Hallelujah Part 2
Handel always knew a good tune when he heard one and never hesitated to borrow them. In this episode George Marriner Maull investigates the fugue subject Handel ‘borrowed’ from Corelli…
Handel always knew a good tune when he heard one and never hesitated to borrow them. In this episode George Marriner Maull investigates the fugue subject Handel ‘borrowed’ from Corelli…
Host George Marriner Maull delves into a fugue with an unusual subject, or main melody. Taken from the first movement of Handel’s Concerto Grosso, Op.6, No. 7., this grand master…
Composer Johannes Brahms knew well the shock effect of sudden dynamic changes. George Marriner Maull exposes this Brahms trait as found in Movement 4 of Brahms’s Symphony No. 2. Inside…
The intense feelings associated with forbidden love – in this case between a woman and her brother-in-law – are given musical voice in Gabriel Faure’s romantic Suite from Pelleas et…
Host George Marriner Maull explores the difference between hearing and listening while exploring details of the final movement of Brandenburg Concerto No. 4. Aspects of Bach’s use of the elements…
Movement I of Mozart’s Piano Sonata in C, K.545 is used by Host George Marriner Maull to look into “the problem with program notes” – the use of technical music…
Your “listening guide” amazes me, in that it is a means of illustrating the role of various instrumental sections in communicating and “telling” a story. My background is science and technology so the 1 -1 ½ hours listening to a symphony with your presentation was an exciting learning experience I was not expecting.You are an exceptional talent and personality to be able to introduce someone like myself to the very complicated language of a symphony.