- 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).
For complete access to all of the shows, click here to become a subscriber.
To sort through the shows by composers Click Here.
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 QuartetsBerlioz, 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, EdwardEmotion 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 (FREE)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 Cryptograms (FREE)NNationalismNew 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 Bound (FREE)PPastoral Symphonies 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, SergeiRavel, MauriceRRespighi, 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 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 I (FREE)To 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 (FREE)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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Mozart Piano Concertos Purchase Now
This week we will explore Mozart’s piano concerti and all of the relationships that influenced him, especially his one with Johann Christian Bach. While exploring various sounds, the teenage Mozart was so heavily inspired by J.C. Bach's writing that he made it his own. Bach and Mozart bonded over music, as well as over tricky keyboard games.
Wolfgang Amadeus Mozart breaks a concerto tradition in "Jeunehomme" with his placement of a piano solo near the opening of the piece. Mozart wrote - literally - a countless number of concertos, many of which are sprightly and elegant to the ear, even at the fingers of an eight-year-old. While exploring various sounds into his teens, Mozart was heavily insipired by Johann Christian Bach's writing, that he renovated it to become his own. Bach and Mozart bonded over music, as well as over tricky keyboard games.
Mozart: Piano Concerto No. 1 in D Major, I & III
English Chamber Orchestra/Perahia; Perahia, p.
Schröter: Piano Concerto Op. 3, No. 3, III
English Chamber Orchestra/Perahia, p.
Mozart: Piano Concerto No. 5 in D Major, K. 175, I & III
Academy of St. Martin in the Fields/Marriner; Brendel, p.
Mozart: Piano Concerto No. 9 in Eb Major, Jeunehomme
Academy of Ancient Music/Hogwood; R. Levin, fpno.
"We never get to bed before one o'clock," said Leopold Mozart, Mozart's father. In an effort to earn extra income, Mozart taught pupils and when he didn't have pupils, he devoted his time to writing and concerts. One of Mozart's inspirations was his pupil, Barbara Ployer, for whom he wrote the great concerto in G Major sampled here. But pupils were not the only ones learning Mozart's concertos. Mozart wrote and dedicated a poem to a starling who sang the last movement of this piece.
Mozart: Wind Serenade K. 361, Adagio
Mozart: Piano Concerto in Bb Major, K. 450, I
Academy of St. Martin in the Fields/Marriner; Brendel, p.
Phi 412856-2 (10) or Phi 446921-2 (5)
Mozart: Piano Concerto in G Major, K. 453
Chamber Orchestra of Europe/Abbado; M. João Pires, p.
Mozart: The Magic Flute (excerpt)
Here, Bill introduces you to the dark side of Mozart. Though Mozart is reputable for his light sounds, he begins explores the darker side of his uplifting music. Mozart is known for his use of the D-minor key, which he implements heavily in his concerto for the opera, "Don Giovanni:" what Mozart classified a tragic comedy. A combination of the romanza and a feeling of anxiety created by the strings and keys causes listeners to experience a fluctuation of emotions.
Mozart: Don Giovanni, overture
Chamber Orchestra of Europe/Abbado
Mozart: Piano Concerto in D minor, K. 466
Columbia Symphony/Szell; R. Serkin, p.
Mozart: Piano Concerto in C Major, K. 467 (excerpt)
Cleveland Orch./Szell; R. Casadesus p.
CBS MYK-38523 or Sony 67178
Mozart breaks the rules again in these excerpts, by attributing wind instruments to his orchestra, for the "Piano Concerto in Eb Major, K. 482," and takes his time in introducing the pianist to the piece. Although clarinets were considered distasteful to the orchestra at the time, Mozart is inspired to use them by a meeting with two clarinetists, the Stadler brothers. Bill identifies the various instruments with images of darkness, hunting, death and once again, lightness. Mozart experiments with the rhythm from Sicily, siciliana, and maintains this melancholy tone in his "Piano Concerto in A Major, No. 23, K. 488," played by Vladimir Horowitz, to forever conclude Mozart's use of the minor key.
"The sun won't always shine," Bill says as though speaking on behalf of the strings in "Piano Concerto in Eb Major, K. 482."
Mozart continues creating a duality between the dark and the light, caused by his combination of the minor key with the major. Again, Bill refers to this change in key across compositions as an onslaught of intellectual sunlight. This blithe approach is apparent in Mozart's "Coronation," which he performed at the coronation ceremony of Emperor Leopold II in 1790, as well as at other European festivities. He reads a letter from Mozart to his wife shortly before his death, juxtaposing the calmness in his final concerto, "No. 27 in Bb Major, K. 595, I," written around the same time.
Mozart: Piano Concerto No. 24 in C minor, K. 491, I
Cleveland Orch./Szell; R. Casadesus p.
Mozart: Piano Concerto No. 25 in C Major, K. 503, I
Orpheus Chamber Ensemble; Goode, p.
Mozart: Piano Concerto No. 26, K. 537, Coronation, II
English Chamber Orchestra/Davis; de Larrocha, p.
Mozart: Piano Concerto No. 27 in Bb Major, K. 595, I
English Chamber Orchestra/Uchida; Uchida, p.
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