Podcasts about paavali jumppanen

The imaginative and versatile Finnish virtuoso pianist Paavali Jumppanen has established himself as a dynamic musician of seemingly unlimited capability who has cut a wide swathe as an orchestral and recital soloist and artistic director of both the classic and contemporary. He's performed in the US, Europe, Japan, China, Japan and Australia, and it is in Australia that he has made a second home, as since 2021 he has been the artistic director of the Australian National Academy of Music in Melbourne.  Paavali gives us a great insight into ANAM and their philosophy and methods, and we hear about his own musical journey including recording the entirety of Beethoven's piano sonatas. Paavali Jumpannen directs the Melbourne Symphony Orchestra for Marvellous Mozart from 7-9 March at various locations. Musicians of ANAM will be performing Arnold Schönberg's Gurrelieder with the Sydney Symphony Orchestra under Simone Young on 15-16 March at the Sydney Opera House.

Paavali Jumppanen joins David, Brendan and Neil on Sunday Arts Magazine. A pianist from Finland, Paavali has performed internationally and in Australia. On Sunday Arts Magazine, he discusses his interest... LEARN MORE The post Sunday Arts Magazine: Paavali Jumppanen appeared first on Sunday Arts Magazine.

Paavali Jumppanen speaks with 3CR Community Radio about the amazing performances at the end of year ANAM chamber music festival, The Innovative Spirit of George Crumb.

Mabel breaks into a stranger's house with the best of intentions and discovers an attractive, naked dead man in an upstairs bedroom.Music from Isabella Stewart Gardner Museum, Boston, www.gardnermuseum.org Beethoven Piano Sonatas, performed by Paavali Jumppanen.from Rag & Bone Puppet Theatre. Story by Kathy MacLellan, read by Kathy. Production by John Nolan.Visit our website to read about all our activities.

Siempre hay una primera carta. Esta puede ser curiosa o apasionada, tímida o atrevida, insegura o aventurada. Conduce siempre a algún lugar, aunque se tenga la percepción de que no se va a obtener respuesta. Ocasionalmente se convierte en la primera de muchas, en amores que son vividos a través del papel cuando no se podía hacerlo a la vista. DE LUDWIG VAN BEETHOVEN PARA SU AMADA INMORTAL. MI ÁNGEL: ✉️ Una producción de Historias para ser Leídas, Voz: Olga Paraíso Sonata para violín y piano n.º 5 en Fa mayor, Op. 24, “La Primavera”, de Ludwig van Beethoven,Sonata para violín y piano n.º 5 en Fa mayor, Op. 24, “La Primavera”, de Ludwig interpretado por: Corey Cerovsek (violin) y Paavali Jumppanen (piano)."Grabación en directo 👏👏👏 📌 ¡¡Síguenos en Telegram: https://t.me/historiasparaserleidas y participa en el sorteo que he preparado ❗️ 🛑BIO Olga Paraíso: https://instabio.cc/Hleidas 📌Súbete a nuestra nave y disfruta de contenido exclusivo solo para ti, pulsa el botón azul APOYAR y serás un tabernero galáctico desde 1,49€ al mes. Gracias por tu apoyo. ¡¡Hasta el próximo audio!! 🚀 (｡◕‿◕｡) Título original: As Grandes Cartas de Amor ❣️ Elizabete Agostinho. Traducción: Paz Pruneda. Libro en Amazon: https://amzn.to/3Lbm0Vl ANTERIOR CARTA: De Virginia Woolf para Leonard Woolf: ✍️https://go.ivoox.com/rf/107020332 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

I can't say this enough...this movie isn't for the faint of heart. Join me as I discuss Unhinged, talk about road rage, and compare psychopathic and sociopathic behavior!References Becourtney, Dr. Lyle. “What Is Road Rage?” Anger Management Groups. AngerManagementGroups.com. Accessed June 25, 2022. https://www.angermanagementgroups.com/what-is-road-rage. Purse, Marcia. “How Sociopaths Are Different from Psychopaths.” Verywell Mind. Verywell Mind, June 15, 2020. https://www.verywellmind.com/what-is-a-sociopath-380184. Stanek, Becca. “Sociopath vs. Psychopath: What's the Difference?” Forbes. Forbes Magazine, April 27, 2022. https://www.forbes.com/health/mind/sociopath-vs-psychopath/. “Unhinged (2020 Film).” Wikipedia. Wikimedia Foundation, May 28, 2022. https://en.wikipedia.org/wiki/Unhinged_(2020_film). Unhinged. Amazon Prime Video. Germany: Solstice Studios , 2020. https://www.amazon.com/Unhinged-Russell-Crowe/dp/B08LBNYTHY. Keywords: books, blog, review, analysis, the great gatsby, f scott fitzgerald, novel, filmIntro and Closing Music Link (Bus Stop)https://freemusicarchive.org/music/holiznacc0/city-slacker/bus-stop/Bus Stop Licensehttps://creativecommons.org/publicdomain/zero/1.0/Mozart Background Music Linkhttps://freemusicarchive.org/music/Paavali_Jumppanen_piano_1554/Selections_Summer_2012_1811/mozart_k332_jumppanen/Mozart Licensehttps://creativecommons.org/licenses/by-nc-nd/3.0/us/legalcodeFor more content and the next novel, visit @k.a.r.blog on Instagram! Also, feel free to follow my personal Instagram, @kristen.a.rhoda!

