Past Performances
In Chinese, the word "crisis" is composed of two characters: one signifies "danger," and the other is commonly translated as "opportunity." While the first character indeed denotes danger, the second, if we strive for accuracy, means "decisive moment," "turning point," or "trigger moment." Thus, in Chinese, a crisis is danger leading to a turning point or a trigger moment.
In 1917, Freud, in his Mourning and Melancholia, introduced the concept of "grief work," later expanded to "crisis work." He stated that coping with a crisis can only be done by the individual himself. Experiencing a crisis is an absolutely personal effort. In this work, Freud nominally distinguishes three phases. The initial stage is when one encounters the news of a crisis—internally or externally—when fate throws one a challenge, and one is left without strength. (Pardon me for simplifying greatly to avoid delving into psychoanalytical depths.) Thus, the first reaction is shock and denial ("No, this can’t be happening!"). The purpose of this shock is to allow a person to regain his strength and energy. It’s possible to get stuck in this phase of shock, and then the development of the crisis will significantly slow down, and the crisis will transform into trauma. Therefore, it’s important to slightly “distance” oneself from the shock. After the shock comes the phase of aggression—anger and rage—against the injustice of fate. This is followed by a phase of experiencing and suffering. According to Freud, suffering is twofold: physical and psychological. Probably everyone has experienced grief and knows what physical suffering feels like. Even remembering a past crisis makes one sigh deeply—it’s a reminiscence of a physical experience. The other side of suffering is the mental, existential pain. It’s impossible to hide or escape from it; one can only forcibly turn off one’s consciousness—by getting drunk or by self-harm. And to make this unbearable situation somewhat bearable, it’s very important to tell someone about your pain, turn it into a story, a narrative. When we speak about pain, it no longer fills the entire inner world. If I start treating pain, looking at it from the outside, it’s no longer equal to me.
Our heroes today are united precisely by this desire to part with their pain. And there is something truly inspiring in their striving for disclosure and liberation from pain. Let’s get inspired by their example and try to understand the secrets behind their experiences! So, what actually happened to Rachmaninov? What crisis did he experience, and how did Chekhov become involved in this story? Here are the words of Rachmaninov himself, which are connected with the story of his painful crisis:
"I visited Tolstoy in Khamovniki several times. It all ended unpleasantly. Princess Liven asked Leo Nikolayevich to receive me after the failure of my First Symphony, writing: 'Please accept him, the young man may perish, he has lost faith in his own strength.' When I first came, Tolstoy was playing chess with Goldenweiser. I came with Shalyapin; Fedya sang my song 'Fate.' It’s impossible to describe how he sang: he sang as Tolstoy wrote. We were both twenty-six years old. When we finished, everyone applauded admiringly, but then suddenly fell silent. Tolstoy seemed gloomy and displeased. For an hour I avoided him, then he approached and excitedly said: 'I must tell you, I do not like all this. Beethoven—nonsense, Pushkin and Lermontov—too.' It was terrible."
And here is how Shalyapin describes the same scene:
"…And here he is alive! I saw a figure, seemingly below average height, which surprised me greatly—by photographs, Leo Nikolayevich seemed to me not only a spiritual, but also a physical giant—tall, powerful, and broad-shouldered... Sergey Rachmaninov seemed braver than me but was also nervous and had cold hands. He whispered to me: 'If they ask to play, I don’t know how—I have absolutely icy hands.' Indeed, Leo Nikolayevich asked Rachmaninov to play. What Rachmaninov played, I do not remember. I was nervous and kept thinking: it seems I will have to sing. I was even more scared when Leo Nikolayevich directly asked Rachmaninov: "Tell me, is such music necessary to anyone?"
Rachmaninov continues:
"Later, Tolstoy approached again: 'Sorry, I am an old man, did not mean to offend you.' I replied: 'How can I be offended on my behalf, if I was not offended for… Beethoven?' And further: 'I told all this to Anton Pavlovich Chekhov. He adored Tolstoy, and if Tolstoy loved anyone, it was certainly Chekhov. He told me: “If this happened on a day when Tolstoy was suffering from stomach pain, he could not work and therefore must have been in a very nervous state. On such days he is inclined to speak nonsense. But do not pay attention to it. It’s not important."
