Podcasts about humoreske

Piše Bojan Sedmak, bereta Lidija Hartman in Bernard Stramič. Dragan Petrovec spada med pisce, ki so začeli izdajati knjige okoli svojega petdesetega leta. Prve s področij, ki jih je moral obvladati kot doktor prava, kriminolog, penolog, sodni tolmač, profesor, raziskovalec in še kaj, kar pritiče tovrstnemu praktiku in strokovnjaku z ugledom zavzetega intelektualca. Slednje je v svojih šestdesetih letih potrjeval v izdajah zbranih kolumn Stopinje upora (2021) in Ljubiti morilca (2023), v katerih je izkazoval sposobnost za humanistično kritiko družbenih prismodarij in anomalij. Na začetku svojih sedemdesetih pa je začel nizati umetnostna besedila; enaindvajsetim zbranim zgodbam v zbirkah Fanči s psihiatrije in še hujše zgodbe (2016) in Pismo nigerijske vdove (2018) je dodal še dvajset v najnovejši knjigi Brodolom. Ljubeznive šaljive pripovedi so bile objavljane na začetkih slovenske epike že od Jurčiča naprej, v prejšnjem stoletju pa jih je umestil v stalnico kratke proze Fran Milčinski. Drago Petrovec narodnemu klasiku ni blizu le po poklicni usmeritvi, ampak je avtorju kratkočasnih zgodbic, Fridolina Žolne, Muhoborcev in drugih ponarodelih naslovov podoben tudi po prvoosebni obdelavi snovi. V vseh objavljenih zgodbah v treh knjigah je brez izjeme udeleženec v pripetljajih avtobiografsko sam. In to, na kakšen način se v njih razgrinja, ni zanimivo toliko zaradi obravnavanih motivov kot bolj zaradi humorja, s katerim hudomušno ne prizanaša niti sebi. Humoreske se po površnem vtisu uvrščajo med lahkotne oblike komike, ni pa jih lahko podajati tako, da pritegnejo bralstvo. Pisec mora imeti v značaju nekaj vedrega, spravljivega in razumevajočega za vse, kar vzame v obdelavo. Satira je praviloma ostra in brezobzirno nekaj ali nekoga zbode ali celo boleče zareže v meso kot sarkazem. Ironija v svoji dvoumnosti vsebuje možnost, da tistemu, ki jo uporablja, ni povsem jasno, s čim bega svoje žrtve. Groteska pretirava s karikiranim pačenjem snovi in likov, parodija je parazitski žanr – humoreska pa načeloma ni satira, groteska ali parodija. Zaradi blagosti je morda manj odmevna kot bolj napadalne vrste komike, včasih pa tudi zvrstno vprašljiva, če je preveč podobna razširjeni šali, anekdoti ali dnevniškemu zapisku, Petrovčevo pisanje se tovrstnim zdrsom uspešno izogiba in en način je s pomočjo navezovanja na imena slavnih ustvarjalcev, s katerimi je opremljen načitan izobraženec. V naslovnem besedilu Brodolom se spopada z burjo na morju opremljen z nanašanjem na Platona, na Klapkovo povest Trije možje v čolnu, da o psu ne govorimo in na Melvillov roman Moby Dick ter je že s to citatnostjo odmaknjen od vsake šale. Morda je anekdotičnosti še najbližje prvo besedilo Martinovo, ko se avtor sooča z vozniškim alkotestom, o katerem je bilo izpričano že veliko zabavnega. A njegovo bistvo ni, da avtor vozi že petdeset let, pa še nikoli ni pihal in da mora zdaj to opraviti domala pred dovozom do svoje hiše – kliše je obdelan v svojevrstnem jezikovnem slogu, glavni kvaliteti teh kratkih zgodb. Ta kakovost ne temelji v pomenskem nonsensu iz kanonskih Butalcev, torej v domeni besednih iger, ampak deluje na ravni stavkov, zapičenih v butaste dogodke, ki zadevajo razumnega človeka. Splošno prepoznavne teme, kot so vozniški izpiti, novoletne zaobljube, kulinarične posebnosti, rajske počitnice, volilne kandidature, enološke ocene, pretirane cene, oglasne prevare, poroke, porodi in mnoge druge vsakdanjosti, so predstavljene z blagohotnostjo, ki jo preveva avtorjevo razumevanje človeških slabosti in prestopkov, bržkone pridobljeno tudi s poklicnimi izkušnjami. Odstavki vsebujejo poznavalske podrobnosti z različnih področij, posredovane brez pokroviteljstva, duhovito v absurdnih kontekstih, prevladujoče v stilu gasilca iz Plešaste pevke: »Pristnost, sama pristnost! Nič literature,!