In this episode, Kristen is covering…more secrets? More lies? Prepare to be chilled. Listen as Kristen breaks down and reviews The Fountains of Silence by Ruta Sepetys.  References: “About.” Ruta Sepetys. Accessed June 17, 2022. https://rutasepetys.com/about/.  “Donquijote.” Spanish Civil War (1936-1939) - History of Spain - don Quijote. Accessed June 17, 2022. https://www.donquijote.org/spanish-culture/history/spanish-civil-war/.  Sepetys, Ruta. The Fountains of Silence. New York, New York: Penguin, 2020.  Keywords: books, blog, review, analysis, fountains of silence, ruta sepetys, novel, film  Intro and Closing Music Link (Bus Stop) https://freemusicarchive.org/music/holiznacc0/city-slacker/bus-stop/ Bus Stop License https://creativecommons.org/publicdomain/zero/1.0/ Mozart Link:https://freemusicarchive.org/music/Paavali_Jumppanen_piano_1554/ Mozart License:https://creativecommons.org/licenses/by-nc-nd/3.0/us/legalcode For more content and the next novel, visit @k.a.r.blog on Instagram! Also, feel free to follow my personal Instagram, @kristen.a.rhoda!

Is life really a party? Let's find out! In this episode, Kristen discusses one of the most popular classic novels of all time, The Great Gatsby. Themes of wealth, the dark side of the American dream, desire for the past, and others will be explored. Movie adaptations will also be reviewed.References:“F. Scott Fitzgerald.” Biography.com. A&E Networks Television, July 9, 2020. https://www.biography.com/writer/f-scott-fitzgerald. Fitzgerald, F. Scott, and Adam Simpson. The Great Gatsby: A Novel. New York: Black Dog & Leventhal, 2021. The Great Gatsby, n.d. The Great Gatsby. YouTube, n.d. History.com Editors. “The Roaring Twenties.” History.com. A&E Television Networks, April 14, 2010. https://www.history.com/topics/roaring-twenties/roaring-twenties-history. Keywords: books, blog, review, analysis, the great gatsby, f scott fitzgerald, novel, filmIntro and Closing Music Link (Bus Stop)https://freemusicarchive.org/music/holiznacc0/city-slacker/bus-stop/Bus Stop Licensehttps://creativecommons.org/publicdomain/zero/1.0/Mozart Background Music Linkhttps://freemusicarchive.org/music/Paavali_Jumppanen_piano_1554/Selections_Summer_2012_1811/mozart_k332_jumppanen/Mozart Licensehttps://creativecommons.org/licenses/by-nc-nd/3.0/us/legalcodeFor more content and the next novel, visit @k.a.r.blog on Instagram! Also, feel free to follow my personal Instagram, @kristen.a.rhoda!

Curator Janenne Willis chats about a fascinating ‘Floating Gallery' presented by O_C_E_A_N, where people can swim, row or paddle out to view local artworks on laser yachts at Point Leo; Artist Frances Barrett explores her new sensory-focussed collaborative project ‘Meatus' at the Australian Centre for Contemporary Art; Artistic Director of the Australian National Academy of Music, Paavali Jumppanen, talks commissioning 67 works from Australian composers for ANAM Set Festival. With presenter Richard Watts.

Paavali Jumppanen has now started work at the Australian National Academy of Music which is one of the leading institutions in its field, a place where already professional musicians hone their skills to perfection. - Paavali Jumppanen on nyt aloittanut työnsä Australian valtakunnallisen musiikkiakatemian, ANAM'in taiteellisena johtajana. Kyseinen laitos, siis Australian National Academy of Music, on alansa huippuja missä jo ammattikoulutuksensa suorittaneet muusikot viimeistelevät osaamistaan.  

