Week of March 3, 2024 - Dmitri Shostakovich, Part 1 (1906-1975) “He forged a musical language of colossal emotional power,” says Grove’s Dictionary. This week will be the first of a two-part series exploring the life and times of Dmitri Shostakovich. From his four-note “D-Es-C-H” signature to the musical sounds of the KGB knocking on his door, Bill will help us understand these hidden meanings in his music. Born in Tsarist Russia and living through the establishment of the USSR, his music reflects these political changes with emotional depth for the world to hear. Also, having his ear to the ground for music from other places, we will hear his Tahiti Trot and waltzes.
Week of March 11, 2024 - Dmitri Shostakovich, Part 2 (1906-1975) This week we conclude our two-part series on the life and times of Dmitri Shostakovich. From his later symphonies to the Jazz Suite No. 2, Bill explores all forms of Shostakovich’s writing. Starting with Shostakovich’s Four Romances after Pushkin, Op. 46, and his Symphony No. 5, The “Market Place” from The Gadfly, Op. 97, Bill ends the week with Kim Kashkashian playing a beautiful performance of the Viola Sonata with Robert Levin.
Week of March 18, 2024 - The Four Seasons This week, Bill welcomes the vernal equinox with music inspired by the seasons: spring, summer, fall, and winter. We’ll be able to envision the boundless majesty of the summer sun in Haydn's Die Jahreszeiten, and the frosty and shivering winds of Vivaldi's Winter, and then to spice up our week, Astor Piazzolla’s tango, Four Seasons of Buenos Aires (Cuatro Estaciones Porteñas) performed by Trio Solisti. Bill will recite poems that complement the seasonal music, and we’ll listen to Tchaikovsky’s Seasons performed by Yefim Bronfman.
Week of March 25, 2024 - Music for the Masses For the past eight centuries, Latin Masses have continuously been written and played for many different occasions, religious or not. This program spotlights recordings that bring these ancient Latin texts to life. Spanning from the beginning of written masses to modern times, Bill demonstrates the process it takes to compose these enduring masses that continue to be played.