« Ali kot pisec v uvodu k svoji prvi zbirki navaja nabor lastnih dogodivščin: »Vse prvoosebno pisane zgodbe, še bolj nezgode, so se mi resnično pripetile. Bil sem nadzornik planiških poletov, čeprav le nekaj ur; za nekaj dni sem si uspel priboriti status samohranilca; povsem blizu sem bil zaporu zaradi prekratkega imena, drugič spet zaradi poskusa ropa; zaradi ene same čisto malo prehitre vožnje po prazni avtocesti pa že z eno nogo v njem: Bil sem že napol utopljen, pa potem še dosti bolj zgubljen v zračnih višavah; v restavraciji, kjer so se mize šibile od dobrot, bi me pustili shirati od lakote, čeprav sem bil pripravljen plačati vse, kar bi mi ponudili. Ne nazadnje, bil sem prvi Slovenec na enoletnem porodniškem dopustu, zaradi česar sem zamudil del izobraževanja za komandose v teritorialni obrambi.« In tako naprej prek Pisma nigerijske vdove do Brodoloma, kjer se pojavlja kot kandidat za predsednika, uporabnik očesnih leč ameriške izdelave, prostovoljec ob poplavah, prevajalec pri sklenitvi zakonske zveze, povzročitelj karambola, kandidat na izpitu prve pomoči, naslovnik alternativne medicine … V vsem tem poskuša najti pozitivnost, brez razjedajoče ironije in satirične zbadljivosti, zadovoljivo poln svojih domislic tudi ne potrebuje porogljivega posnemanja ali posmehljive predelave drugih. Postavljanje svojega jaza v ospredje pripovedi je človeško, prečloveško, a zlahka zapade v stanje, ki se mu je načrtno izmikal Flaubert, ko je v maniri objektivnega realizma poskušal sebe čim bolj izločati iz izraženega. Petrovec ima za takšno zasičenost varovalko – suvereno se zna posmehniti neumnostim lastnega ega, kar je dodana vrednost vsakega iskrenega smeha. V tem je tudi priznanje osebne krhkosti, ki ga ni sposoben vsak in najbrž dozori v modrost z dolgostjo življenjskih poti. Preprosto povedano s piščevimi besedami: »Na zrela leta menda telo potrebuje več topline vseh vrst.« Z dodatkom: »Nekaj takega čutim tudi sam, kar pomeni, da je v dvoje treba najti prijeten in s soncem obsijan kotiček.« V to dvojino je zajeta pisateljeva žena, priča mnogih avtorjevih zabavnih zmot in zablod. Potrpežljivo ga opomni, da če gleda mestni ognjemet na TV z zamikom, tega ne more hkrati videti z okenske police, omaro pa spretno razstavi hitreje, kot mož preuči njeno trhlost. Druga stalna podpornica Petrovčevih humoresk je ilustratorka njegovih knjig Milanka Fabjančič. Na naslovnicah zbirk je upodobljen avtor v situacijah iz svojih tekstov; na eni hoče prevzeti nakupovalni voziček starejši gospe, Klotildi Shiessengruber, nosilki železnega križca za obrambo domovine, medtem ko ta maha po njem s torbico; na drugi je s šopom bankovcev in računalniško miško stisnjen med afriško matrono in agenta FBI, na tretji se v čolnu brani pred nevihto, tako da nad glavo vihti paški sir. Na vseh pa je narisan kot dolgin s postavo povprečno podhranjenega etiopskega maratonca z obveznimi brki in brado. Petrovčeve humoreske nimajo brade, vedno znova so sveže nabrite, primerne ne samo za lahkotno poletno branje, ampak tudi za jesensko premišljevanje o življenju, ko je to predvsem smešno.

