- Program List
Below are many of the more than 170 five-hour 'weeks' of Exploring Music that have been created since 2003.
The first seven minutes of every program are free to sample. Several entire 5-hour programs are also free to listen (marked 'free' below).
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To see the Playlist for a given show, click on the show and then on the 'playlist' button beneath any of the five one-hour programs.
AAmerican Masters, Part I American Masters, Part II American Masters, Part IIIAmerican Masters, Part IVAmerican Masters, Part V An Intelligent Conversation: String Quartets Arias & BarcarollesArtists in Exile, Part IArtists in Exile, Part IIAutumn Leaves Autumnal Masterpieces BBach Sleeps in on Sundays Bach to Beethoven Bach's Christmas Oratorio Bach's Not-So-Minor B-Minor MassBallad of East and West Baltic MusicBarber, SamuelBartok, BelaBeethoven and that Danged MetronomeBeethoven and the PianoBeethoven at Parnassus, Part IBeethoven at Parnassus, Part IIBeethoven Quartets (FREE)Berlioz, HectorBernstein, LeonardBill's Keepers Boulanger, NadiaBrahms, Johannes, Part IBrahms, Johannes, Part II Britten, Benjamin Bruckner, Anton CCall for ScoresCello Concertos Child's PlayChopin, FredericClash of the Titans Clowning AroundCopland, Aaron Corigliano, JohnCzech out those Bohemians DDebussy, Claude Demons, Spooks and Other Things That Go Bump in the NightDirector's ChoiceDistant Neighbors Don't Shoot the Piano PlayerDvořák, AntoninDvorak, Tchaikovsky & Borodin String Quartets EElgar, Edward (FREE)Emotion and Meaning in MusicEnescu, GeorgesEspanaFFamilies of Instruments Family Matters: All in the FamilyFauré, GabrielFit for a KingFour SeasonsFrom This Mighty River: Music of the Children of J.S BachGGame of Pairs, Part I Game of Pairs, Part IIGershwin, GeorgeGet the PictureGitana: Gypsy Music and Its InfluencesGreen and Pleasant Land Grieg and SibeliusHHandel, George FridericHaydn and Mozart QuartetsHaydn SymphoniesHidden Gold, Part IHidden Gold, Part IIHindemith, PaulHHit or MythHoliday CelebrationHomageII Didn't Know About YouI Hear a Rhapsody I Hear America Singing I Lost it at the MoviesIn a Family WayIncidentally SpeakingIntimate VoicesInvitation to the Dance, Part IInvitation to the Dance, Part II Invitation to the Dance, Part IIIIt Takes Two to TangoIt Was a Lover and His Lass Italian SouvenirsJJanacek, LeosKKeyboard SmorgasbordLLatin CarnivalLes SixLife Among the Dead: Requiem MassesListener's Choice, Part IIListener's Choice, Part III Liszt, Franz Little Night Music Little Traveling Music, Please MMaestro, Part IMaestro, Part IIMagnificent MagyarsMahler, Gustav, Part IMahler, Gustav, Part IIMaiden Voyages Mendelssohn, FelixMendelssohn, Schumann and Brahms String QuartetsMerrie EnglandMozart at his Zenith Mozart Piano ConcertosMozart's Birthday BashMozart: Bright Lights, Big CityMusic for the MassesMusic from the Magic Box Music in 19th Century Paris: Waterloo to Bismarck Music in the Time of WarMusic of ScandinaviaMusical CryptogramsMusical LandscapesNNationalismNew Releases, Part INew Releases, Part IINew Releases, Part III, week 1 of 2New Releases, Part III, week 2 of 2 New Wine in Old Bottles Nielsen, Carl Ninth SymphoniesNobody Ever Builds a Statue to a CriticOOrpheus in the New World Outward BoundPPastoral Symphonies (FREE)Piano ConcertosPolandPortraits in Black, Brown, & Beige, Part I Portraits in Black, Brown, & Beige, Part II Ports of Call, Part I Ports of Call, Part II Poulenc, FrancisProkofiev, SergeiProud Tower, Part IProud Tower, Part IIRRachmaninoff, SergeiRRavel, Maurice Respighi, OttorinoRimsky-Korsakov and His PupilsRoaring 20's Russian Five: The Mighty Handful SSchool DaysSchubert String QuartetsSchubertiade, Part ISchubertiade, Part IISchuman, WilliamSchumann, Robert Shakespeare Shostakovich, Dmitri, Part I Shostakovich, Dmitri, Part IISlipped Through the Cracks Sounds of the City of Lights SoundtracksSpanish SchoolSpring is Here St-Saëns, Camille St. Matthew PassionStrauss, RichardStravinsky, Igor (FREE)String Quartets from Fibich to SibeliusStrings Plus OneSweet Home Chicago Symphony, Part 01Symphony, Part 02Symphony, Part 03Symphony, Part 04Symphony, Part 05Symphony, Part 06 (French)Symphony, Part 07 (Russian)Symphony, Part 08Symphony, Part 09Symphony, Part 10TTchaikovsky, Peter, Part ITchaikovsky, Peter, Part IIThe Big Five, Part I: Chicago Symphony Orchestra The Big Five, Part I: New York PhilharmonicThe Big Five, Part II: New York PhilharmonicThe Gathering Storm: Music from the Great Depression to WWIIThrough the Mail SlotTo the Finland Station, Part ITo the Finland Station, Part IITone Poems Too Darn BigTriple PlayTudor MusicTwo Very Different Worlds Delius and HolstUUnder the Hood, Part IUnder the Hood, Part II Unfinished SymphoniesVVariationsVaughan Williams, RalphVenice: The Glories of Verdi, Giuseppe, Part IVerdi, Giuseppe, Part IIVienna, Part IVienna, Part II ViolaViolin Concerto Virtuoso, The World ofVoices from the East WWagner's Ring CycleWagner, RichardWalton, WilliamWater MusicWhat Else Ya Got?Wind QuintetsWunderkinder, Part IWunderkinder, Part IIYYin and Yang: The Play of Opposites, Part 1Yin and Yang: The Play of Opposites, Part 2You and the Night and the Music
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Bartok, Bela Purchase Now
Bela Bartok was born in 1881 and grew up in Budapest, a city experiencing tremendous growth both in population and artistic creativity. Bartok was born in the small town of Nagyszentmiklos, which is now part of Romania.