It is important to remember that Chekhov was not only a writer but also a doctor, and during his short life, he managed to treat quite a few people. He always incredibly subtly noticed the reasons for people’s reactions and states. It would seem that Chekhov is a light, subtly ironic writer, with a fine sense of humor. So what do crises have to do with it—where do his existential torments come from? But just open his plays—and suddenly you see a completely different Chekhov. I vividly remember the first time I read Chekhov’s story The Black Monk—I was literally physically shaken. If you remember, the protagonist of the story lived calmly and happily, was sure that he was a genius, chosen, almost Napoleon. And suddenly—he recovered. And when he recovered, it turned out that he was no longer chosen and basically nobody. No crisis, just a complete recovery—and a tragedy for a lifetime. The hero develops a disgust for… normality, an unbearable sense of the catastrophe of everyday life... Do we not face this problem ourselves today—when we are satisfied with anything, just not our reality? So, perhaps crises and even a little madness are not always a bad thing. Chekhov hints at this: sometimes it’s better to be a little crazy than completely normal. After all, complete liberation from illusions is the most severe tragedy. Imagine how lucky Buddha or Shakespeare were that kind relatives and caring doctors did not cure them of ecstasy and inspiration! Thus, we will try to look into the world of crisis through the fate of Rachmaninov, his music, and Chekhov’s stories. It is especially worth noting that our guest performers for this concert - Dina Nesterenko (violin) and Dan Sloutskovski (cello) - in addition to being fantastic musicians, seem to know how to live on the edge: how to enter this dangerous and fragile zone of crisis without fear of losing themselves, and most importantly, how to come out of it renewed!
They say passion is what makes us human—but what if it also drives us to act like lunatics, pushing us to the brink of madness? Welcome to our “Properties of Passion” evening, where your wildest confessions will remain secret—unless they’re irresistibly shareable!We won’t actually require confessions, but we will delve into the tumultuous lives of characters like Otello, Carmen, and José, along with the works of Beethoven, Tolstoy, and Brahms. Through their stories, we’ll navigate the intricate dance of jealousy, love, and the pursuit of freedom.
Is José merely a tragic loser, or can we see him as a noble soul lost in a maelstrom of emotion?
And consider Carmen: Is she truly a rebel who cherishes love and freedom to the extent that no chains can bind her, or is she a manipulator intent on seducing and destroying every man who falls for her charms? What drives her fierce independence, and what can we learn from her tragic destiny? And what of Otello? Is he merely a blindly jealous man whose honor disintegrates under Iago’s crafty deceit, or is he an innocent, fundamentally noble character, whose pure but primitive love is exploited by a malevolent force? How does his story explore the themes of trust and betrayal?Turning to Beethoven’s music, the dangerous seduction of his composition in The Kreutzer Sonata reveals how a classical sonata itself can ignite a whirlwind of madness and disaster, transforming a piece of art into a fiery expression of passion. Beethoven himself emphasized the importance of passion in his famous quote: “To play a wrong note is insignificant; to play without passion is inexcusable.” But... when was the last time Beethoven’s music passionately moved you? Immerse yourself in our audacious interpretation of this sonata, featuring the exceptional violinist Sergey Ostrovsky (originally from Israel, now based in Switzerland). Together, we venture to push the boundaries and explore how boldly and wildly we can interpret this timeless piece.
Here's a glimpse of the first movement from our performance in Switzerland, captured by a fan on an iPhone. While the video quality may be modest, the performance itself is decidedly spirited and edgy, fully embodying the passion we strive to convey:
https://youtu.be/cIdj8M2Lot0We will also explore Brahms’ Sonata No. 3, which perhaps embodies a more “objective passion,” suggesting a harmony between fervor and restraint.
This program compels us to ponder: Is passion our ultimate strength or a perilous weakness? Are love, freedom, and jealousy mere sparks of our humanity or the shadows of our defects? This isn’t merely about listening; it’s about confronting the dual nature of passion—its beauty and its brutality—and recognizing that to live fully is to embrace both its highs and its vulnerabilities.
So join us for an evening of music and reflection—no confessions necessary, but hopefully, a deeper understanding of the fiery dance of the human heart.
In this program, we explore a simple yet profound question: what is the “lightness of being,” and how can art and music express it? Perhaps it is the freedom and ease we experience when we live in the moment, unburdened by life’s heavier concerns and troubles?
Mozart’s music, as Nietzsche once remarked, is “a refreshing and cleansing bath” for the soul. Doesn’t it elevate us above our emotional weight, providing a joyful break from life’s burdens? While this lightness does not ignore life’s complexities, doesn’t it gently create space for us to breathe in beauty, allowing us to step away from the heaviness of reality and simply be?
