Lifestyle
Lucas & Arthur Jussen release 'little diamonds' EP of lesser-known piano duets
Lucas and Arthur Jussen perform with the Chicago Symphony Orchestra under the baton of Christoph Eschenbach in October 2024.
Todd Rosenberg/Chicago Symphony Orchestra Association
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Todd Rosenberg/Chicago Symphony Orchestra Association
They finish each other sentences, in conversation and in music.
Brothers Lucas and Arthur Jussen have played music together as far back as they can remember. They performed for the Dutch queen as young boys. As a piano duo, they’ve taken that symbiotic connection to some of the world’s greatest concert halls.
“The strange thing is that with Arthur, I never notice when our hands touch or our heads or whatever, it’s just a very natural thing,” Lucas told NPR’s A Martínez. “I could never imagine doing that with someone else or or not doing that with Arthur.”
This month, they are releasing recordings of a set of what they call “tiny diamonds” — short waltzes and lullabies influenced by, and in some cases rejecting, French Impressionism from the late 19th century and early 20th century. There’s Debussy’s “En bateau” (“By Boat”) from his Petite Suite, alongside lesser known works by Benjamin Godard, Reynaldo Hahn, Charles Koechlin and Germaine Tailleferre.
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It’s the first volume in a trilogy of releases. The second EP, Cantus, is due out in May and will feature works by Bach, Brahms and Estonia’s Arvo Pärt (b. 1935). A final release in November 2025 will include both of Edvard Grieg’s suites of incidental music narrating the story of Norwegian peasant anti-hero Peer Gynt.
The set begins with “Les décrets indolents du hasard” (“Indolent Decrees of Chance”), the first in a series of waltzes by Venezuelan-born Hahn known as Le ruban dénoué (The Unspooled Ribbon).
Binary and ternary meters alternate between the two pianists to evoke the indolence of the title, with an echo-like effect.
Hahn, the one-time lover of French novelist Marcel Proust, primarily composed lyrical music. Even for his piano works, “you have to play them also as if you are singing,” said Lucas, 31. That’s a major challenge at the piano, which, unlike the voice or string instruments, can’t sustain a note at length, let alone indefinitely.
Dutch brothers Lucas, left, and Arthur, right, Jussen have performed together as a piano duet since they were young children.
Jesaja Hizkia/Universal Music
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Jesaja Hizkia/Universal Music
The constant switching of leads that takes place here is central to the Dutch brothers’ broader approach to the piano duo repertoire, which they have sought to expand by shedding light on lesser known pieces such as these or by commissioning new works by contemporary composers, including concertos by Joey Roukens and Fazil Say.
“I am lucky as the younger brother that I never had an older brother who really wanted to be the older brother and wanted to be the boss in music as well as in normal life,” said Arthur, 28. “When you play together, I think the most important thing is that there is no ego that wants to be the biggest ego.”
Arthur says he tries to adapt to Lucas “almost each millisecond.” When they both achieve that level of synchronicity at the keyboard, “you can can reach a state of playing where you both almost start feeling the same and the blood starts flowing the same way,” he added.
Lucas (left) and Arthur Jussen bow with conductor Christoph Eschenbach after performing Mozart’s Concerto for Two Pianos with the Chicago Symphony Orchestra in October 2024.
Todd Rosenberg/Photo provided courtesy of the Chicago Symphony Orchestra Association
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Todd Rosenberg/Photo provided courtesy of the Chicago Symphony Orchestra Association
Tailleferre was the only woman in Les Six, the avant-garde group of composers formed more than a century ago in Paris. Their musical aesthetic generally rejected German romanticism and the lush style of Impressionists like Debussy.
Tailleferre’s “Valse lente” (“Slow Waltz”) has moments of subtle but confounding dissonance, “which makes you feel all the time, ‘Where is it going?’” said Lucas. “And then in the end, it resolves into this kind of beautiful, dreamy atmosphere.”
The Jussens praised the increased presence of women composers and conductors in classical music programming, a transition and reckoning that has been slow in coming.
“We would be very happy and we would feel we succeeded if people after listening to the album will say, ‘OK, that piece right there, that’s my favorite piece, just because I love the music so much,’ and that they will not say ‘I love it so much’ because she is the only woman on the record,” said Lucas.