Tag 1 in Berlin... Socials: https://www.instagram.com/2021podcast/ https://twitter.com/2021Pod Website: https://2021-podcast.com/ Music Credits: CC BY: https://freemusicarchive.org/music/Ketsa Ketsa - Pride Ketsa - 2011 - 13 https://freemusicarchive.org/music/Paavali_Jumppanen_piano_1554/Selections_Summer_2012_1811/mozart_k332_jumppanen Paavali Jumppanen, piano - MOZART - Piano Sonata No. 12 in F Major, K. 332

An original poem written by Ella and scored with music by Paavali Jumppanen, shared through Creative Commons licensing.In the Poetry Soundtrack Project, tenth grade Poetics students immerse in the reading and writing of poetry while studying Creative Commons, remix culture, and the free-culture movement.To create this podcast, Credo students 'scored' original poetry with music and sound, exploring how layered media can create new emphasis and even alter meanings.The Poetry Soundtrack Project is a free-culture project in Dr. Gordon's tenth grade Poetics at Credo High School.

Saturday 8 May: Konstantin Koukias's fossilised soundscape Primordial is premiered in remote South Australia, and Paavali Jumppanen looks back at his music education as he takes over the Australian National Academy of Music.

Verhaltensreflexion... Music Credits: CC BY: https://freemusicarchive.org/music/Dee_Yan-Key Dee Yan-Key - Night Sky https://freemusicarchive.org/music/Quiet_Music_for_Tiny_Robots Quiet Music for Tiny Robots - You Won't Believe What Happens Next Quiet Music for Tiny Robots - No Tears, No Rust https://freemusicarchive.org/music/Doctor_Turtle Doctor Turtle - Over the Water, Humans Gather https://freemusicarchive.org/music/Paavali_Jumppanen_piano_1554 Paavali Jumppanen, piano - MOZART - Piano Sonata No. 12 in F Major, K. 332

Something, something food. UHHHHH. I'm preliminarily saving this bit. Still giving it a final listen. What's this episode called again? Let me check the Google Doc. CAROLINE! It's NOT ON THE GOOGLE DOC! ...right, now that Caroline has sorted that out, you can check out the transcript. Join Hughes and Mincks as they get a sense of how the other half lives - investigating the haunting of the fanciest restaurant in town! This episode of Hughes and Mincks: Ghost Detectives starred the sparkling Sophie Hughes as Hughes, Caroline Mincks as Mincks, and was written and edited by Caroline. This episode also featured the voices of the charming Alexander Endymion Hernández Díaz as Luis, the magnetic Ben Meredith as Amadeus, and the angelic Sarah Rhea Werner as Jo. Follow us on Twitter @HughesAndMincks and give us a shout if you've got any haunting happenings going on! MOZART - Piano Sonata No. 12 in F Major, K. 332 by Paavali Jumppanen, piano is licensed under a Attribution-Noncommercial-No Derivative Works 3.0 United States License.

In Fitcher's Bird (aka Fowler's Fowl), we join an evil wizard as he kidnaps pretty girls, takes them to his fancy pad, and puts them to the test. But this sick sorcerer get's more than he bargained for with our plucky, clucky, and crafty heroine. We talk serial killing folklore, egg metaphors, and finally dip our toes into the creepy world of the infamous Bluebeard!This episode is certified Grimm and may not be suitable for all listeners. Our competition is still in full swing too! Let us know which story you think deserves a different score and you could win some awesome prizes! Story leaderboard: https://grimmreading.podbean.com/p/2020-competition-story-scores/ Pook Press bookshop: http://ow.ly/7VRY50Bau0z  Twitter Facebook Instagram Patreon grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other Music: Beethoven's sonata for violin and piano No. 7 in C minor, Op. 30, No. 2, Finale, performed by Corey Cerovsek (violin) and Paavali Jumppanen (piano) // Jules Massenet's Toccata, performed Jean Dube // Bach's Toccata and Fugue in D Minor, performed by Paul Pitman

Paavali Jumppanen has toured Australia eight times over the past 15 years, and has performed alongside the Melbourne Symphony Orchestra and the Australian Chamber Orchestra and toured through the regions. When he was offered an opportunity to relocate for good, he says it was an easy decision.

The renowned Finnish pianist, teacher, and musical leader has performed as a soloist with numerous orchestras around the globe, including the Finnish Radio Symphony, the BBC Symphony, the Melbourne Symphony Orchestra, and the Australian Chamber Orchestra. He has performed solo and chamber music recitals, and taught around the world. - Paavali Jumppanen on kansainvälisesti arvostettu pianotaiteilija joka on esiintyyt maailman huippuorkestereiden kanssa sekä toiminut opettajana eri puolilla maailmaa. Hänen toimikautensa Australiassa alkaa tammikuussa 2021.

Pianisti Paavali Jumppanen on PianoEspoon taiteellinen johtaja. Mika Lintu soitti.

Kun huomaa venäläisen säveltäjän kirjoittaneen Yhdysvalloissa biisin Sveitsiin, voi kai puhua globaalista meiningistä. Jo Mozart ja Mendelssohn reissasivat paljon ja löysivät inspiraatiota ympäri Eurooppaa. Globalisaation voi myös nähdä johtaneen monen tunnetun suomalaisen brändin syntyyn – ainakin 1600-luvulta lähtien. Joensuun kaupunginorkesterin Lännestä itään -konsertissa torstaina 26.9.2019 vierailevana kapellimestarina on sorbilais-saksalainen Judith Kubitz ja solistina pianisti Paavali Jumppanen.

