Intermezzo

Snakes and snails and puppy dog tails, that's (kind of) what this week of "Intermezzo" is made of.

This week, Christy has fifteen cohosts, each of whom is a talented pianist and part of the Lang Lang Young Scholars Program. Music in this episode: Schubert: Piano Sonata no. 21 in B-flat major, D. 960 Chopin, Prelude no. 17 in A-flat major, op. 28 Beethoven: Piano Sonata no. 11 in B-flat major, op. 22 Schumann: "Kinderszenen" op. 15

This week, Christy has fifteen cohosts, each of whom is a talented pianist and part of the Lang Lang Young Scholars Program. Music in this episode: Rachmaninoff: Piano Concerto no. 2 in C minor, op. 18

This week, Christy has fifteen cohosts, each of whom is a talented pianist and part of the Lang Lang Young Scholars Program.

This week, Christy has fifteen cohosts, each of whom is a talented pianist and part of the Lang Lang Young Scholars Program.

This week, Christy has fifteen cohosts, each of whom is a talented pianist and part of the Lang Lang Young Scholars Program.

Head back to school with expert tips and kid-to-kid advice in our new season of "Intermezzo."

Head back to school with expert tips and kid-to-kid advice in our new season of "Intermezzo."

Head back to school with expert tips and kid-to-kid advice in our new season of "Intermezzo." Today's co-hosts (Freddie, Poppy and Olivia) share tips for school students and advice for the future! Music in this episode: Edward Elgar: "The Wand of Youth" Suite

Head back to school with expert tips, kid-to-kid advice and a new season of "Intermezzo" to inspire and support students and parents alike. Music in this episode: W.A. Mozart: Violin Sonata no. 3 in B-flat Major, K. 8

Peter Parra spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Chopin recorded in IPR's Studio A on "Intermezzo." Music in this episode: Chopin: Ballade no. 1 in G minor, op. 23

Olivia Larco spent her summer touring with the Lang Lang Young Scholars. Hear her perform music by Mozart recorded in IPR's Studio A on "Intermezzo." Music in this episode: Mozart: Piano sonata no. 18 in D major, "The Hunt", K. 576 (mvt. I)

Ryan Wang spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Chopin recorded in IPR's Studio A on "Intermezzo." Music in this episode: Chopin: Nocturne in C-sharp minor, op. 27, no 1

Yau Nam Wu spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Rachmaninoff recorded in IPR's Studio A on "Intermezzo." Music in this episode: Rachmaninoff: Sonata no. 2 in B-flat minor, op. 36 (1931 version)

Xinran Shi spent her summer touring with the Lang Lang Young Scholars. Hear her perform music by Ravel recorded in IPR's Studio A on "Intermezzo." Music in this episode: Ravel: "La Valse"

Sophia Suwiryo spent her summer touring with the Lang Lang Young Scholars. Hear her perform music by Frederic Chopin recorded in IPR's Studio A on "Intermezzo." Music in this episode: Chopin: Nocturne in D-flat major, op. 27, no. 2

Alexander Liu spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by J. S. Bach recorded in IPR's Studio A on "Intermezzo." Music in this episode: Bach: Toccata in E minor, BWV 914

Raditya Muljadi spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Franz Liszt recorded in IPR's Studio A on "Intermezzo." Music in this episode: Liszt: Concert Etude No. 2, "La leggierezza"

Taige Wang spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Frederic Chopin recorded in IPR's Studio A on "Intermezzo." Music in this episode: Chopin: Nocturne in C minor, op. 48, no. 1

Julian Zhu spent his summer touring with the Lang Lang Young Scholars. Hear him perform music by Robert Schumann recorded in IPR's Studio A on "Intermezzo." Music in this episode: Schumann: "Fantasiestucke" op. 12, no 5 "In der Nacht"

JingXing Wang spent his summer touring with the Lang Lang Young Scholars. Hear him perform "Pi Huang" by Zhao Zhang recorded in IPR's Studio A on "Intermezzo." Music in this episode: Zhao Zhang: "Pi Huang"

Sencheng Zhang spent his summer touring with the Lang Lang Young Scholars. Hear him perform Schumann's "Arabeske" recorded in IPR's Studio A on "Intermezzo." Music in this episode: Schumann: Arabeske, op.18

Ryan Lu spent his summer touring with the Lang Lang Young Scholars. Hear him perform a Prelude and Fugue by Bach recorded in IPR's Studio A on "Intermezzo." Music in this episode: J. S. Bach: Prelude and Fugue in F-sharp minor from WTC II, BWV 883

Ryan Huang spent his summer touring with the Lang Lang Young Scholars. Hear him perform Scriabin's "Fantasy" recorded in IPR's Studio A on "Intermezzo." Music in this episode: Scriabin: Fantasy, op.28