durée : 00:59:38 - Été Classique Matin du mercredi 26 juillet 2023 - par : Max Dozolme - Au programme : un extrait du Voyages Baroques du guitariste Raphaël Feuillatre, les Humoreske de Robert Schumann par le pianiste Tom Carré, le Quatuor à cordes op. 81 de Felix Mendelssohn par le Quatuor Aro, le Concerto pour violoncelle de Franz Danzi par Aurélien Pascal, et d'autres !

Track Listing:1 Nielsen: Symphony No. 1 in G Minor, Op. 7: / I. Allegro orgoglioso 09:202 II. Andante 07:473 III. Allegro comodo 07:494 IV. Allegro con fuoco 08:58 5 Symphony No. 2, Op. 16 The Four Temperaments / I. Allegro collerico 10:066 II. Allegro comodo e flemmatico 04:567 III. Andante malincolico 12:568 IV. Allegro sanguineo 07:02 9 Symphony No. 3, Op. 27 Espansiva / I. Allegro espansivo 11:0910 II. Andante pastorale 10:3811 III. Allegretto un poco 06:4312 IV. Finale. Allegro 10:52 13 Symphony No. 4, Op. 29 The Inextinguishable / I. Allegro 12:2114 II. Poco allegretto 04:3215 III. Poco adagio quasi andante 10:4716 IV. Allegro 08:51 17 Symphony No. 5, Op. 50: Ia. Tempo giusto 10:2918 Ib. Adagio 08:5219 IIa. Allegro 06:1420 IIb. Presto 02:5821 IIc. Andante poco tranquillo 04:2022 IId. Allegro 02:5623 Symphony No. 6 Sinfonia Semplice / I. Tempo giusto 14:2724 II. Humoreske 04:1125 III. Proposta seria 05:2726 IVa. Allegro – Tema. Allegretto un poco 00:5827 IVb. Var. 1 00:3228 IVc. Var. 2. Allegretto quasi andantino 00:2829 IVd. Var. 3. Più vivo – Var. 4. – Var. 5. Brioso 02:1730 IVe. Var. 6. Tempo di Valse – Var. 7 02:1131 IVf. Var. 8. Molto adagio 03:0232 IVg. Var. 9. Tempo di tema 00:2833 IVh. Fanfare 01:44Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Jestin Pieper is a New York City based pianist, vocal coach, organist, conductor, and educator. As a performer, Mr. Pieper has appeared in major venues across the country and abroad including guest appearances on the Discovery Channel, WNYC and WNPR and performances across the country including Carnegie Hall and The Bruno Walter Auditorium. He has a solo piano album titled “Humoreske” and is a pianist and conductor for many opera companies and festivals. Jestin is a member of the Washington Heights based Luminae Trio, and is currently the music director and principal organist at Holy Trinity Episcopal church in Inwood. In addition, he is on faculty as an Associate Adjunct Professor of Music at LIU Brooklyn RocNation School of Music, Sports and Entertainment. Find out more at www.jestinpieper.com