Koechlin, who taught Tailleferre and Poulenc from Les Six, was a polymath whose interests ran the gamut from astronomy, car racing and cinema to mountaineering and mythology. Arthur expressed admiration for Koechlin’s many talents. “We can only play piano — for the rest, we’re absolutely useless,” he quipped.
Their career is one that comes with constant stress and pressure to perform, but the brothers say they remind themselves of what inspired them to play in the first place. “We try to always remember now 20 years after we started that we like it so much because if you forget that and it’s just about playing the concerts well and performing each day, then sometimes you lose the sparkle of what music can do and the magic that it has,” Arthur said.
The digital version of this story was produced by Janaya Williams. The digital version was edited by Obed Manuel.
Lifestyle
Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died
Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.
Andreas Rentz/Getty Images
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Andreas Rentz/Getty Images
Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.
Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.
Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.
Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”
Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.
Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”
The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.
After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.
In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.
Lifestyle
Epic stretch of SoCal rainfall muddies roads, spurs beach advisories. When will it end?
California’s wet winter continued Sunday, with the heaviest rain occurring into the evening, and more precipitation forecast for Monday before tapering off on Tuesday, according to the National Weather Service.
A flood advisory was in effect for most of Los Angeles County until 10 p.m.
Los Angeles and Ventura counties’ coastal and valley regions could receive roughly half an inch to an inch more rain, with mountain areas getting one to two additional inches Sunday, officials said. The next two days will be lighter, said Robbie Munroe, a meteorologist at the weather service office in Oxnard.
Rains in Southern California have broken records this season, with some areas approaching average rain totals for an entire season. As of Sunday morning, the region had seen nearly 14 inches of rain since Oct. 1, more than three times the average of 4 inches for this time of year. An average rain season, which goes from July 1 to June 30, is 14.25 inches, officials said.
“There’s the potential that we’ll already meet our average rainfall for the entire 12-month period by later today if we end up getting half an inch or more of rain,” Munroe added.
The wet weather prompted multiple road closures over the weekend, including a 3.6-mile stretch of Topanga Canyon Boulevard between Pacific Coast Highway and Grand View Drive as well as State Route 33 between Fairview Road and Lockwood Valley Road in the Los Padres National Forest. The California Department of Transportation also closed all lanes along State Route 2 from 3.3 miles east of Newcomb’s Ranch to State Route 138 in Angeles National Forest.
Los Angeles County Department of Public Health officials say beachgoers should stay out of the water to avoid the higher bacteria levels brought on by rain.
After storms, especially near discharging storm drains, creeks and rivers, the water can be contaminated with E. coli, trash, chemicals and other public health hazards.
The advisory, which will be in effect until at least 4 p.m. Monday, could be extended if the rain continues.
In Ventura County on Sunday, the 101 Freeway was reopened after lanes were closed due to flooding Saturday. But there was at least one spinout as well as a vehicle stuck in mud on the highway Sunday, according to the National Weather Service. The freeway was also closed Saturday in Santa Barbara County in both directions near Goleta due to debris flows but reopened Sunday, according to Caltrans.
Santa Barbara Airport reopened and all commercial flights and fixed-wing aircraft were cleared for normal operations Sunday morning. The airport had shut down and grounded all flights Saturday due to flooded runways.
In Orange County early Sunday afternoon, firefighters rescued a man clinging to a section of a tunnel in cold, fast-moving water in a storm channel at Bolsa Avenue and Goldenwest Street in Westminster, according to fire officials.
A swift-water rescue team deployed a helicopter, lowered inflated firehoses and positioned an aerial ladder to allow responders to secure the man and bring him to safety before transporting him to a hospital for evaluation.
Heavy rains continued to batter Southern California mountain areas. Wrightwood in San Bernardino County — slammed recently with mud and debris — was closed Sunday except to residents as heavy equipment was brought in to clear mud and debris from roadways, the news-gathering organization OnScene reported.
After canceling live racing on New Year’s Eve and New Year’s Day due to heavy showers, Santa Anita Park also called off events Saturday and Sunday.
After several atmospheric river systems have come through, familiar conditions are set to return to the region later this week.
“We’ll get a good break from the rain and it’ll let things dry out a little bit, and we may even be looking at Santa Ana conditions as we head into next weekend,” Munroe said. The weather will likely be “mostly sunny” and breezy in the valleys and mountains.
Lifestyle
‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour
Millie Bobby Brown in the final season of Stranger Things.
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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?
To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.
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