Professor Carol interviews New York Times veteran reporter James Barron, author of Piano: The Making of a Steinway Concert Grand (New York: Times Books, 2006), which tells the story of a single piano (K0862) and its eleven-month journey from its beginnings as raw lumber to the concert stage at the Metropolitan Museum of Art.
The 9-part series in The New York Times is available online with images and interactive features.
Visit the Steinway & Sons site to learn more.
What’s this program about?
Can musical works actually paint magic into sound? Or are the sounds magical only because we know the stories behind them? Professor Carol looks at magic in music, from E.T.A. Hoffmann to John Williams’ Harry Potter score.
Works discussed: Berlioz’s Symphonie Fantastique; Manuel de Falla’s El Amor Brujo; Dukas’ Sorcerer’s Apprentice; Saints Seans’ Danse Macabre; Stravinsky’s Firebird Suite; Wagner’s Magic Fire Music; John Williams’ Harry’s Wondrous World
What’s this program about?
Ottorino Respighi was not at war with tonality or tradition, and his works have consequently been denigrated at times as “crowd pleasers.” Although he wrote successful concertos, operas, and ballets that were widely performed in his day, 
he is known primarily for his Roman trilogy: Fountains of Rome, Pines of Rome, and Roman Festivals. Professor Carol takes a close look at Roman Festivals and the current revival of interest in Respighi’s works.
Works discussed: Respighi’s Roman Festivals, Pines of Rome, Fountains of Rome, Laud of the Nativity
The Respighi Foundation
The Resphigi Society
Further reading: Elsa Respighi. Ottorino Rspighi. His Life-Story Arranged By Elsa Respighi. Translated by Gwyn Morris. London: Ricordi, 1962.
Mahler expanded the orchestra to huge proportions, going beyond the already inflated forces of Wagner. But Mahler simultaneously achieved an striking delicacy and transparency by using solo instruments to create “chamber music” in the midst of a his massive musical canvases. He drew his inspiration from the simple tunes of his childhood, military marches, folk songs, and village dances. But he also used the Viennese traditions of Beethoven, Schubert, and the Imperial Viennese waltz. He treated all of these elements as pieces of a mosaic, and placed them in a sophisticated symphonic frame. His great range of artistic expression and his choice to empower the instrumentalists with wonderful solo passages revolutionized music.
It’s true that musicians get excited about playing Mahler in a way that can’t be compared to other composers. Their Mahler experiences stand out – their first awed encounters with his music and their experiences performing it. Mahler demands constant attention from the musicians and pushes them to their limits of physical endurance. So it makes sense to let the musicians themselves talk about Mahler and explain not only why it’s electrifying to play his music, but why so many listeners identify Mahler as one of their favorite composers.
This podcast features Michael Shih, Concertmaster, Ana Victoria Luperi, Principal Clarinet, Mark Houghton, Principal Horn, Steve Wegel, Principal Trumpet, Ron Wilson, Principal Trombone, Kathryn Perry, Violin, and Brian Perry, Bass.
The Fort Worth Symphony’s Mahler Cycle at Bass Hall opens August 23, 2007, with “The Man Behind the Music,” a spectacular multimedia experience led by Professor Carol Reynolds and featuring selections from Mahler’s vocal works with mezzo-soprano Jill Grove and pianist John Churchwell.
An American Evening features three aspects of American music: a symphonic tribute to American culture by Czech composer Antonin Dvorak, a ballet for Martha Graham by Aaron Copland, and two colorful pieces by the dynamic, contemporary composer John Corigliano.
Works discussed: Aaron Copland, Appalachian Spring; John Corigliano, Promenade Overture and To Music; Antonin Dvorak, Symphony No. 9 “From the New World”
The Tulsa Symphony Orchestra Season Preview continues with Part 2.
A look at the upcoming 2007-2008 season of the Tulsa Symphony Orchestra. Professor Carol reviews the orchestra’s concert programs in this netcast and takes you on a virtual tour from America to Imperial Russia to Vienna and back. This netcast is divided into two parts so be sure to listen to Part 2.
What’s this program about?
Rossini, the master of bel canto opera, retired young, rich, and famous. Decades later, in old age and ill health, Rossini returned to composition and crafted a liturgical mass as his final work, a work both spiritual and theatrical, Petit Messe Solonnelle.
Works Discussed: Rossini’s Petit Messe Solonnelle
Where you can find:
Petit Messe Solonnelle
What’s this program about?
Tchaikovsky’s music holds a sacred place in Russian culture. Dmitri Shostakovich said, “Without Tchaikovsky we could not endure our sorrows.” Professor Carol examines his Fifth Symphony and considers his life, his personal struggles, and his professional successes.
Works Discussed: Tchaikovsky Symphony No. 5, Symphony No. 4, The Nutcracker, Swan Lake, The Queen of Spades
What’s this program about?
Professor Carol discusses the history, customs, and geography of America that inspire our diverse choral music, from Colonial times to the present, emphasizing texts of John Stirling Walker and Eric Johns, tunebooks and hymnals, liturgy, folk song, and spirituals.
Works Discussed: Leonard Bernstein: Mass; Aaron Copland: The Tender Land; Randall Thompson: “Alleluia”; Choral works by David Conte, Hubert Bird, Ned Rorem, William Billings, Stephen Paulus
Where you can find:
Bernstein Mass
Copland The Tender Land
Randall Thompson “Alleluia”