In a similar vein, Glinka embodies sincerity and innocence, even in dramatic moments. Webern offers a fleeting, cosmic lightness, where each note seems to dissolve into the air. Debussy, the poetic rebel, blurs the boundaries of form, making music feel like a dream—fluid and elusive. Chaplin transforms life’s adversities into graceful comedy, smiling through challenges and finding humor where others see only suffering. Lastly, Duke Ellington—whom I would call the Mozart of jazz—gifts us with a lightness of being, delivering gentle melodies that flow freely in the rhythm of the unbearable lightness of swing.
As always, we will weave in a touch of cinema, showcasing how great filmmakers like Sokurov and Tarkovsky, Kalatozov and Khutsiev, capture this idea of “lightness” in their own surprising ways.
About the Artists
Allow me to introduce our remarkable performers, each of whom brings a unique flavor of lightness to the stage.
Let’s start with Max Zorin, a violinist whose dandy-like charm and impeccable elegance make it seem as if he were born with a pocket watch and a glass of champagne in hand.
Next is Zoe Deveaux, an actress whose every movement exudes a seductive and alluring lightness (just take a look at the photo below). Her gaze draws you in, making you wonder how even a raised eyebrow can serve as an invitation.
For a more earthy and warm sense of lightness, we turn to violist Anat Malkin, whose presence radiates human connection, grounding us in the beauty of life and creating an atmosphere of cozy, heartfelt embraces.
On the artistic edge, we have cellist Sergey Antonov, whose tattoos are as expressive as his playing. His lightness comes not only from the strings but also from the ink—a perfect blend of skin and art that tells its own story.
Tenor Pavel Suliandziga possesses a voice that seems to transform the room, lifting us all as if he has found a way to bottle East-West serenity and serve it to the audience.
Finally, there’s the ironically quantum dancer Inessa Gordeiko, who spins like a ballerina while seamlessly editing films by great masters. With every step, she effortlessly navigates even the most complex and sometimes whimsical ideas of mine, turning the impossible into a light breeze, leaving us to wonder: what can't she do with that signature pas de deux?
Speaking of lightness, I encourage you all to arrive at the concert feeling light as well—perhaps in spirit, and maybe even in your attire? Just remember, the lighter you come, the more you’ll float through this evening of music. And don’t worry, we’ll keep it classy—no beachwear required!
Musically yours,
Leon Livsin
Perhaps, each of us, sooner or later in life, faces the fact that a ‘love triangle’ transcends a philosophical abstraction and becomes part of our real experience. For me, this theme is not just a theoretical concept but, fortunately or unfortunately, a part of my past.
A love triangle is not just a social conflict or a plot for a soap opera. Exploring love triangles through the prism of the lives and creativity of such genius figures as Wagner, Mahler, Wolf, and Schiele, we can try to unravel the mystery of true love, honor, and dignity.
Wagner found himself involved in a love triangle more than once. Initially, his feelings for Mathilde Wesendonck, the wife of his benefactor, remained platonic (at least, that is the belief), but then his relationship with Cosima von Bülow, the daughter of Franz Liszt and the wife of his friend Hans von Bülow, developed into a true passion and led to marriage. These relationships caused scandals, but for Wagner, they were an expression of true love and striving for harmony - both in music and in life.
Gustav Mahler, in turn, who fully dedicated himself to music, essentially relegated his wife Alma to the background, limiting her creative ambitions. Alma, whose desire to express herself through music was suppressed, found consolation and self-realization in the arms of other men. Was this to be seen as her sacrifice in the name of art or an injustice that spawned even more passions?
Hugo Wolf, having fallen in love with the wife of his benefactor, found himself in a complex emotional trap where his feelings collided with duty and gratitude. This secret affair, invisible on the surface but reflected in his music, raises questions about where the line between personal happiness and loyalty lies.
Even more scandalous love triangle formed in the milieu of Viennese Modernism between Gustav Klimt (who also had a brief affair with Alma Mahler), his student Egon Schiele, and their common muse Wally Neuzil. The relationship between the teacher and the student, both of whom shared a passion for exploring human emotions (both were accused of promoting pornography!) and relationships through art, adds an extra layer of complexity to their creative and personal lives. Egon Schiele, in particular, left us portraits filled with emotion and tragedy, reflecting his deep contemplation of the dark side of love - both as erotically destructive and as a purifying and elevating force.
