Classical 101

Classical 101 is the only classical music station in Central Ohio. The Classical 101 hosts provide insight into classical music news from Columbus and around the world. 

We also present a series of podcasts as well as archived audio from musicians who perform live in our studio

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about composer Aaron Copland, whose famous compositions he wrote in the 1920s and 30s -- including Appalachian Spring, Billy the Kid, Rodeo and Fanfare for the Common Man -- stand as the epitome of the American sound. [audio src="http://wosu.org/audio/classical/2006/Aaron_Copland.mp3"] Highlights From This Interview: Boyce: "Copeland really is the quintessential American sound.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about how modern audiences are far different than those who listened to Ludwig Van Beethoven and Wolfgang Amadeus Mozart when the composers first performed their works. [audio src="http://wosu.org/audio/classical/2006/MakingMusicinaModernWorld-Part1.mp3"] Highlights From This Interview: Albert-George: "I'd love to do Mahler's Second (Symphony) once a month for our audiences.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about Johann Sebastian Bach, whose fascination with numerology and theology led to extraordinarily complex music at times. Just how complex is too complex?

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about Alexander Borodin's 2nd Symphony, with its unique, "funny" meters and pulses that - ultimately - work. Borodin was a medical teacher by profession, and his career interrupted his compositions such that his second symphony took about nine years to complete. Regarding Borodin's attempt to revise his score, Franz Liszt said

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about Ludwig van Beethoven's 6th symphony, also known as the Pastoral Symphony, which, like his other even-numbered symphonies is underplayed and under-performed. Scharm, on the other hand, re-discovered its glory through the original instrumentation and tempi. Movements:

The Egos of Conductors

Dec 10, 2006

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about conductor's egos. Schram tells the tale of Igor Stravinsky conducting his own score, and how his ego led him astray. [audio src="http://wosu.org/audio/classical/2006/ConductorsEgos.mp3"] Highlights From This Interview: Albert-George: "The Symphony of Psalms (1930) by Stravinsky had just come out, and Rafael Kubelík studied the score, and he studied it. And he was going to perform it.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about how orchestras sometimes need to tap into the inner child of adults, to get them on their feet and moving to dance music. [audio src="http://wosu.org/audio/classical/2006/Dance.mp3"] Highlights From This Interview: Boyce: "People laugh at Andre Rieu, but he stands up there, and has himself a good time, and wants people in the aisles dancing." Albert-George: "And he hooks into large audiences.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about Igor Stravinsky's foray into jazz, the Ebony Concerto (1945) and Concerto in E-flat, a.k.a. Dumbarton Oaks (1937–38). Stravinsky felt that the jazz musicians would have a hard time with the various time signatures.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about the under-appreciated composer Louis Moreau Gottschalk, an American composer and pianist. He was born to a Jewish businessman from London and a Creole mother in New Orleans, where he was exposed to a variety of musical traditions.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about George Gershwin's Rhapsody in Blue (1924), originally composed for solo piano and jazz band written in 1924. The composition was orchestrated by Ferde Grofé three times, in 1924, in 1926, and finally in 1942, who pushed the piece toward the more symphonic sound that is widely played today.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about John Williams, who left the Boston Pops and has become synonymous with George Lucas and Stephan Spielberg movies. But underneath those scores lies a composer for which Schram admires and would love to conduct more of.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about Modest Mussorgsky's Night on Bald Mountain. There are various versions of this piece, including Mussorgsky's seldom-performed 1867 version and a 1886 "fantasy for orchestra" arranged by Nikolai Rimsky-Korsakov. Like many of Mussorgsky's works, the piece was completed by another artist.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about Franz Josef Haydn and Wolfgang Amadeus Mozart. Their output was immense, their talents immense, but they both had obligations to fulfill - professional and personal. Would they have been even greater artists without these constraints?

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about making music that lasts. Schram confesses that what he thinks is profound music may not correspond to audiences' expectations, and that sometimes orchestras need to supply escapism.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about making music that lasts. Too often, Schram suggests, composers fall into traps when writing for violins or woodwinds, assigning them too-familiar roles that don't explore the boundaries of the possible, settling for the expected. [audio src="http://wosu.org/audio/classical/2006/MakingMusicthatLasts1.mp3"] Highlights From This Interview: Albert-George: "It's difficult to make a string section rock.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about how conductors need to wary of music that looks simple. Especially when Schram is faced with the music of Mozart or Haydn, he loves simplicity of their music, despite their reputations for writing complex scores, but always strives to show the orchestra where the beauty lies.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about Wolfgang Amadeus Mozart's 40th Symphony, a piece where Schram can hear Mozart's muse in every note. [audio src="http://wosu.org/audio/classical/2006/Mozart-40.mp3"] Highlights From This Interview: Albert-George: "I love Mozart's muse, and I want everyone else to hear it the way I do.

Boyce Lancaster talks with Maestro Albert-George Schram, former staff conductor of the Columbus Symphony Orchestra, about George Gershwin's enormous legacy. His influences were many: French music (Claude DeBussy and Maurice Ravel, especially), Russian composition teacher Joseph Schillinger, ballet, folk, gospel, blues, jazz, African syncopation, etc. From his hands, with the help of his brother Ira's lyrics, came a unique sound that never grows old.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about Robert Schumann, a great composer who needs a little 'help' from conductors to make his orchestra music sing. [audio src="http://wosu.org/audio/classical/2006/Schumann1.mp3"] Highlights From This Interview: Albert-George: "There are great composers. There are composers who need help, a little bit. Moussorgsky's not as great as others. Schumann is another one that you have to help.

Conducting Small Gems

Oct 23, 2006

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about conducting small gems. These short pieces - as opposed to symphonies and operas - are featured heavily especially during pops performances, and tend to get dismissed from discussions about great music. Pyotr Ilyich Tchaikovsky's waltz from Eugene Onegin is one such piece.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about finding the line between editing a composer's piece, and altering a piece. [audio src="http://wosu.org/audio/classical/2006/Schumann2.mp3"] Highlights From This Interview: Boyce: "When you approach a composer's score, like a Schumann, what does it take to walk that fine line between editing and cleaning up, and altering things to the point that maybe it gets away from the composer's intention?

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about new (and old) works that may prolong, or shorten, the lives of orchestras.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about Richard Wagner, whose long, massive works makes some classical lovers to recoil. [audio src="http://wosu.org/audio/classical/2006/Wagner.mp3"] Highlights From This Interview: Boyce: "I'm sure you've conducted plenty of Wagner's music, and, of course, there are some real gems in almost all of Wagner's operas.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about how such sad, profound text can carry with it cheerful music. [audio src="http://wosu.org/audio/classical/2006/SpeaktheAudiencesLanguage1.mp3"] Highlights From This Interview: Albert-George: "One of the very first pieces I conducted as a student was (Giovanni Battista) Pergolesi's Stabat Mater, and it's a beautiful piece.

Boyce Lancaster talks with Maestro Albert-George Schram, the resident staff conductor of the Columbus Symphony Orchestra, about how much easier and joyful it is when the symphony and audience can connect. [audio src="http://wosu.org/audio/classical/2006/SpeaktheAudiencesLanguage2.mp3"] Highlights From This Interview: Boyce: "When the audience is drawn to the orchestra, and the orchestra and audience connect, there's a lot of electricity in the auditorium. It has to help you play." Albert-George: "Yes. I think it makes it more meaningful.

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