Das Verhängnis zwischen den Geschlechtern nahm bekanntlich schon im Paradies seinen Anfang. Wo sich die Genesis über die Reibereien zwischen Adam und Eva eher biblisch wortkarg auf das Allerwesentlichste (Schlange, Frucht, Vertreibung) konzentriert, wagt die Heimwelt, die Unterhaltungsbeilage des sozialdemokratischen Vorwärts, am 18. Mai 1923 einen etwas detaillierteren Blick auf die Mutter aller Beziehungskisten. Und entdeckt – wenig überraschend angesichts des humoristischen Genres – allerlei Gemeinsamkeiten mit moderneren Frau-Mann-Konstellationen. Dass hier ein Mann schreibt, merkt man dem Text angesichts einiger Geschlechterstereotypien wohl an. Autor Karl Ettlinger war gleichwohl ein Meister der feuilletonistischen Humoreske. Als Jude erhielt er ab 1933 Berufsverbot und starb 1939 in einem jüdischen Krankenhaus in Berlin. Seine „erste Zigarre“ raucht bzw. liest für uns Paula Rosa Leu.

Je dagelijkse portie muzikale verwondering. Welkom in mijn wonderkamer, vol muziek, verhalen en voorwerpen. Een muzikale reis door eeuwen, windstreken en genres. ‘Julie & Robert' Haar moeder was de geliefde van Franz Xaver Mozart. Julie von Wedenau leerde het vak dan ook van deze zoon van Mozart. Later raakte zij bevriend met Robert Schumann die zijn Humoreske aan haar opdroeg. Op haar beurt droeg Julie haar L'Adieu et le Retour op aan Schumann. Meer zien? Klik hier (https://www.nporadio4.nl/klassiek/podcasts/f32bc497-7b61-4ffb-99d4-16b765eb0c53/dit-hoor-je-deze-week-in-franks-klassieke-wonderkamer-week-13-27-t-m-31-maart)   Julie Weber von Webenau L'Adieu et le Retour, op.25; I. L'Adieu Yaara Tal, piano (album: Love? Homage to Clara Schumann)   Robert Schumann Humoreske op.20; I. Einfach Piotr Anderszewski, piano (album: Schumann: Piano Works) Franks Klassieke Wonderkamer is straks niet meer via de Bach van de Dag feed te beluisteren. Niks missen? Abonneer je dan op de podcast Franks Klassieke Wonderkamer.

The name and personality of Niels Wilhelm Gade are well known among music specialists, but unfortunately largely ignored by the mainstream concert repertoire and its audiences. And this is an unfair and regrettable situation, since Gade is an important figure under both the historical and the artistic viewpoint.Tracklist1)Aquarelle Op. 19 n. 1 “Elegie”2)Aquarelle Op. 19 n. 2 “Scherzo”3)Aquarelle Op. 19 n. 3 “Canzonette”4)Aquarelle Op. 19 n. 4 “Humoreske”5)Aquarelle Op. 19 n. 5 “Barcarole”6)Aquarelle Op. 19 n. 6 “Capriccio”7)Aquarelle Op. 19 n. 7 “Romanze”8)AquarelleOp. 19 n. 8 “Intermezzo”9)Aquarelle Op. 19 n. 9 “Novellette”10)Aquarelle Op. 19 n. 10 “Scherzo”11)Sonata in E minor Op. 28: I. Allegro con fuoco.12)Sonata in E minor Op. 28: II. Andante.13)Sonata in E minor Op. 28 III. Allegretto.14)Sonata in E minor Op. 28 IV. Molto Allegro e appassionato.15)Phantasiestücke Op. 31 n. 1: Moderato16)Phantasiestücke Op. 31 n. 2: Allegretto vivo17)Phantasiestücke Op. 31 n. 3: Molto vivace18)Phantasiestücke Op. 31 n. 4: Allegro non troppo19)Aquarelle Op. 57 n. 1 “Humoreske”20)Aquarelle Op. 57 n. 2 “Notturno”21)Aquarelle Op. 57 n. 3 “Scherzo”22)Aquarelle Op. 57 n. 4 “Romanze”23)Aquarelle Op. 57 n. 5 “Capriccio”Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