Decapitation, magical singing birds, and human black puddings – it can only be the long-awaited story 'The Juniper Tree'.After we read the story, we discover what Björk, the bible, and a painter named Philipp have to do with it all. TwitterFacebookInstagram grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other music: Beethoven's Violin Sonata No. 5 in F Major, Op. 24 "Spring" by Corey Cerovsek, (violin) & Paavali Jumppanen (piano) // Chopin's Opus 10, No. 7, Twelve Grand Etudes C Major performed by Martha Goldstein

Med sit skæve syn på hverdagen blev Storm P. hele Danmarks humorist i det 20 århundrede. Hans satiretegninger virker umiddelbart lette og muntre, men de har altid en ræv bag øret. Kom med på tur i Storm P’s elskede Frederiksberg og hør om de kendte og mindre kendte sider af fænomenet Storm P. Produceret af: Julie Thing. Medvirkende: Poul Kragelund. Musik: Blue Dot Sessions, Paavali Jumppanen, David Szesztay. ”På kanten” er en podcastserie fra Frederiksberg Stadsarkiv og Frederiksberg Museerne. Her kan du høre fem skæve og personbårne fortællinger om forholdet mellem ytringsfrihed og censur, og hvordan de har manifesteret sig på og omkring Frederiksberg. I de udvalgte nedslag i historien fortælles der bl.a. om Frederiksbergborgernes årelange kamp for selvstændighed, om provokerende og politiske skriverier i 1700-tallet, om Storm P., om sædeligheden og sangerindeknejperne og ikke mindst om nye arkivfund i kælderen under Rådhuset. Du kan lytte til hele podcasten her: https://itunes.apple.com/us/podcast/pa-kanten/id1178457731?mt=2

I'm very pleased to present this interview with Paavali Jumppanen, who will be playing a recital at the Frick Collection this coming Sunday, October 7, 2017, at 5 pm. He will play works by three composers he has studied in particular depth over many years: Beethoven, Debussy, and the William Duckworth (1943-2012). The post Paavali Jumppanen, Pianist, Talks to Michael Miller before his Recital at the Frick Collection, Sunday, October 8, at 5 pm. appeared first on New York Arts.

Sascha Kelly talks to Finnish pianist Paavali Jumppanen ahead of his Australian tour. They discuss Beethoven, the chemistry of chamber music and the challenges of live performance versus recording. For more information about Paavali, visit his website where he keeps a fascinating blog. http://www.paavalijumppanen.com/

Med sit skæve syn på hverdagen blev Storm P. hele Danmarks humorist i det 20 århundrede. Hans satiretegninger virker umiddelbart lette og muntre, men de har altid en ræv bag øret. Kom med på tur i Storm P’s elskede Frederiksberg og hør om de kendte og mindre kendte sider af fænomenet Storm P. Historien er produceret af Julie Thing for Frederiksbergmuseerne og Frederiksberg Stadsarkiv. Medvirkende: Poul Kragelund Musik: Blue Dot Sessions, Paavali Jumppanen, David Szesztay.

Episode 2: Two Erring Humans This episode is all about perfection, and what that word means in the modern day world of classical music. Our well-meaning discussion on trying to achieve the impossible gets a bit sidetracked by robot trumpet players before being joined by Finnish virtuoso pianist Paavali Jumppanen who charmingly gives us his take on what it means to be perfect in an environment governed by digital recording technology and expectation. Paavali takes us on a trip into the unexpected industry of niche live-to-vinyl recordings, and we meet one of ANAM’s pianists, the delightful Andrew Leathwick, and accidentally inflict jazz on a Beethoven concerto. In advance, sorry.

Works for solo piano by Griffes performed by Richard Masters on September 20, 2015 and by Debussy performed by Paavali Jumppanen on November 29, 2015.Griffes: Roman Sketches, Op. 7: Night fallDebussy: 12 Preludes, Book 2On this podcast, we return to a pairing from several weeks ago: Debussy’s Preludes (Book 2, this time) and the Roman Sketches of Charles Griffes.The second set of Debussy Preludes is similar in conception to the first: a series of fairly brief works, each intended to capture some poetic scene or mood. The second book begins with “Mists” and “Dead Leaves” and goes on to evoke the grand “Gateway of the Alhambra,” a troupe of dancing fairies, and the misty English “Heaths,” concluding with a brilliant display of “Fireworks.” As before, we’ll hear the Preludes performed by Paavali Jumppanen.Before the Preludes, we’ll begin the podcast with an American Impressionist, the composer Charles Griffes, and the piece “Nightfall” from his book of Roman Sketches. “Nightfall” still shows the influence of impressionism, but it also pushes the envelope harmonically. Griffes makes liberal use of the minor second – one of the most dissonant intervals in music–in this piece, mellowing its harshness by placing it deep in the bass register. The dissonance becomes dark, shadowy–evoking the encroaching blackness of night. Playing the Griffes, we’ll again hear pianist Richard Masters.