These stories show how love triangles can be not only a source of personal drama but also a path to self-discovery, to understanding the eternal values of love, honor, and dignity. On this path to self-discovery, I will be aided by the delightful German-Austrian singer Ute Gfrerer, the magnificent artist and filmmaker Ilya Kalnitsky, and excerpts from the film by the outstanding Italian director Michelangelo Antonioni.
Musically yours,
Leon Livshin
The definition of a term 'dandy' generally implies an elegantly dressed socialite, emphatically focused on his appearance, behavior, and sophistication of speech. Some dictionaries simply state that dandy is a man who gives exaggerated attention to personal appearance.I think that trying to define dandyism is as difficult as trying to define charm. One cannot become charming - you are either charming or not. Nevertheless, let’s try to look and understand the dandy phenomenon.
During our concert let’s try to delve into the minds of our Dandy-composers and Dandy-performers. And how about we try to get in touch with and discover a little bit of dandy in each of us? The more I read about this subject, the more I find it fascinatingly complex and thought-provoking. First of all, I think the definitions above are somewhat misleading because they focus only on the appearance of a dandy. An elegant man in an impeccable suit, a bow tie, an expensive smoking pipe, nonchalant yet minimal (lazy and precise) movements, a contemptuous smile, etc. Is that really all?
The very first dandies made it clear that it was not only about fashion and style, but about a state of mind, about a person and his soul, about a search for something inexplicable. As a dandy himself would put it, if one needs to be explained what dandyism is, then there is no need to try and explain!In my view dandyism is a philosophy, a specific outlook onto the world, a particular kind of artistic expression.
Above all, it implies an impeccable taste, something you have to be born with… In the context of our concert, I would like us to consider two manifestations of Dandyism: inner (real, essential), and imitative - external. During the evening we will try to touch on both, but I am especially interested in understanding inner dandyism in order to understand such great dandy composers as Tchaikovsky, Scriabin, Stravinsky, Prokofiev, and, of course, our main hero, and perhaps the most guarded and mysterious of them all, Ravel.
What led all of them to dandyism? Perhaps their detachment or maybe inner vulnerability? For example, could Beethoven or Shostakovich ever care so much about their looks?So what makes one a dandy? The Dandies rejected the understanding that dandyism is a panache, simply “an art of tying a tie” (although, apparently, it was truly an art).
As far as I understand, the following are the basic principles of the behavior of a Dandy: 1) Attire should always be elegant but... at the same time appear (surprise surprise!) unnoticeable, and not draw attention to itself; 2) actions should be... unpredictable and/or unexpected, "so that the mind, accustomed to the game of rules, could not logically predict them"; 3) one should strive to surprise and shock rather than to please, impress or to be liked; and last, and most importantly: 4) the real authentic Dandy has no rules (see above)! Independence is above all else! Confusing? Contradictory? Yes, indeed! If there were clear rules of conduct or instructions then everyone could become a dandy, right? Yet, there were only a few of them...
And if fashion is not the defining characteristic of Dandyism, then what is? "Creating myself is my whim!" said Brummell, “the prime minister of elegance” of 19th century England and the first “official” dandy in history.
On the evening of April 4th I invite you all to create or recreate yourselves! Rules or no rules at all! We welcome all forms of shock or surprise, whether by means of your attire, hairstyle or misbehavior.
Musically yours,
Leon Livshin
Dear Friends,
Let me begin by saying that the amazing fashion show by our amateur dandies and quaintrelles (a female-dandy) at the last concert was truly inspiring. It was a real pleasure to see such avid participation from the salon’s audience. It proves that our concept and ideas truly resonate with you - during both our concerts and our somewhat "heated" discussions.
So, let’s continue to engage, contribute and provoke! As Oscar Wilde said: “Give a man a mask and he’ll tell you the truth.” So, please bring your mask (or your inner mask?), your attire (costume), and your spirit, but if any of you choose to participate by not participating (in a true dandy’s tradition) - you are welcome to do so as well!
On May 14th, yet again, we combineD a story, music, and movies in an effort to unfold the enigmatic life of Maurice Ravel. Once again, I was privileged to work with fantastic musicians: a brilliant Dmitry Berlinsky (violin), poetic and virtuosic Sergey Antonov (cello), a renaissance film-performer Inessa Gordeiko, and, last but not least, our charming aspiring architect/actor and a dandy-in-the-making, Daniel Berlinsky.
