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Sticky Notes: The Classical Music Podcast

Sticky Notes: The Classical Music Podcast

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! Note - 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!

Kategorien: Musik

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In 1857, Brahms wrote to his friend Joseph Joachim about his first Piano Concerto, saying, “ “I have no judgment about this piece anymore, nor any control over it.” Brahms first began sketching his first piano concerto in 1853, but it would be five full years before Brahms finished the piece, and another year until its first performance. During that time, the piece became a Sonata, then a symphony, then a sonata for two pianos, and then finally a concerto for Piano and orchestra, or as the joke goes, a concerto for piano VERSUS orchestra. The piece, and Brahms’ struggles with it, are completely understandable considering Brahms’ youth, and the extraordinarily tumultuous circumstances of his private life during the years of 1853-1858. During this time period, he was anointed by no less than the kingmaker of classical music at the time, Robert Schumann, as the Chosen One that represented the future of music. He became friendly with both Robert and Clara Schumann, began achieving huge successes, then witnessed the slow mental breakdown of Robert, culminating in a suicide attempt and institutionalization, all while falling deeper and deeper in love with Clara Schumann, and she with him. The turbulence and emotional weight of all of this is reflected in one of Brahms’ most impassioned works, the first piano concerto. We’ll talk about the historical background for the piece, Brahms’ working out process, and of course, the structure and insides of this massive, daunting piece.