Works for solo piano by Griffes performed by Richard Masters on September 20, 2015 and Paavali Jumppanen on November 29, 2015.Griffes: Roman Sketches, Op. 7: The White peacockDebussy: 12 Preludes, Book 1The gently unfurling plumage of a white peacock. A barren winter landscape dinted with footprints. This podcast is all about using music to evoke and communicate impressions.The bulk of the program is made up of Debussy’s 12 Preludes, from Book 1. A series of brief works meant to evoke a particular atmosphere or landscape, the Preludes are among Debussy’s most important achievements, each a small masterpiece unto itself. The 12 movements in book 1 evoke everything from dancers to sails to the languorous sounds and scents of the evening. We’ll hear the preludes performed by pianist Paavali Jumppanen.Before the Debussy, we’ll hear an impressionistic work from the other side of the pond: Charles Griffes’ “The White Peacock,” the first movement of his Roman Sketches, opus 7. “The White Peacock” is perhaps his best-known work; originally written for piano, it was also published in an arrangement for orchestra. Tragically, the composer died just a year later. It’s hard not to wonder how Griffes and his work might have developed and impacted American composition, had he survived. We’ll hear “The White Peacock” performed by pianist Richard Masters.

Works for piano by Schumann performed by Paavali Jumppanen on May 4, 2014 and November 30, 2014.Robert Schumann: Variations on the name "Abegg" in F Major, Op. 1Schumann: Sonata in F-sharp Minor Op. 11This podcast comes courtesy of several musical personas. Not just Schumann, the composer of both the works, but also his alter egos – Florestan and Eusebius – the characters he used to personify different aspects of his artistic disposition. It was under these names, not his own, that Schumann published his first piano sonata—the “Grosse Sonate” in F-sharp minor, opus 11.Before the sonata, we’ll hear a shorter showstopper, also by Schumann: Variations on “Abegg,” Schumann’s opus 1, the first piece he ever published. The dedication is to another of Schumann’s fictional friends—the countess Pauline of Abegg, a character likely inspired by Schumann’s childhood friend Meta von Abegg. The piece takes its namesake quite literally, building on a theme using the notes A-B-flat-E-G-G—spelling out the name “Abegg” in the notes. Those five notes are a starting point for a series of variations that are alternately dazzling and lyrical.Both pieces were performed at the Gardner by pianist Paavali Jumppanen. We begin with the Abegg Variations.

Works by Mozart for voice, performed by the Boston Children’s Chorus on November 1, 2014, solo piano performed by Paavali Jumppanen, piano on February 13, 2011, and two pianos performed by Christina and Michelle Naughton, pianos on March 10, 2013. Mozart: Pappagano Mozart: Sonata No. 10 in C Major, K. 330 Mozart: Sonata for Two Pianos K. 448 in D Major Mozart always makes for a delightful musical menu. On this podcast, we’ll enjoy three courses, all wonderful works by Mozart.Our appetizer comes courtesy of the Boston Children’s Chorus, who perform the “Papageno” aria from The Magic Flute to start things off. The aria is a sweet love duet between Papageno, the prince’s loyal friend and slightly goofy companion, and his newfound love—his counterpart in female form, appropriately named Papagena.Next comes Mozart’s tenth piano sonata, in C Major. The piece was almost certainly intended for broad public consumption: though it has some challenging passagework, it is playable for an amateur audience with a piano at home, and it may even have been written with Mozart’s own aristocratic piano students in mind. We’ll hear the piece played by Paavali Jumppanen.For our third and final course, we have Mozart’s larger-still Sonata for two pianos in D Major. It is a virtuosic work from the get-go, requiring not just great individual technique but strong coordination between the two players. We’ll hear it performed by Christina and Michelle Naughton, twin sisters who often play together.

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.