He had a fairly conservative musical education, but was very inspired by the work of composer/conductor Richard Strauss, as well as a peasant girl from the Carpathian Mountains who sang traditional Hungarian folk songs. Bartok became a staunch Hungarian patriot and wrote a tone poem, Kossuth, in the style of Richard Strauss in 1904. Bartok got in trouble in its first rehearsal because of an excerpt in the bassoon parts that mock the Austrian National Anthem by Haydn.
Upon being inspired by the Hungarian folk music, Bartok began to make trips into the country to collect these songs. His friend and composer, Zoltan Kodaly, made many of these trips with him. The folk music began to make its way into Bartok's classical compositions, and in his String Quartet #1 in A Minor written in 1909, he incorporated the traditional song The Peacock.
Bartók: Music for Strings, Percussion, and Celesta (excerpt)
Bartók: ‘Unpublished’ Sonata for Violin and Piano (excerpt)
Szabadi, v.; Gulyás, p.
Bartók: Transylvanian Dance for Violin duo (excerpt)
Muzsikás and Márta Sebestyén, vlns.
Liszt: Hungarian Rhapsody #2 (excerpt)
WQXR broadcast excerpts not commercially available
Bartók: Andante for Violin and Piano (excerpt)
Pauk, v,; Jandó, p.
Bartók: Piano Quintet – II. Vivace (Scherzando)
Kodály Quartet & Jeno Jando, p.
Strauss: Also Sprach Zarathustra, op. 30: Einleitung (excerpt)
Strauss: Ein Heldenleben (excerpt)
Chicago Symphony Orchestra/Barenboim
Bartók: Kossuth, Sz. 21
Budapest Festival Orchestra/Fischer
Bartók: Fekete Föd (Snow-White Kerchief)
Basilides, s.; Bartók, p.
Bartók: String Quartet #1 In A Minor, III
DG 477 6322
After becoming increasingly fascinated by folk music, Bartok started traveling to Transylvania to collect their music. It's around 1911 that this folk music begins to regularly crop up in his classical pieces.
Bill thinks it is difficult to get a sense of Bartok the man. Though he seemed happy and healthy, he had bouts of sickness and considered himself utterly alone despite having a group of friends.
Bartok was appointed a position at the Academy of Music in Budapest. It was here that he met his future wife, Marta Ziegler, student and daughter of the city police inspector. A year after meeting her, he dedicated a piece to her, and then his only opera, Bluebeard's Castle. This dedication is somewhat of an odd choice considering the story and tone.
Bartok's favorite place to visit for folk music later became Romania. In his opinion, Romania's greater isolation helped to keep their folk music pure.
Bartók: Violin Duo No. 4- Midsummer Night Song
Drucker & Setzer, vlns.
Bartók: Four Orchestral Pieces, Op. 12, III
Bartók: Allegro Barbaro, Sz. 49
Bartók: Evening In Transylvania
Bartók: Hungarian Sketches (excerpts)
Bartók: String Quartet No. 2 (excerpts)
Bartók: Bluebeard’s Castle (excerpts)
Hungarian State Orchestra/Fischer; Ramey, bass; Martón, s.
Bartók: The Wooden Prince, I-III
DG 435 863
Bartók: Istenem (Coldly Runs The River), rec. 1928
Basilides, ms.; Bartók, p.
Bartók: 6 Romanian Folk Dances
Szigeti, v.; Bartók, p.
