A Minute with Miles

Classical Stations: Mon-Fri, 6:43 am and 8:43 am

How did the piano get its name? Why can’t you “reach” a crescendo? Who invented opera—and why—and how do you pronounce “Handel”? These and countless other classical music questions are answered on South Carolina Public Radio’s A Minute with Miles. Hosted by longtime NPR commentator Miles Hoffman, the segments inform and entertain as they provide illuminating 60-second flights through the world of classical music. (Photo: Mary Noble Ours)

Ways to Connect

Hayes and Olivier

Jun 2, 2017

Your strange job as a performing artist—musician, actor, or dancer—is to immerse yourself completely in the work of art you’re performing—to lose yourself, in a sense—and yet at all times to remain aware of precisely what you’re doing and how you’re doing it. It’s not easy, and sometimes the process—which is complicated to begin with—becomes downright mysterious. I once heard the actress Helen Hayes tell a story about Sir Laurence Olivier. She was performing in a play with Olivier, and one night he give a performance that was absolutely staggering—especially brilliant even for him. 


Finales

Jun 1, 2017

Throughout the eighteenth and nineteenth centuries in classical music, the final movements of instrumental pieces—the finales—were almost always in fast tempos, and they usually ended loud, and emphatically. No matter where the rest of the piece had taken us, the finale was meant to provide a resolution, a sense that we’d just heard a complete work of art, a satisfyingly complete narrative, with a beginning, a middle, and—in no uncertain terms—an end.  There was a kind of affirmative philosophy underlying the composer’s work, and a projection of certainty: I know what I meant to say, I’ve said it, and there’s value in my having said it. 


Outdoor concerts can be delightful, especially when the music and the natural surroundings make a perfect mix. Then again, when you’re playing outdoors, things sometimes happen that wouldn’t ever happen in the   concert hall—and I’m not just talking about thunderstorms. I’m thinking of a concert I played many years ago at a festival in France. The setting was beautiful—we were in a valley in the Alps—and the music was Schubert’s “Trout” Quintet. What could be better? The performance received an unexpected interruption, however, when a Labrador retriever puppy decided to run up on stage and say hello to all the musicians, wiggling his cute little hind quarters at the audience the whole time. 


Repeats in Music

May 30, 2017

Composers often call for repeats, in their music, for whole sections of their pieces to be played twice. And the question is: what’s the point? One answer is that the repeat helps the listener remember the musical material. But more important, I think, is that the second time through a section always has different meaning, and meanings, precisely because we’ve already heard it once. A return—no matter if it’s to a person, a place, or an experience—always feels very different from a first meeting. 


The Harp

May 29, 2017

If you have a chance to attend an orchestra concert anytime soon and one of the pieces on the program calls for a harp, make sure to watch the harpist’s feet. They’ll be busy. The modern concert harp has forty seven strings, but it also has seven foot pedals, each of which controls one set of strings for each note of the scale. The A pedal, for example, controls all the A strings on the harp, and can change their length so that they sound A-natural or A-sharp or A-flat. As they play, harpists have to set and reset their pedals constantly—and quickly—to prepare for the notes that are coming up.


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