We played the ecstatic and powerful Ravel’s Piano Trio in A minor, and also a composer’s jewel Pavane Pour une Infante Défunte.
This concert was an effort to intimately explore Ravel - the man and his music. A deeply moving novella about Ravel by a wonderful novelist Jean Echenoz helped us hear Ravel’s music in a new light. The novella opens in 1928 as Maurice Ravel - a dandy, an eccentric, and a curmudgeon - crosses the Atlantic to begin his triumphant grand tour of the United States.
”To live is the rarest thing in the word. Most people just exist” (Oscar Wilde)
So let’s live!!! Here was your playful chance to expose (or perhaps even seduce?) Ravel - by either reserve or provocation; picked your strategy, found an appropriate attire, weared it well and … tried to UN-RAVEL!
Musically yours,
Leon Livshin
During this performance we try to figure out the phenomena of popularity. We are not going to limit ourselves to our times only. Quite the opposite! What if we, like Odyssey, went on voyages to various times and to the hearts of various civilizations?
We begin with Ancient Greece... We create a time bridge between ourselves and Homer and recite his poems in Greek but … in rap style.
Our next voyage is to the Renaissance era. We travel in Tempo a la Tarkovsky through the “hits” of paintings: Leonardo, Durer, Bruegel, Rublev, and perhaps see all of their masterpieces in the new light? For this voyage through the old masters paintings we used all seven of Tarkovsky ‘s films, but the resulting collage is infused with new resonance.
After that you hear the biggest hit of the 19th century - Schubert Serenade. We try to figure out the secret of its popularity by "recreating" the piece as if we were preparing a meal in front of the audience.
And after, we will travel through the labyrinths of the art of film and will trace the development of film from silent to Hitchcock, Chaplin and Tarantino…
Then we present a premiere of a short quintet by our inimitable composer in residence, Renaud de Jardin. In this particular case, he is recycling the most popular pieces by Schubert. It is served as an appetizer before our main course with which we will finish our concert - THE TROUT quintet by Schubert.
Everything will be presented lightheartedly, joyfully and gracefully (in the true spirit of the holiday season.)
А totalitarian mind might be more susceptible and vulnerable to the effect of true art than one might think...
During the performance we delve into the conformist dilemma of each artist when they have to face their tyrants in order to save their own artistic freedom. All three, faced with tyranny, found their special way to maintain their integrity, their transcendental connection (they all played as if they played for God, not the audience).
What is fascinating is that most dictators valued culture one way or another. In fact, one wonders why under their dictatorships the culture blossomed and the artists were allowed the unprecedented freedom of expression (as long as they did not interfere with the politics).
This concert have a prologue, three novels, and a coda. So, in addition to Leon Livshin playing Bach, Schubert, Chopin, Scriabin and Rachmaninov (each piece is homage to the great artists), we use chronicle materials, excerpts from movies, letters and other real documents describing the relationship between Stalin, Hitler (as well and Mussolini and Franco) and "their" artists.
The topic is relevant today considering the current horrible war. The threat of totalitarianism is very much present today and lives with us. Are we capable of making a choice here? The question is whether beauty can provide a cure this time.
This performance is especially unusual, even compared to our already unusual and non-traditional concerts. It is especially striking due to its very subject - Silence - and because we try to avoid using words.
We attempt to “see” silence in film, to “hear” it in music, and sense (grasp? perceive?) it in our hearts. In this process we are guided by the great geniuses of the past - Mozart, Beethoven, Webern, Cage, Bergman, Norstein and Sokurov – but also by our phenomenally gifted Resonance artists (working as a team) – Leila Josefowicz, Inessa Gordeiko and Renaud Déjardin.
From our guest star - Leila Josefowicz:
"I am thrilled to collaborate and play with Leon in his latest salon concert, Silentium. Both Webern and Beethoven are dear to our hearts. These works explore the most profound dimensions of human existence in completely different tonal languages. The exploration is through deep stillness, spaciousness, and serenity, but also through soul stirring passion, agitation, and excitement.
We, performers, rarely acknowledge the power we hold to transform a work into our own creation.
We often hold the destiny of a piece in our hands – it greatly depends on the quality of our performance. On the very special evening of February 28 a new piece will be born into the world. Leon and I will perform the world première of “Midnight in New York” by Renaud Déjardin, the brilliant cellist and composer. To me, this is the greatest excitement of all, since there can only be one world premiere in a piece’s existence. For us, the performers, to express and deliver it to you, our listeners, will be a joyful adventure!l!