Bartók: Hungarian Sketches, IV- Slightly Tipsy
Chicago Symphony Orchestra/Boulez
Bartók: Burlesques No. 2, Slightly Tipsy
The Piano Has Been Drinking (Not Me)
Bartók: Violin Duo No. 5 – Slovakian Song
Drucker, v.; Setzer, v.
Bartok's fascination in folk music of all sorts continues, and in 1913 he travels to Africa and becomes obsessed with music of the Berber people. This influece shows up almost immediately in Bartok's work, and he writes the violin duet Arabian Song. The same minor third motif is also used in Bartok's second string quartet which he composed in 1915.
The Great War begins in 1914, making it impossible for Bartok to travel and continue collecting folk songs. He writes that it "put an end to my work."
In 1918-1919, Bartok composed The Miraculous Mandarin, a very lurid and creepy one-act pantomime ballet. It isn't performed until 1926, mostly due to political upheaval after the war. It is still more successful as a concert piece.
Jelly d'Aranyi, a violinst and former student, commissioned Bartok to write a violin concerto. Bartok was enamored with her, but they were never romantically involved. Maurice Ravel also met d'Aranyi and composed Tzigane for Violin and Piano for her. The title literally means "in the gypsy style."
After a 15-year marriage, Bartok divorced Marta and married another pianist, Ditta Pasztory. They remained together for the rest of his life and Bartok dedicated the Lullaby from Village Scenes to her.
Bartók: Violin Duo No. 42- Arabian Song
Drucker, v.; Setzer, v.
Bartók: String Quartet No. 2, II
Bartók: The Miraculous Mandarin Suite, Op. 19
EMI 47117 2
Bartók: Violin Sonata #2, I
Andsnes, p; Tezlaff, v.
Virgin Classics 45668
Ravel: Tzigane For Violin & Piano (excerpt)
Hope, v.; Knauer, lutheal
Bartók: Village Scenes: Lullaby
New York Philharmonic/Boulez; Fuerstman, alto
Bartók: Cantata Profana (excerpt)
Budapest Festival Orchestra & Choir of Hungarian Radio & TV/Solti
Orff: Carmina Burana (excerpt)
In 1938, Bartok wrote Contrasts after being commissioned by American clarinetist Benny Goodman to write a piece for Goodman, Bartok and Bartok's close friend/violinst Joseph Szigeti. It debuted in 1938 at Carnegie Hall.
Paul Sacher, conductor of the Basel Chamber Orchestra in Switzerland, commissioned Music for Strings, Percussion and Celesta. Sacher commissioned several works from composers who could no longer work in Nazi Germany, and this included Bartok.
Additionally in 1938, Bartok and his wife Ditta premiered Bartok's piece Concerto for Two Pianos in Basel, Switzerland.
Bartok: Violin Duo No. 34: Counting Song (excerpt)
Setzer, v.; Drucker, v.
Bartók: Piano Concerto #2, SZ 95 – 1. Allegro
Berlin Philharmonic/Boulez; Andsnes, p.
Bartók: Contrasts – I. Verbunkos (Recruiting Dance)
Goodman, cl.; Bartok, p.; Szigeti, v.
Bartók: Music For Strings, Percussion And Celesta, III & IV
London 430 352-2
Bartók: Violin Concerto No. 2, I (excerpt), II
CSO/Boulez; Shaham, v.
DG 459 639
Bartók: Concerto for Two Pianos, Percussion and Orchestra, III
Concertgebouw/Zinman; Argerich, p.; Freiere, p.
Philips 416 378-2
Bartok's last piece before leaving Eurpoe was Divertimento for Strings, commissioned by Paul Sacher. After Bartok's mother died, there was little keeping him in Hungary, and his violinist friend Jospeph Szigeti convinced Bartok and his family to move to New York.
Bartok became very sick while in the U.S., and while in the hospital, Serge Koussevitzky, conductor of the Boston Symphony Orchestra, commissioned the piece Concerto for Orchestra. This piece helped keep Bartok working despite his illness, which was eventually correctly diagnosed as leukemia. The piece premiered in Boston on December 1, 1944.
While not explored in this program, Bartok also wrote a multitude of children's pieces published under the title Microcosm.
Bartók: Divertimento for Strings, III
Camerata Academica Des Mozarteums/Végh
Bartók: Concerto For Orchestra, I
London/Decca 400 052-2
Shostakovich: Symphony No. 7 in C major, Op. 60 Leningrad, I
Live broadcast from July 19, 1942
NBC Symphony Orchestra/Toscanini
Lehár: “Da Geh’ Ich Zu Maxim” fr. Merry Widow (excerpt)
Thomas Hampson, bar.
DG 459 658-2
Bartók: Concerto For Orchestra, IV & V
London/Decca 400 052-2
Bartók: Piano Concerto No. 3, II & III
L. A. Philharmonic Orchestra/Salonen; Bronfman, p.
Bartók: Violin Duo No. 10 – Ruthenian Song
Drucker, v.; Setzer, v.
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