L'INTERVIEW DE TOM CARRE   Enregistré lors de sessions nocturnes à La Scala Paris, Noctuelles est le premier disque du pianiste Tom Carré. Les hallucinations de Robert Schumann y côtoient les songes de Maurice Ravel. Poète, le jeune artiste capte la fragilité de l'instant ; pianiste, il révèle la face nocturne des deux compositeurs. Humoreske est une « exaltation du rêve » schumannien.  Côté Ravel, le cycle des Miroirs s'ouvre avec les noctuelles, papillons de nuit dont le vol est aussi étrange qu'inquiétant. Ce programme a été enregistré pour le label Scala Music pendant trois longues nuits d'avril. « J'étais membre du jury du concours de piano de Roubaix lorsque j'ai entendu pour la première fois Tom Carré. J'ai tout de suite été charmé par son jeu délicat, poétique, atypique, loin des canons habituels des candidats de concours. Je suis heureux de lui offrir la possibilité d'enregistrer son premier disque pour Scala Music. Révéler au mélomane un pianiste encore inconnu est à la fois une prise de risque et une excitation immense. » Rodolphe Bruneau-Boulmier         

Mendelssohn, Overture to A Midsummer Night's Dream Robert Schumann, Humoreske, Part 1 Clara Schumann, O weh, des Scheidens, das er tat Pruden, Harbour Nocturne Debussy, Violin Sonata, 1st movt Chopin, Op 30, #3, in D flat major Schubert, Piano Sonata in E minor, D 566, 3rd movt Mozart, Overture to Die Entfuhrung aus dem Serail This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

Kaiser Karl von Habsburg glaubte auch nach dem Zerfall der k.u.k. Monarchie an seinen gottgegebenen Anspruch auf die Herrschaft in Österreich und Ungarn und begann sofort nach dem Ersten Weltkrieg konspirativ tätig zu werden und die Fühler nach der Entente auszustrecken, ob nicht was mit einer Rückkehr an die Macht ginge. Am 24. März versuchte er einen ersten Putschversuch in Ungarn, das ja nach dem Bürgerkrieg vom konservativen Monarchisten Horthy autokratisch verwaltet wurde. Zunächst ging Karl zu Fuß von seinem Westschweizer Wohnort Prangins über die Grenze nach Frankreich, von wo er per Zug über Strassburg nach Wien und weiter nach Ungarn fuhr. Da Karl keinen Reisepass besaß, erfolgte die Einreise illegal unter falschem Namen. Was nach einem Masterplan klingt, entpuppte sich doch rasch als dilettantischer Versuch, der scheiterte. Daher schrammt der Bericht im Vorwärts vom 30. März auch nur knapp an einer Humoreske vorbei. Paula Leu liest.

For the final week of a month dedicated to 2018 Honens Prize Laureate Nicolas Namoradze, enjoy this excerpt of him performing a trio of works, all recorded live during his Semifinals Solo Round at the 2018 Honens International Piano Competition. First, you'll hear the final movement of J.S. Bach's Partita No. 6 in E minor BWV 830; then the first movement of R. Schumann's Humoreske in B-flat Major Op. 20; and finally Godowsky's transcription of Chopin's Etude in G-sharp minor Op. 25 No. 6 “Double Thirds”. As Jon Kimura Parker says, it's hard to keep up with all of Nicolas' recent accolades! We created a list on our website to capture everything all in one place for easy reviewing. See you next week! -Watch the video edition of this excerpt at honens.com/home.