Works for piano performed by Paavali Jumppanen.Beethoven: Piano Sonata No. 12, Op. 26 "Funeral March"Beethoven: Piano Sonata No. 26 in E-flat Major, Op. 81a "Das Lebewohl"On today’s podcast, we’ll hear Beethoven’s two most famous “farewells” for solo piano: his 12th and 26th piano sonatas, nicknamed the “funeral march” and “lebewohl” sonatas, respectively.First is the earlier sonata, Beethoven’s 12th piano sonata, opus 26, often called the “Funeral March” sonata because of its dirge-like third movement. By placing the slow movement third, Beethoven flips the traditional sonata structure a bit on its head. Typically, the piano sonatas of Beethoven’s era began when an upbeat movement is placed third rather than second, and in this spot it provides a sort of springboard for the finale, which seems all the more dazzling because of its proximity to the funeral march.Next we hear Beethoven’s 26th piano sonata, often called “Das Lebewohl,” or—in French—“Les Adieux.” There is some disagreement as to the authenticity of the subtitles given to the three movements of this sonata, which translate into English as “The Farewell,” “The Absence,” and “The Return.” The descriptive titles stuck, though, authentic or not, probably because they seem such a good fit for the music.

Works for piano and string quartet, performed by Paavali Jumppanen and the Borromeo String Quartet.Beethoven: Piano Sonata in F Major, Op. 54Beethoven: String Quartet No. 7 in F Major, Op. 59, No. 1In the 18th century, chamber music was—as the name suggests—played almost exclusively in the home. Much of the time these intimate performances featured amateur musicians—people playing for their own entertainment after dinner. The pieces we’ll hear on today’s podcast, however, sat at the crossroads of this shift from amateur to professional chamber-music-making, perhaps intentionally so. We’ll begin the program with Beethoven’s Piano Sonata in F Major, op. 54. The sonata begins simply enough, with a sweet minuet. Not one minute in, though, the bass thunders in and introduces an assertive passage of octaves that would give any beginning pianist a run for his money. Pianist Paavali Jumppanen plays it with aplomb.Concluding our program is Beethoven’s seventh string quartet, in F Major, a work that marked a transition in Beethoven’s development as a composer as he moved towards an increasingly complex and expansive Romantic sensibility. The recording we’ll hear features the Borromeo String Quartet, who are more than up to the task.

Works for solo piano and for piano trio, performed by pianist Paavali Jumppanen and the Claremont Trio.Beethoven: Piano Sonata in E Major, Op. 14, No. 1Beethoven: Piano Trio in E-flat Major, Op. 70, No. 2Whether it happens right away or many decades later, it’s inevitable: some works in a composer’s oeuvre will become “hits,” and some will never quite get the attention they deserve. In this episode, we’ll focus on two of Beethoven’s chamber pieces that often seem to be in the shadow of more famous counterparts. First, we’ll hear his ninth piano sonata in E Major. Within the context of Beethoven’s complete sonatas, it’s easy to imagine this work being overshadowed by its immediate predecessor, the beloved “Pathétique.” However, the sonata holds plenty of surprise and ingenuity for the attentive listener. The second piece on the program is Beethoven’s E-flat piano trio. The younger sibling of the “Ghost” Trio—which itself is often outshined by the “Archduke,” the most familiar of Beethoven’s trios—the E-flat trio is really quite a lovely melding of old and new. Beethoven seems to nod at his forbears, Haydn and Mozart, while still pushing the harmonic envelope, resulting in a piece that is unassuming on the surface, but surprisingly modern underneath.

Works for piano performed by Paavali Jumppanen.Mozart: Piano Sonata No. 12 in F Major, K. 332Mozart: Fantasy in C minor, K. 475, and Piano Sonata No. 14 in C minor, K. 457A funny thing happened on July 31, 1990 at the Eastern Baptist Theological Seminary in Philadelphia. Deep in a storage space, a controller scouring for historical records found the fourteen-page manuscript to Mozart’s Fantasy and Piano Sonata in C minor, an incredibly important autograph edition that later sold at auction at Sotheby’s for some $1.7 million. It’s a rather extreme example of the case that can be made for the enduring significance of Mozart’s music. We begin this episode with Mozart’s Sonata No. 12 in F Major. Those interested in historical performance practice will be delighted to know that Mozart’s own ornamentation of the second movement has been preserved in an extant first edition, offering a glimpse into the sort of embellishments a consummate player would have been expected to add. We then hear that discovery from the seminary vault: Mozart’s Fantasy and Sonata in C minor. Here, too, we find evidence of Mozart’s performance style: the manuscript found in the safe in 1990 offers an entirely different set of ornaments than the previously published edition. As pianist Paavali Jumppanen proposes, it’s likely that the composer himself played the piece a bit differently each time, and that flexibility is reflected in the changes visible between the different scores.

1 - Canto da tradição Karajá/ Karaja indian chant 2 - Scherzo do/from "Quarteto de Cordas N. 1/ String Quartet N. 1" (Tchaikovsky). Jerusalem String Quartet 3 - Teasure. Matmos e/and So Percussion. 4 - Danza de/from "Notturno e Danza" (Rautavaara). Pekka Kuusisto, violino/violin. Paavali Jumppanen, piano. 5 - Canto do Azulão do Paraná/ Brazilian birdcall 6 - Pascal Rag (Paul Chihara).Pascal & Ami Roge, piano duo. 7 - Imagina (Tom Jobim/Chico Buarque). Chico Buarque e/and Monica Salmaso, voz/voice.