Do we convince you, the audience? Are we able to convey the full expression of the piece through our delivery of the composer’s wishes to you? We are messengers. What holds excitement for me is that I can use my skills to bring people sensations that are new and memorable.
Sincerely,
Leila"
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We present an enigmatic and somewhat puzzling story of a great Austrian poet, Rainer Maria Rilke," Beyond Love…On the Other Side of Air."Rainer Maria Rilke confided some of his most intimate thoughts to a woman whom he had never met. Magda von Hattingberg, a Viennese concert pianist, sent him an admiring letter in 1914. For three months after that the poet, who was separated from his wife, poured out his anguish and yearnings to her. He renamed her "Benvenuta" - the Welcome One. After 26 days of letters exchanged almost daily, a meeting - proposed by the young woman and consented to by Rilke who was in a feverish state of half anticipation and half dread - took place in a Berlin hotel.
Then the letters ceased. The couple’s sojourn together lasted only a few months and …we don’t what happened. Rilke refers to his letters to Benvenuta as “the testament of my whole past and future existence.”
Yet, years later, when Magda (Benvenuta) wrote her memoir and disclosed the swift breakdown of their relationship, she downplayed all the intimate “juicy” details of their love affair, and left a lot to our surmise and imagination. She referred to her rendezvous with Rilke as "friendship- love.“
I wonder whether if she were to publish her memoirs today, she would be shouting from a rooftop: "I had an affair with the great Rilke.”
Times have changes, I guess…Yet, what is interesting in Rilke’s love story is NOT in its scandalous allure. This enigmatic affair raises many questions for me: What is love?
Does it exist only while it is unattainable? Does it have to last? Can it last? Is its duration significant? Why can something short and fleeting impact your entire life while something long and tangible sometimes leaves minimal recollections?
In this concert we mix letters and solo piano works by Beethoven, Schubert, Schumann and Chopin.
But Rilke himself has somewhat estranged relationship with music and sometimes even tended to avoid it. Magda, an accomplished pianist, played for him and resurrected his connection with music, so we will try to unfold this dynamic between them . In addition I will use the work of another great artist, Ingmar Bergman! Both Rilke and Bergman are the perfect examples of the art to explain the unexplainable... What else can we hope to achieve this evening ?Well…
We have two wonderful surprises for you!!!! First of all, we are super fortunate to have a “real’ wizard, a fantastic actor, Ronald Gutman!! who is joining us on this project to breathe life into Rilke’s genius.
And ..Don’t be shocked, but there is another (Benvenuta -related) surprise awaiting for you!
This project had been brewing in my mind for a long time, so I’m thrilled we have a chance for this labor of love to finally give birth... As always, we invite you to share your thoughts and conclusions. Please bring your own intimate story to the salon: you don’t need to tell it; simply share your vibrations and we’ll all feel it. Better yet, dig up that ring, that old hanky, a dusty book with a love note in it. Bring it to the salon and let’s dive into Rilke’s world together!
Dear Friends,
I have long wanted to explore anti-Semitism from an artistic perspective (not a political one!) due to my admiration for certain anti-Semitic artists. However, after the events in Israel on October 7, discussing tolerance and acceptance in the context of killings and torture is not only difficult but perhaps impossible.
Tolerance here is abhorrence, regardless of where it occurs, whether in Germany, Ukraine, or Israel; it is no longer "politics" but simply a crime. Yet, despite all the terrible things in the war, I still want to raise some questions that have bothered me for some time: Can one separate life from art? Is it acceptable for a normal, reasonable person to read or listen to the works of anti-Semites? Do works of literature, music, theater, and cinema transmit a political or moral message? Can art really be amoral?
Musically yours,
Leon Livshin
Emotional Resonance
of a Triangle
Episode I
The relationship between the Schumanns and Johannes Brahms, both personal and musical, has received an abundance of attention. It has also been a source of speculation, particularly with regard to the supposed love-triangle aspect of their relationship, and it has even made its way into popular movies and theater.
However, despite the rich variety of information devoted to the Schumann-Brahms circle, there remain many musical connections that have yet to be fully uncovered and discovered.
Episode II
We continue to open the door to the understanding of the Schumanns' and Brahms' pieces. Hidden meanings, insider jokes, and private messages are encoded into the music and are likely to be recognized only by those who really know. Are we meant to understand them? We will let you decide...