G.V. Desani, Grenzgänger zwischen östlicher und westlicher Kultur, hat nur einen einzigen Roman geschrieben, damit aber so unterschiedliche Autoren wie T.S. Eliot und Salman Rushdie schwer beeindruckt. „Alles über Herrn H. Hatterr“ ist irgendetwas zwischen Bildungs- und Schelmenroman, Humoreske und Melodram. Chaotisch und vergnüglich. Rezension von Jörg Magenau. Aus dem Englischen von Gerhard Bierwirth Büchergilde Gutenberg, 496 Seiten, 28 Euro (für Mitglieder)

Afslutningskoncerten fra dette års Langgaardfestival er en farverig palet af komponistens mindre kendte værkerne for blandede kammerbesætninger. Hør bl. a. En Musikalsk Spøg, Lenaustemninger og sekstetten Humoreske.Signe Asmussen, sopran.Esbjerg Ensemblet.(Sct. Caterinae Kirke, Ribe 6. september). Vært: Klaus Møller-Jørgensen. www.dr.dk/p2koncerten

Dan smeha in šal bomo začeli dnevu primerno. S humoreskami bomo obarvali nočni program, nastalimi izpod peresa pisatelja, humorista in tudi nekdanjega rtv-jevca Branka Šömna.

Pater Karel Gržan v svojih kratkih humoreskah kot izvor smeha ostavlja sebe in situacije iz svojega življenja. Ob tem pa nam na hudomušen način nastavlja ogledalo.

Pred nami je kratka šaljiva zgodba p. Karla Gržana Oh, ta gobarska strast.

Prisluhnite humoreski p. Karla Gržana Izza zapahov.

Pred nami je humoreska patra Karla Gržana z naslovom Jaz, stereo tip.

Naslov tokratne kratke zgodbe p. Karla Gržana je Kako sem bil zelo pameten.

Naslov tokratne humoreske p. Karla Gržana je Tista velikonočna alelu-lu-lu-ja.

Tokratna zgodba patra Karla Gržana nosi naslov Liturgični zdrs.

Tokratna humoreska p. Karla Gržana nosi naslov: Pazi! 50! Napisal jo je v spomin na filozofa, dramaturga in prijatelja.

Davidsbündlertänze op. 6 | Melodie und Fröhlicher Landmann (aus: Album für die Jugend op. 68) | Träumerei (aus: Kinderszenen op. 15) | Humoreske op. 20

Donald Macleod introduces a first in Composer of the Week’s seventy-year history, the Croatian Countess Dora Pejačević. Donald is joined by Professor Koraljka Kos and Professor Iskra Iveljic to discuss the known facts about the life and music of this Countess and her family. Although Pejačević was born into one of the most influential aristocratic families in Croatia, she became rather critical of her own class in later life. Through her position she did have the opportunity to study in Germany with noted music teachers of the day, and met and collaborated with some of the literary giants of the early twentieth century. Upon her death at the age of only 37, she left a catalogue of over one hundred compositions displaying a unique voice now largely forgotten. Music featured: Romance, Op 22 Symphony in F sharp minor, Op 41 Zwei Nocturnes, Op 50 No 2 Piano Concerto in G minor, Op 33 Zwei Lieder, Op 27 No 1 (I creep along my way) Warum? Op 13 Berceuse, Op 2 Papillon, Op 6 Sechs Fantasiestucke, Op 17 String Quartet in C major, Op 58 Canzonetta, Op 8 Violin Sonata, Op 43 (Adagio) Phantasie Concertante, Op 48 Verwandlung, Op 37 Blumenleben, Op 19 Madchengestalten, Op 42 Drei Gesange, Op 53 Piano Quintet in B minor, Op 40 (Poco sostenuto) Humoreske and Caprice, Op 54 Trio in C major, Op 29 (Scherzo: Allegro & Lento) Liebeslied, Op 39 Piano Sonata in A flat major, Op 57 Presenter: Donald Macleod Producer: Luke Whitlock for BBC Wales For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Dora Pejačević: https://www.bbc.co.uk/programmes/m0000tqb And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Feb. 18, 2015. Pianist Richard Goode convened three talented colleagues for performances of chamber works from the heart of the Romantic repertoire. He also played Robert Schumann's brilliant, seldom-heard "Humoreske" for solo piano. peaker Biography: Pianist Richard Goode has won a large and devoted following worldwide for poetic and illuminating performances in which his "penetrating intellect, warm heart and nimble fingers are entirely placed at the composer's service" (The Times). For more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6699