Works for solo cello, and violin and piano duo performed by cellist Colin Carr, violinist Corey Cerovsek, and pianist Paavali Jumppanen.Bach: Cello Suite No. 3 in C Major, BWV 1009Beethoven: Violin Sonata No. 2 in A Major, Op. 12, No. 2Sometimes, what isn’t there is just as important as what is. It’s a concept that carries across multiple artistic forms—in the visual arts, we call it negative space; in music, it’s rest. In this episode, we examine two pieces that take different approaches to this “negative space.” First, Bach’s third cello suite. There are many reasons the cello suites number among Bach’s most incredible achievements, but his use of implied harmony is surely among the most remarkable. While he does include some multiphonics (two notes sounded simultaneously), more often he relies on the solo lines to suggest the contours of the harmonies—giving us just enough information that our ears fill in the harmonies. In Beethoven’s playful second violin sonata, the instruments switch places after the first iteration of the theme, with the violin playing the melody—only to pass it off to the piano a few bars later. This back-and-forth continues until the very end of the sonata. Keep your ears open—we won’t give away the surprise, but suffice it to say the playful one-upmanship keeps up right through the final bar.

1 - "Lost landscapes - IV. West 23rd Street, NY" (Rautavaara). Pekka Kuusisto, violino/violin. Paavali Jumppanen, piano. 2 - "Rejoice greatly" de/from "Messiah" (Handel). Emma Kirkby, soprano. Taverner Players. Andrew Patton, regente/conductor. 3 - "Sonata N.12 para/for piano preparado/prepared piano" (John Cage). Grace Torres, piano. 4 - Canto do azulão do Paraná/ Brazilian birdcall 5 - "Batuque" de/from "Suite brasileira" (Alberto Nepomuceno). Orquestra Sinfônica Nacional da UFF. Lígia Amadio,regente/conductor

Works for solo piano and string quartet performed by Paavali Jumppanen, piano, and the Orion String Quartet.Beethoven: Piano Sonata No. 24 in F-sharp Major, Op. 78Beethoven: String Quartet No. 14 in C-sharp minor, Op. 131It’s always interesting to find out which of his own works a composer particularly loved (or loathed). Today, we’ll listen to two favorites of the great Beethoven, beginning with the sunny Piano Sonata No. 24 in F-sharp Major. A piece of rather diminutive proportions—just two movements, a total of about 10 minutes—this sonata was nonetheless one of the composer’s personal favorites, according to noted Beethoven biographer Maynard Solomon. The next work is altogether different: Beethoven’s seven-movement String Quartet in C-sharp minor. By all accounts a magnum opus, this was one of the composer’s last large-scale works, and though he demurred somewhat when asked to pick a favorite from among his 16 string quartets—saying each had its own merits—he later implied that this was in fact the top contender.

Works for solo piano performed by Paavali Jumppanen.Mozart: Piano Sonata No. 7 in C Major, K. 309Mozart: Piano Sonata No. 8 in A minor, K. 310On this program, we’ll hear two piano sonatas by Mozart, composed back-to-back on a trip he took throughout Europe with his mother in 1777 and 1778. Mozart wrote today’s first piece, his Piano Sonata No. 7 in C Major, in the court at Mannheim, where he hoped to secure a respectable position. After an unsuccessful stay in Mannheim, Mozart and his mother headed to Paris, where she fell seriously ill. Around that time, Mozart completed the eighth sonata in A minor, one of just two piano sonatas Mozart composed in a minor key over the course of his life. These back-to-back sonatas are an interesting time capsule, capturing the composer at a critical juncture in his maturation from child prodigy to young adult.

Works for piano performed by pianists Paavali Jumppanen and Elaine Hou.Mozart: Sonata No. 17 in B-flat Major, K. 570 Mozart: Sonata No. 5 in G Major, K. 283 Mozart: Sonata in D Major for Two Pianos, K. 448Mozart began his musical life as a keyboard prodigy, touring the European courts and performing alongside his sister, both of them encouraged and shepherded from town to town by their father. At age 19, when he penned his first keyboard sonata, he had already written 8 operas and at least 30 symphonies. It's quite likely that the reason for the delay in his keyboard output was at least partly technical: though the earliest pianos had been built decades earlier, it wasn't until the 1770's that the instrument began to achieve a quality and consistency of tone that made it such an attractive option for ambitious solo composition. On this podcast, we'll sample a wide range of Mozart's sonatas: one of his first, one of his last, and a unique sonata for two pianos.

