Museum
museum
podcast
the concert
classical music
Schuber
Rachmaninoff
Robert Levin
Ya-Fei Chuang
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
VBR M3U
VBR MP3
VBR ZIP
If you've ever taken a beginner piano lesson, you're probably familiar with music for one piano and four hands - or two people. That's what the first piece on our program today is: two pianists on just one piano bench, in this case a husband-and-wife team. But, the repertoire that really took off among modern composers is that for two players and two pianos, as in our second piece this week. With two instruments at his disposal, Rachmaninoff's sound in this piece is much bigger than the Schubert. And, liberated from the shared piano bench, the pianists can exhibit much more virtuosity, given full range over the entire keyboard.
ISGM Podcast: The Concert #21 - Four Hands are Better Than Two
oai:archive.org:ISGM_Podcast-The_Concert-22
2019-03-30T03:09:38Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-adrianoci
collection:fav-coloryan
collection:fav-hlmprod
collection:fav-jahamos
collection:fav-lunchdress
collection:fav-montanawildhack
collection:fav-rogelio_sc
http://archive.org/details/ISGM_Podcast-The_Concert-22
Gardner Museum
museum
podcast
the concert
classical music
Bach
Gardner Chamber Orchestra
Paula Robison
Colin Carr
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
VBR M3U
VBR MP3
VBR ZIP
One of the interesting things about Bach, many singers will tell you, is that he likes to use voices like instruments. On the flip side, Bach also sometimes liked to write for instruments in ways that made them sound like voices, as in this week's episode. In Bach's suite, the cellist plays the roles of "soloist" and "orchestra" simultaneously, playing both the long, singing melodic lines and the underlying harmonies. Next on the program is one of Bach's most famous melodies, in an arrangement for flute solo, played by flutist Paula Robison. The title "Air on a G string" actually wasn't applied to the piece until much later, when a 19th-century violinist transposed Bach's work down a whole step so that he could play the entire melody on the G string of his violin, the instrument's lowest string, giving it the lush, romantic era sonority many of us have come to identify with the piece.
ISGM Podcast: The Concert #22- Bach's Songs...for Strings
oai:archive.org:ISGM_Podcast-The_Concert-3
2019-03-23T05:25:18Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
http://archive.org/details/ISGM_Podcast-The_Concert-3
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Schubert
Musicians from Marlboro
Hyunah Yu
Alexander Fiterstein
Gilbert Kalish
Borromeo String Quartet
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
This week’s program features two chamber music pieces, one with voice and one without, both written late in Schubert’s life, and both inspired by his love of song. “The Shepherd on the Rock” is longer than most of Schubert’s 600 songs, at about fifteen minutes, and in many ways is more like a chamber music piece than a song. The narrator, a shepherd singing of his far away beloved, moves from wistfulness to despair to hope. In the final section, as the narrator sings of faith in the coming springtime, the clarinet and voice echo each other’s ascending lines, acting as chamber music partners rather than as soloist and accompanist. The string quartet “Death and the Maiden,” uses a song as inspiration for an entirely instrumental work. The second movement of this quartet is a set of variations on the theme from Schubert’s song “Death and the Maiden.” By using the melody of the song, he evokes its story, too. In “Death and the Maiden,” a young woman pleads with the personified “death” to spare her life, but as death seductively promises rest and peace he seems to calm her fears, perhaps luring her away. The use of this melody perhaps also reflects Schubert’s own confrontation with death. As he was writing the quartet, he was hospitalized and in poor health. He died only a few years later, at age 31. In 1824, he wrote to a friend, “Each night, when I go to sleep, I hope I will not wake again.” Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #3 - Schubert: Inspired by Song
oai:archive.org:ISGM_Podcast-The_Concert-4
2019-04-11T08:20:31Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-am_lie_martin
collection:fav-andrew_halstead
collection:fav-ste2007
http://archive.org/details/ISGM_Podcast-The_Concert-4
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Schubert
Seymour Lipkin
Jeremy Denk
Randall Scarlata
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
This week’s program focuses again on Schubert, and his gift for a singing melody. In the first piece, the lyrical melody in the pianist’s right hand is a tune that could easily be the vocal line of one of Schubert’s songs. The left hand devotedly accompanies the tune, providing harmonic support and rhythmic motion. This idea, of a melodic line supported by an evocative piano accompaniment, figures prominently in Schubert’s songs, including the other piece on the program: Winterreise. This song cycle was written late in Schubert’s life, during a serious illness, and the narrator in the songs contemplates and confronts death throughout. In a particularly poignant moment halfway through this excerpt, in the song “Der Lindenbaum,” the narrator finds a brief respite under the branches of a Linden tree. But, as in much of Schubert’s song, there is perhaps a somewhat unsettling correlation between rest and death. The poems tell the story of a winter’s journey through the cold and snowy woods. Below you’ll find a link to the complete translations, so you can follow the story. Be sure to check back for podcast #6, and the conclusion of Winterreise. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #4 - Schubert's Songs, With and Without Words
oai:archive.org:ISGM_Podcast-The_Concert-5
2019-03-13T11:35:16Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-akuki
collection:fav-maruchan
collection:fav-visual_chemistry
collection:fav-webbles
http://archive.org/details/ISGM_Podcast-The_Concert-5
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Chopin
Cecile Licad
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