Works for solo piano by Beethoven and Schumann performed by Paavali Jumppanen on April 13, 2008 and May 4, 2014.Beethoven: Sonata No. 27 in E Minor, Op. 90Schumann: Humoreske in B-flat Major, Op. 20The pianist Paavali Jumppanen is a longtime Gardner Museum favorite, and this podcast features him performing two piano works that show that opposites attract: Beethoven’s Sonata No. 27 in E Minor, Op. 90, and Schumann’s Humoreske in B-Flat Major, Op. 20.Beethoven considered titling this sonata “Struggle Between Head and Heart,” and there is a feeling of opposing forces throughout much of the first movement, labeled (in German) “With vivaciousness, and continuous sentiment and expressivity.” The music starts powerfully, with bold chords, but this muscular, strong emotion is repeatedly interrupted by gentler motifs in a minor key. At only 13 minutes, the sonata is one of Beethoven’s shorter works, but there is much musical delight packed into this diminutive piece.We’ll then hear Schumann’s Humoreske, a set of short piano pieces, each about 3 to 5 minutes long, designed to be played together. The piece is likewise a study in extremes. The piece vacillates from joy to melancholy to great tenderness, and sometimes in the space of less than five minutes. In all, the set lasts some 25 minutes. It’ll be preceded by the Beethoven sonata.