Anna Kesselman spent her summer touring with the Lang Lang Young Scholars. Hear her Chopin set recorded in IPR's Studio A on "Intermezzo." Music in this episode: Chopin: Mazurkas, op. 30

Some experiences just stick out. Maybe because they’re out of the ordinary, or maybe because our senses were on high alert that day. In this episode, Christy and her cohost Betty dig into the kind of memories that pop up when you least expect them — and how music can take us right back to those moments. That spark of nostalgia leads the conversation into how composers throughout history have done the same thing. Meet Fanny Mendelssohn, who, after a yearlong family trip through Italy in 1839–1840, wrote a set of pieces inspired by her time in Rome. One of them, "Farewell to Rome," really captures that feeling of not wanting to say goodbye. Music in this episode: Fanny Mendelssohn: "Farewell to Rome"

Ever wonder what a song about a pet would sound like? If someone wrote a song remembering their dog — would it feel different than a song about a person? Maybe softer, funnier or just more… tail-waggy? Composer Leonard Bernstein actually wrote music for dogs. He wrote a piece called "Fanfare for Bima." Bima was a black cocker spaniel, and the melody came from the whistle used to call her inside. Leonard Bernstein also wrote a second piece for a pet. When his brother’s dog Mippy passed away, Bernstein composed a tribute called "Elegy for Mippy." It’s just a trombone and a tapping foot. Honestly, it sounds like a dog’s tail thumping on the floor. Sweet and a little silly — just like pet memories often are. Music in this episode: Bernstein: "Fanfare for Bima" Bernstein: "Elegy for Mippy II"

In this episode, we dive into the unexpected ways nostalgia shows up in our lives. We start by asking our cohost Betty: "What sparks nostalgia for you?" For Betty, it’s often photos — especially the ones that pop up unexpectedly. These days, it’s Google Photos or Facebook memories, quietly waiting to catch you off guard with a flood of emotion. But before that, it was printed photo albums. And even earlier, people kept memories alive through lockets, painted miniatures, and carved cameos worn around the neck. Then we turn to music. Betty shares a personal story: when her mom was a baby, her grandfather would hum the "Volga Boat" song as he walked her around, trying to get her back to sleep. We then introduce a piece by composer Antonín Dvorak called “Songs My Mother Taught Me,” written in 1880. Music in this episode: Dvorak: "Songs My Mother Taught Me" Balakirev: "The Song of the Volga Boatmen"

Christy and her cohost Betty unpack how nostalgia for home is more than just longing — it's an emotion made of memories, culture and identity. Composer Teresa Carreno was born in Venezuela, and was already writing her own piano pieces by age six. Her family believed in her talent so much, they moved to New York City. By age nine, she was performing sold-out concerts in Boston and she even played for Abraham Lincoln at the White House! Carreno's career took her all over Europe, and while her life was full of excitement and adventure, she still missed the Venezuela she left as a little girl. One of her most moving pieces is called "Souvenirs de mon pays," which is French for “Memories of my country.” She wrote it while living in Paris, but you could say the notes are in Spanish — the language of her heart, and of Venezuela. As you listen, maybe it’ll stir up a bit of your own nostalgia for home. Music in this episode: Carreno: "Memories of my country"

We're exploring nostalgia this week: memories, emotions and classical music. In this first episode with our cohost Betty, the focus is on childhood — a time of wonder, play and imagination. Schumann’s Kinderszenen (Scenes from Childhood), a suite of 13 short piano pieces that reflect the emotional world of a child. Music in this episode: Schumann: "Scenes from Childhood" Bonis: Suite for Flute, Violin and Piano, Op. 59 Beach: "Children’s Carnival." Op.25 Beach: "Slipping on the Ice" from "From Six to Twelve"

We're following the mischief of Till Eulenspiegel... but today it catches up to him. Richard Strauss's score sets Till's antics to music. Till has been captured! Someone has tied his hands and thrown him into a burlap sack. Has justice finally come for Till Eulenspiegel? Who has managed to catch the uncatchable trickster? Music in this episode: Richard Strauss: "Till Eulenspiegel’s Merry Pranks"

After escaping from the monks, Till finds himself outside a garden party, which he crashes. Once inside, he begins showing off for a girl he just met. You’ll hear his love theme (yes, he has one!) and some very dramatic music that shows how badly he handles rejection. In the music, Richard Strauss uses playful leitmotifs, or musical themes, to help us recognize who’s who. Leitmotifs are kind of like musical name tags for Till and the people he meets. Till bounces back from rejection and moves on to his next target: a group of professors arguing about rock, parchment and shears. As their musical theme plays in the background with the bassoon leading the way, things get heated. Till’s prank goes out with a bang, and we’re left wondering… is all this trouble finally going to catch up with him? Music in this episode: Strauss: "Till Eulenspiegel's Merry Pranks"