When you hear Chopin’s études, you can tell that he was a virtuosic pianist himself, and intimately familiar with the piano. Études are short but challenging studies meant to stretch the pianist’s technical boundaries and develop his technique. But Chopin’s etudes challenged not only his own playing ability, but also his compositional ingenuity. Chopin wrote the first of these etudes when he was only 19 years old, and they were published when he was just 23. Written for the Parisian salons where Chopin played and socialized, these pieces are quite at home in the environment of the Gardner Museum, where Isabella Gardner hosted intimate musical soirees and entertained eminent artists and thinkers. Today, this legacy of patronage, active connection with art and artists, and discourse about the arts continues, with Artists-in-Residence working in the museum and musicians filling the museum with music every Sunday. Like the salons of Paris, this lively artistic setting is the sort of place one might have first heard these études back in 1833. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #5 - Chopin's Piano Fireworks
oai:archive.org:ISGM_Podcast-The_Concert-6
2016-05-26T12:23:45Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
http://archive.org/details/ISGM_Podcast-The_Concert-6
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Schubert
Seymour Lipkin
Jeremy Denk
Randall Scarlata
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Metadata
Ogg Vorbis
PNG
The program begins with another of Schubert's Impromptus for piano, this one in F minor. We then return to the second half of the song cycle “Winterreise,” beginning with the song “Die Post.” In this song, our narrator sees the arriving mailman and hopes, wistfully and maybe foolishly, that he will bring a letter from his beloved. But as the narrator journeys on, his hopes gradually dim, “falling,” he says, “like autumn leaves from a tree.” “I am finished with dreaming,” he later sings. And by the end of the cycle, he has lost all hope that his love will be returned. Find a translation of “Winterreise” on our website, www.gardnermuseum.org. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #6 - Schubert's Songs, With and Without Words - Part 2
oai:archive.org:ISGM_Podcast-The_Concert-7
2019-03-27T16:34:45Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-franjm
collection:fav-jahamos
collection:fav-lalomex
collection:fav-palock
collection:fav-ryz
http://archive.org/details/ISGM_Podcast-The_Concert-7
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Bach
John Gibbons
Corey Cerovsek
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Johann Sebastian Bach was a prolific composer, who wrote hundreds of works, probably many more than have survived to this day. During the years when he wrote these sonatas, however, he was particularly busy. Bach had just begun a new job in Leipzig, and his time was consumed with writing choral music for four major churches in town. These sonatas for violin and harpsichord are among the few chamber music pieces that survive from this time period. They are particularly notable, though, because in them Bach lay the groundwork for a new kind of chamber music. With these sonatas, Bach elevated the role of the harpsichord from accompaniment to musical partner, a trend that would continue and develop throughout the Romantic era, more than a hundred years later. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #7 - Bach's Keyboard
oai:archive.org:ISGM_Podcast-The_Concert-8
2019-03-13T14:13:07Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-jahamos
collection:fav-titanium23
http://archive.org/details/ISGM_Podcast-The_Concert-8
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Mozart
Borromeo String Quartet
Paula Robison
Gardner Chamber Orchestra
Douglas Boyd
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
Because Mozart wrote and played music so well from such an early age, there is a commonly held view that he always composed with extraordinary ease, that his works were the product of a sort of divine inspiration. But scholars now realize that, while Mozart did write extraordinary music, it was not always so simple for him. In the dedication of Mozart’s string quartets, he calls them the “fruits of a long and laborious endeavor.” Characterized by adventurous chromaticism and intricate fugal textures, the string quartet “Spring” was not a simple thing for Mozart to write. Neither, apparently, were the flute concertos. Mozart’s second flute concerto, commissioned in a set of three concertos (the third was never completed), is actually a re-working of his earlier concerto for oboe. But, the resulting piece was so beautiful, and so perfect for the flute, that no one pointed out that the piece had been cribbed from the oboe concerto until 1952. Though these were perhaps harder pieces for Mozart to write, the time spent perfecting them seems to have paid off; both are now considered masterpieces of the repertoire. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #8 - Mozart: Not Just a Prodigy
oai:archive.org:ISGM_Podcast-The_Concert-9
2019-03-19T00:04:36Z
mediatype:audio
collection:ISGM_Podcast
collection:audio_music
collection:fav-craigwellsy
collection:fav-facelessplebe
collection:fav-jahamos
http://archive.org/details/ISGM_Podcast-The_Concert-9
Isabella Stewart Gardner Museum
Gardner Museum
museum
podcast
the concert
classical music
Beethoven
Corey Cerovsek
Paavali Jumppanen
128Kbps MP3
128kbps M3U
64Kbps M3U
64Kbps MP3
64Kbps MP3 ZIP
Archive BitTorrent
Item Tile
Metadata
Ogg Vorbis
PNG
Spectrogram
The “Kreutzer” Sonata is loved by audiences for its thrilling range of emotions and displays of technical daring. For violinists, though, the piece is extremely difficult. Beethoven was urged to write the piece by English violinist George Bridgetower, and the two played the premiere together. Beethoven was so thrilled with Bridgetower’s playing that he actually ran across the stage to embrace him in between movements in the middle of the concert. Elated with their successful debut, Beethoven dedicated the piece to Bridgetower after the recital. Later that evening, though, Bridgetower made a disparaging remark about a woman Beethoven knew. Enraged, Beethoven withdrew the dedication, instead dedicating the piece to Rudolphe Kreutzer, a famous Parisian violin virtuoso, giving the sonata the name it’s had ever since. Ironically, though, Rudolphe Kreutzer never actually performed the “Kreutzer” sonata. Upon receiving the manuscript in Paris, he declared the piece impossible to play. In this program, we’ll hear violinist Corey Cerovsek prove him wrong. Recorded live in the Tapestry Room of the Isabella Stewart Gardner Museum, Boston. The Isabella Stewart Gardner Museum is pleased to share this concert under a Creative Commons Music Sharing License. For details see www.gardnermuseum.org.
ISGM Podcast: The Concert #9 - Beethoven’s Violin Virtuosos