Works for solo piano and flute and piano duo performed by pianists Seymour Lipkin and Paavali Jumppanen, and flutist Paula Robison.Schubert: Piano Sonata in G Major, Op. 78, D. 894Schubert: Introduction and Variations on “Ihr Blumlein alle”, Op. 160The name Franz Schubert is virtually synonymous with lieder, the German art song, which he is widely credited with elevating to the highest level, deftly marrying poetry and music. Some of Schubert’s best-known instrumental chamber works are actually adaptations of his songs including the introduction and variations on “Ihr Blümlein alle,” which is one of the final movements of Schubert’s cycle “Die schöne Müllerin.” Schubert wrote 21 piano sonatas, but only three of these were published during his lifetime, and Op. 78 was one of the few to make the cut. The piece was published as a “fantasy”, apparently because the publisher feared that the tranquil first movement was so different from the typical sonata opener that it would confuse customers.

Works for solo piano and string quartet performed by pianist Paavali Jumppanen and the Belcea Quartet.Beethoven: Piano Sonata in C minor, Op. 13, “Pathétique”Bartók: String Quartet No. 1 in A minor, Op. 7Surely the feeling of the catharsis is one of the great gifts of art. The arc from darkness towards light provides an opportunity for the listener to savor a satisfying taste of peace, and perhaps a chance for the creator to work through his or her own demons as well. Bartok’s first String Quartet was likely the product of the composer’s own grieving process, after discovering that his love for the violinist Stefi Geyer was unrequited. Bartok is often quoted as describing the first movement as a “funeral dirge,” and though the entire work has a sort of abiding angst, the propulsive final movement certainly expresses a strong will to go on. First, though, we’ll hear one of the best-known solo piano pieces of the repertoire, Beethoven’s “Pathetique” sonata. A sense of melancholy pervades the piece—which accounts for the title—but the glimmering moments of resolution, particularly in the second and third movements, are so deliciously wonderful that they make it a sort of melancholy worth savoring.

Works for violin and piano duo, and solo piano, performed by violinist Corey Cerovsek and pianist Paavali Jumppanen.Beethoven: Violin Sonata No. 10 in G Major, Op. 96Beethoven: Sonata in C minor, Op. 111Revered as he is, it’s easy to think of Beethoven as somehow staid and a bit predictable. It’s easy to forget just how surprising his music can be. Written when Beethoven was struggling to find love and was just about to begin writing his heavier late works, this sonata is surprisingly serene, with singing, lyrical melody more or less throughout, interrupted only briefly by a more spirited third-movement Scherzo and a fleet little coda to bring it to a close. Then, we’ll hear Beethoven’s last piano sonata. The first movement is in C minor, the same key Beethoven used for the famously stormy Fifth, and it has that same moody, tempestuous feel. Suddenly, though, in the second movement, we find ourselves in C major, with the introduction of an incredible, beautifully simple chorale-like theme. From here, Beethoven proceeds through a set of variations, leading the listener ever deeper into the piece.

Works for solo piano and piano trio performed by pianist Paavali Jumppanen and the Claremont Trio.Beethoven: Sonata in E Major, Op. 109Beethoven: Trio in E-flat Major, Op. 1, No. 1Beethoven took the musical forms and vocabulary he inherited so far that there was nowhere left to go. We’ll take that conjecture as a jumping-off point for listening to two Beethoven works that demonstrate his innovation within the bounds of classical form. The trio concludes our program, but it comes first chronologically. The work has a firm foothold in the classical style espoused by his teacher, Haydn, but Beethoven’s interest in innovation is evident is the work’s unexpected harmonic shifts. We begin the program at the opposite end of Beethoven’s career, with one of his final piano sonatas, where we see the composer at the height of his compositional powers. In three movements, Beethoven explores familiar structures---sonata form, theme-and-variations, intricate counterpoint---but makes them sound entirely new, with adventurous harmonies, unexpected tempo shifts, and sublime melodies.

Beethoven: Piano Sonata No. 20 in G Major, Op. 49, No. 2Beethoven: Sonata for violin and piano No. 7 in C minor, Op. 30, No. 2 (“Eroica”)On this week of “The Concert,” we’ll listen to two sonatas by Beethoven, one for piano solo, and another for violin and piano, that seem about as different as night and day. Written around the same time as Beethoven’s infamous “Heiligenstadt Testament,” an anguished letter about his worsening deafness, the violin sonata’s grim mood is often interpreted as a direct reflection of Beethoven’s sorrow over the loss of his hearing. Before that, though, something much cheerier: Beethoven’s piano sonata number 20, opus 49 number 2, played by pianist Paavali Jumppanen. Though written several years before the violin sonata, this piece wasn’t actually published until a few years later, when Beethoven’s brother apparently sent it off to a publisher without Beethoven’s knowledge. Interestingly enough, though, he thought well enough of this sonata that he used the finale as the basis for a movement of his eighth violin sonata, a curious connection between the two seemingly different pieces on our podcast today.