Follow the outrageous antics of the trickster Till Eulenspiegel as told through Richard Strauss’s playful music. Tuesday's episode dives into his wild adventures at a market chaos and then a church mischief — all brought to life through Strauss’s score. Music in this episode: Richard Strauss: Till Eulenspiegel's Merry Pranks

Till Eulenspiegel is a rascal of a character from German folklore and composer Richard Strauss captures his "merry pranks" with sound. Eulenspiegel was a both a nuisance and a folk hero — some say he lived around 1300, although his stories didn’t show up in literature until 200 years later. Real or not, we can laugh at him and learn from him. His stories are lessons on where troublemaking can lead you and also a peek into Medieval lifestyles. Music in this episode: Richard Strauss: "Till Eulenspiegel's Merry Pranks"

When you hold a seashell to your ear, it’s not the ocean you’re hearing — it’s ambient noise resonating inside the shell’s hollow chamber. This amplification happens through a phenomenon called acoustic resonance. It’s the same principle behind how musical instruments like cellos, flutes, and even conch shell trumpets produce sound. In this episode, you’ll hear about a 17,000-year-old conch shell discovered in a French cave, which was likely used as a trumpet by buzzing lips into its end. Plus, we’ll take a quick detour to India, where the conch shell, or shankh, is still played in temples today. Music in this episode: Mozart: Horn Concerto no. 4 in E-flat major, K. 495: III.

What are we really hearing when leaves rustle in the wind? In this episode, we explore psithurism—the whispering song of leaves vibrating at their natural frequencies—and discover how nature, science, and even Wagner’s music capture this quiet symphony. Music in this episode: Wagner: "Forest Murmurs" from "Siegfried"

Naturally resonant spaces are everywhere. And throughout history, they’ve sparked some of classical music’s most haunting and breathtaking creations. This episode takes you deep into the sonic wonders of caves and other resonant spaces. Your own body acts as a chamber — mouth, chest, even your skull — shaping the way sound travels. But natural caverns take it even further. Meet the Great Stalacpipe Organ in Virginia’s Luray Caverns, an enormous instrument that turns the cave itself into a concert hall. We’ll also explore why sound booms in these spaces and how composers have drawn inspiration from such acoustics to create some of classical music’s most haunting works. Bonus: Organist Anna Lapwood offers a peek inside one of London’s most magnificent pipe organs. Music in this episode: Ambrose of Milan: "Christe, qui lux es et dies"

Christy and Andrew explore how tiny birds produce massive sound through acoustic resonance and how birdsong has long inspired both science and music. You might think the loudest animal in the world must be massive — like an elephant or a lion. But think again. Scientists have discovered that the title actually goes to a tiny bird no bigger than a dove. Composers, ever inspired by nature, often listen to bird calls and turned them into music. Antonio Vivaldi wrote a very pretty flute concerto inspired by birdsong called “The little goldfinch.” Music in this episode: Vivaldi: "Il Gardellino" (The little goldfinch)

Christy L’Esperance is joined by 8-year-old cohost Andrew, a second grader with a love for games and a curious mind. The topic of the week is resonance in nature. Here's an example... resonance explains why tiny birds can sound as loud as elephants and why drips of water echo so powerfully in caves. To demonstrate, they head to Interlochen Public Radio’s Studio A for a hands-on musical experiment where Andrew learns how to “play” the piano with just his voice. Music in this episode: Beethoven: "Moonlight" Sonata performed by Paul Lewis Debussy: "Clair de lune" performed by Martin Jones Joan Tower: "Sixth Fanfare for the Uncommon Woman" performed by Kara Huber

Violinist Jad Ibrahim explores the crisp, percussive technique of upbow staccato and reflects on his musical journey from Syria to Interlochen. Music in this episode: Grigoraș Dinicu: "Hora Staccato"

Christy L’Esperance talks with Interlochen Arts Academy senior Jad Ibrahim about his musical journey, double stops in violin playing and the value of perseverance and positivity in music. Music in this episode: J.S. Bach: Partita for Solo Violin performed by Itzhak Perlman

This week’s cohost is violinist Jad Ibrahim, a student at Interlochen Arts Academy. Jad introduces you to the challenging technique of left-hand pizzicato — a skill that involves plucking and bowing the violin at the same time. He shares how he's tackling it through pieces like Paganini’s Caprice No. 24 Later, Jad reflects on how traditional Eastern Mediterranean music, especially songs by Lebanese singer Fairuz, connects him to his Syrian roots. Music in this episode: Paganini: Caprice no. 24 Fairuz: "Voice of Hope"

Today on Intermezzo, we're joined by violinist Jad Ibrahim, a student at Interlochen Arts Academy, whose remarkable journey began in Latakia, Syria. Jad shares how he taught himself to play violin by watching YouTube videos of the old masters — Heifetz, Oistrakh, Menuhin — and how his life transformed after coming to Interlochen. Jad discusses the challenges of learning music without formal lessons, the powerful role of mentorship, and his current work on Wieniawski's "Variations on an Original Theme." Plus, he introduces us to the world of right hand pizzicato, from brief orchestral techniques to the full-string plucking heard in the Strauss brothers’ "Pizzicato Polka."