This month on Maestro Independent Classical Spotlight we have a selection of four Romantic Period pieces from our classical collection. Amber Yiu Hsuan Liao"Piano Sonata No.18 in E-flat major, Op.31, No.3" (mp3) from "Beethoven: Piano Sonata No.18; Granados: Goyescas; Schumann: Humoreske" (MSR Classics) Buy at iTunes Music Store More On This AlbumThe three pieces in this recording were all written during difficult times in the lives of their composers. Beethoven composed the E-flat major sonata in the same year he wrote the Heiligenstadt Testament. Goyescas was created shortly after Granados learned about both the death of his close friend Issac Albéniz, and the Tragic Week, a bloody confrontation between the working class of Barcelona and the army. When Schumann composed Humoreske, he was an aspiring composer trying to win the approval of Clara’s father, and was staying in Vienna away from home and his beloved. It is touching to hear how the composers rose above the pain, anxiety and desperation in their lives with such grace. They transcended their suffering, and created these beautiful pieces that have enriched the lives of many others in future generations.Pianist Amber Yiu Hsuan Liao has given recitals and solo performances throughout United States and Taiwan. Recent engagements include recitals at the Bruno Walter Auditorium at Lincoln Center and the Freeport Memorial Library, and the world premiere of Between Stream and Hills III for piano solo by Chih-Chen Wei. Ms. Liao has been invited to participate in several music festivals in Europe, including Courchevel Academie Musicale in France, Internationale Sommerakademie Mozarteum in Salzburg and New Millennium Piano Festival in Gijón, Spain. She has also been selected to perform in the master classes of distinguished artists such as Leon Fleisher, Dmitri Bashkirov, John Perry, Leslie Howard, Oxana Yablonskaya, Michel Béroff and Robert McDonald. As a chamber musician, Ms. Liao’s collaborations with vocalists and instrumentalists have led to performances in the CAMI Hall, Symphony Space and the Lenox Athenaeum, among others. She was the pianist in the Emerald Quintet, a group dedicated to both standard repertoire and the works of contemporary composers. Ms. Liao started her early music training in Taiwan. As a teenager, she was the prize winner of several regional and national composition competitions. She continued her studies in piano performance in the United States under the tutelage of Boris Slutsky and Arkady Aronov. A winner of the Rose Marie Milholland Award and the President’s Award, she received her Master of Music from the Peabody Institute and Doctor of Musical Arts from the Manhattan School of Music. She currently maintains a private studio in New York City, and is on the faculty of Seton Hall University in New Jersey.Budapest String Quartet, Artur Balsam "Piano Quartet No. 1 in G Minor, Op. 25: I. Allegro" (mp3) from "Brahms and Schumann Recital" (Bridge Records, Inc.) More On This AlbumThe Budapest String Quartet was a string quartet in existence from 1917 to 1967. It originally consisted of three Hungarians and a Dutchman; at the end, the quartet consisted of four Russians. A number of recordings were made for HMV/Victor through 1938; from 1940 through 1967 it recorded for Columbia Records. Additionally, several of the Quartet's live performances were recorded, at the Library of Congress and other venues.More info on Budapest String Quartet.Artur Balsam (1906-1994) was a highly versatile pianist who was born in Poland and became established as an accompanist for Yehudi Menhuin on a 1932 tour of the United States. After being hounded out of Europe during the Nazi period, Balsam settled in New York and began both teaching and recording. Balsam was a very flexible artist who proved himself quite capable in piano repertoire ranging from the Baroque to ultra-modern works. Balsam was well-known locally in New York City, Rochester and Boston as a teacher, recitalist and chamber musician. He worked for dozens of East Coast based record labels, but the highest concentration of his recordings may be found in the Vox catalogue.More info on Artur Balsam.Lavina Meijer "Impromptu- Caprice, Op. 9" (mp3) from "Fantasies & Impromptus" (Channel Classics Records) More On This AlbumLavinia Meijer (1983) is recognized worldwide as one of the most promising rising stars of the moment. Born in Korea and adopted into a Dutch family, she is now based in the Netherlands. She studied under the guidance of Erika Waardenburg at the conservatories of Utrecht and Amsterdam, where she received her Bachelor and Masters degrees of Music with the highest distinction. Since then she has toured as a solo-harpist across Europe, America and Asia, showing the many possibilities of the harp as a solo-instrument.From a young age on, she has won several important music prizes, such as first prize at the Dutch Harp Competition in the Netherlands, first prize at the International Harp Competition in Brussels, a second prize at the International Harp Competition in Vienna and a third prize at both the International USA Harp Competition and the International Harp Competition in Israel. Special awards have been given to her, such as the MeesPierson award and the Vriendenkrans of the Royal Concertgebouw from Amsterdam and the Borletti-Buitoni Trust from London. In 2009 she received the Dutch Music Prize, which is the highest distinction for a Dutch classical musician.For full bio, please click here. Vassily Primakov "Prelude in G minor, Op. 23, No. 5" (mp3) from "Vassily Primakov: Rachmaninoff Recital" (Bridge Records, Inc.) More On This AlbumIn many ways Vassily Primakov is a reincarnation of the keyboard virtuoso from the early and mid-20th century: he possesses an enormous technique, a highly individual interpretive persona, and a keen sense for drama in the big moments of Romantic and post-Romantic works. To watch him at the piano in performance underscores this atavistic view: Primakov often plays trance-like, seemingly carried away by the music, with all manner of facial expressions and animated movements, while still conveying the sense he is in complete control, despite whatever technical challenges confront him. His growing number of fans will assert that he is fun to watch in his captivating mixture of eccentricity and sensitive virtuosity. Primakov possesses a broad repertory inclusive of Beethoven, Schumann, Chopin, Tchaikovsky, Rachmaninov, Scriabin, and Shostakovich. But he does not skirt the less meaty repertory, as his performances of Mozart concertos will attest; nor does he avoid the unusual: he plays the generally neglected and less pianistic Dvorák Piano Concerto. Primakov has recorded for Bridge Records and the Van Cliburn Foundation.Vassily Primakov was born in Moscow, Russia, in 1979. At 11 he became a student of Vera Gornostaeva at the Central Special Music School in Moscow. At 17 he enrolled at Juilliard, where he studied until 2005. His teachers there included keyboard icon Jerome Lowenthal. Primakov eventually made the U.S. his adopted homeland.For full bio, please click here.