Christy and her cohost explore one of the violin’s most expressive techniques: vibrato. This week on Intermezzo, host Christy L'Esperance is joined by violinist Jad Ibrahim. Originally from Latakia, Syria, Jad picked up the violin at just seven years old, inspired by the young musicians around him who would later become close friends. Music in this episode: Yehudi Menuhin performing Brahms's Violin Concerto in D major Maria Callas singing "Vissi d'arte" from Puccini's "Tosca" "Talk of the town" by the Pretenders Yehudi Menuhin performing Mendelssohn's Violin Concerto in E minor Henryk Wieniawski's "Variations on an original theme" Op. 15 (Performed by: Teo Gertler in the finals of Virtuosos V4+ classical music competition)

Thanks for joining us for our first week of Intermezzo! So far we've talked about we talked about comedic timing, teasing, physical comedy and defying expectation in classical music. Today we're exploring exaggeration. When you tell a story and totally exaggerate just one part of it, it becomes something totally different. For example, if you get a caricature drawn, the artist will exaggerate one part of you — glasses, hair or your nose. Or you can exaggerate elements of a story. Erik Satie has a piano piece, written over 100 years ago, with a French title that basically translates to "dried-out lobster embryo." At the end, he exaggerates the kind of ending that you'd expect from Beethoven. Music in this episode: Satie: "Embryons Desséchés" Leopold Mozart: "Die Bauernhochzeit" for hurdy-gurdy, bagpipe and orchestra

Surprise has been the heart of humor since Aristotle, and in music — as in Mel Brooks’s "Young Frankenstein" or Malcolm Arnold’s "A Grand, Grand Overture" — that surprise often comes through absurd, unexpected twists that make us laugh. In this episode, Christy shares a clip from one of her favorite comic movies, Mel Brooks's "Young Frankenstein." In this scene, to prove that the monster can blend into high society, he gets dressed in a tuxedo with a top hat and a cane. Frankenstein dances on stage in a very fancy theater while singing "Puttin' on the Ritz." In Classical music, sometimes the composer chooses to use absurd instruments. English composer Malcolm Arnold wrote a piece called "A Grand, Grand Overture," which uses a regular orchestra, an organ, three vacuum cleaners, a floor polisher and four rifles. At the climax of the piece the rifles, silence the vacuum cleaners one by one. Here's a clip from the beginning when the vacuum cleaners start up and the rifles try to eliminate them. Music in this episode: Irving Berlin: "Puttin' on the Ritz" Malcolm Arnold: "A Grand, Grand Overture"

To understand slapstick all you have to do is watch old cartoons or old comic moves by Charlie Chaplin, Buster Keaton, Laurel and Gardy or The Three Stooges. Characters slip and fall, get caught holding an exploding stick of dynamite, get squashed by a piano dropped from fourth story window — but they always survive. But you can use all sorts of instruments to suggest physical comedy. Composer Paul Hart wrote a concert piece called "Cartoon" using a full orchestra. Here's a sample. And if you want to hear more music about slapstick and pranks gone wrong, try "Till Eulenspiegel's Merry Pranks" by Richard Strauss. Music in this episode: Paul Hart: "Cartoon" Strauss: "Till Eulenspiegel's Merry Pranks"

Host Christy L'Esperance and cohost Hazel dive into the quirky side of classical music, exploring how light teasing and pranks can be a source of friendly fun. Tuesday’s discussion wanders into the mischievous behavior of both animals and composers. Music in this episode: Haydn: Symphony No. 60 "Il Distratto" Saint-Saens: "Carnival of the Animals" - "Pianists"

What does a timing joke sound like? As an example from today's episode of "Intermezzo" — Hazel and Christy compare classical humor to timing in stand-up comedy, such as in the famous Elf movie scene. And here's an example of humor in classical music from the end of Franz Josef Haydn's "The Joke Quartet." The joke here is that Haydn repeatedly tricks the audience into thinking the piece has ended when it has not. He’s trying to trick you into clapping by setting up expectations. Music in this episode: Franz Josef Haydn: String Quartet in E-flat, Op. 33, No. 2 “The Joke” Finale P.D.Q. Bach: 1712 Overture, S. 1712