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Lucas & Arthur Jussen release 'little diamonds' EP of lesser-known piano duets

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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.

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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.”

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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.

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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.

Dutch brothers Lucas, left, and Arthur, right, Jussen have performed together as a piano duet since they were young children.

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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.

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“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.

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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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.”

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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.

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

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After years of avoiding the ER, Noah Wyle feels ‘right at home’ in ‘The Pitt’

Wyle, who spent 11 seasons on ER, returns to the hospital in The Pitt. Now in Season 2, the HBO series has earned praise for its depiction of the medical field. Originally broadcast April 21, 2025.

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

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Doctors says ‘The Pitt’ reflects the gritty realities of medicine today

From left: Noah Wyle plays Dr. Michael “Robby” Robinavitch, the senior attending physician, and Fiona Dourif plays Dr. Cassie McKay, a third-year resident, in a fictional Pittsburgh emergency department in the HBO Max series The Pitt.

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The first five minutes of the new season of The Pitt instantly capture the state of medicine in the mid-2020s: a hectic emergency department waiting room; a sign warning that aggressive behavior will not be tolerated; a memorial plaque for victims of a mass shooting; and a patient with large Ziploc bags filled to the brink with various supplements and homeopathic remedies.

Scenes from the new installment feel almost too recognizable to many doctors.

The return of the critically acclaimed medical drama streaming on HBO Max offers viewers a surprisingly realistic view of how doctors practice medicine in an age of political division, institutional mistrust and the corporatization of health care.

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Each season covers one day in the kinetic, understaffed emergency department of a fictional Pittsburgh hospital, with each episode spanning a single hour of a 15-hour shift. That means there’s no time for romantic plots or far-fetched storylines that typically dominate medical dramas.

Instead, the fast-paced show takes viewers into the real world of the ER, complete with a firehose of medical jargon and the day-to-day struggles of those on the frontlines of the American health care system. It’s a microcosm of medicine — and of a fragmented United States.

Many doctors and health professionals praised season one of the series, and ER docs even invited the show’s star Noah Wyle to their annual conference in September.

So what do doctors think of the new season? As a medical student myself, I appreciated the dig at the “July effect” — the long-held belief that the quality of care decreases in July when newbie doctors start residency — rebranded “first week in July syndrome” by one of the characters.

That insider wink sets the tone for a season that Dr. Alok Patel, a pediatrician at Stanford Medicine Children’s Health, says is on point. Patel, who co-hosts the show’s companion podcast, watched the first nine episodes of the new installment and spoke to NPR about his first impressions.

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To me, as a medical student, the first few scenes of the new season are pretty striking, and they resemble what modern-day emergency medicine looks and sounds like. From your point of view, how accurate is it?

I’ll say off the bat, when it comes to capturing the full essence of practicing health care — the highs, the lows and the frustrations — The Pitt is by far the most medically accurate show that I think has ever been created. And I’m not the only one to share that opinion. I hear that a lot from my colleagues.

OK, but is every shift really that chaotic?

I mean, obviously, it’s television. And I know a lot of ER doctors who watch the show and are like, “Hey, it’s really good, but not every shift is that crazy.” I’m like, “Come on, relax. It’s TV. You’ve got to take a little bit of liberties.”

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As in its last season, The Pitt sheds light on the real — sometimes boring — bureaucratic burdens doctors deal with that often get in the way of good medicine. How does that resonate with real doctors?

There are so many topics that affect patient care that are not glorified. And so The Pitt did this really artful job of inserting these topics with the right characters and the right relatable scenarios. I don’t want to give anything away, but there’s a pretty relatable issue in season two with medical bills.

Right. Insurance seems to take center stage at times this season — almost as a character itself — which seems apt for this moment when many Americans are facing a sharp rise in costs. But these mundane — yet heartbreaking — moments don’t usually make their way into medical dramas, right?

I guarantee when people see this, they’re going to nod their head because they know someone who has been affected by a huge hospital bill.

If you’re going to tell a story about an emergency department that is being led by these compassionate health care workers doing everything they can for patients, you’ve got to make sure you insert all of health care into it.

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As the characters juggle multiple patients each hour, a familiar motif returns: medical providers grappling with some heavy burdens outside of work.

Yeah, the reality is that if you’re working a busy shift and you have things happening in your personal life, the line between personal life and professional life gets blurred and people have moments.

The Pitt highlights that and it shows that doctors are real people. Nurses are actual human beings. And sometimes things happen, and it spills out into the workplace. It’s time we take a step back and not only recognize it, but also appreciate what people are dealing with.

2025 was another tough year for doctors. Many had to continue to battle misinformation while simultaneously practicing medicine. How does medical misinformation fit into season two?

I wouldn’t say it’s just mistrust of medicine. I mean that theme definitely shows up in The Pitt, but people are also just confused. They don’t know where to get their information from. They don’t know who to trust. They don’t know what the right decision is.

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There’s one specific scene in season two that, again, no spoilers here, but involves somebody getting their information from social media. And that again is a very real theme.

In recent years, physical and verbal abuse of healthcare workers has risen, fueling mental health struggles among providers. The Pitt was praised for diving into this reality. Does it return this season?

The new season of The Pitt still has some of that tension between patients and health care professionals — and sometimes it’s completely projected or misdirected. People are frustrated, they get pissed off when they can’t see a doctor in time and they may act out.

The characters who get physically attacked in The Pitt just brush it off. That whole concept of having to suppress this aggression and then the frustration that there’s not enough protection for health care workers, that’s a very real issue.

A new attending physician, Dr. Baran Al-Hashimi, joins the cast this season. Sepideh Moafi plays her, and she works closely with the veteran attending physician, Dr. Michael “Robby” Robinavitch, played by Noah Wyle. What are your — and Robby’s — first impressions of her?

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Right off the bat in the first episode, people get to meet this brilliant firecracker. Dr. Al-Hashimi, versus Dr. Robby, almost represents two generations of attending physicians. They’re almost on two sides of this coin, and there’s a little bit of clashing.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

Sepideh Moafi, fourth from left, as Dr. Baran Al-Hashimi, the new attending physician, huddles with her team around a patient in a fictional Pittsburgh teaching hospital in the HBO Max series The Pitt.

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Part of that clash is her clear-eyed take on artificial intelligence and its role in medicine. And she thinks AI can help doctors document what’s happening with patients — also called charting — right?

Yep, Dr. Al-Hashimi is an advocate for AI tools in the ER because, I swear to God, they make health care workers’ lives more efficient. They make things such as charting faster, which is a theme that shows up in season two.

But then Dr. Robby gives a very interesting rebuttal to the widespread use of AI. The worry is that if we put AI tools everywhere, then all of a sudden, the financial arm of health care would say, “Cool, now you can double how many patients you see. We will not give you any more resources, but with these AI tools, you can generate more money for the system.”

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The new installment also continues to touch on the growing corporatization of medicine. In season one we saw how Dr. Robby and his staff were being pushed to see more patients.

Yes, it really helps the audience understand the kind of stressors that people are dealing with while they’re just trying to take care of patients.

In the first season, when Dr. Robby kind of had that back and forth with the hospital administrator, doctors were immediately won over because that is such a big point of frustration — such a massive barrier.

There are so many more themes explored this season. What else should viewers look forward to?

I’m really excited for viewers to dive into the character development. It’s so reflective of how it really goes in residency. So much happens between your first year and second year of residency — not only in terms of your medical skill, but also in terms of your development as a person.

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I think what’s also really fascinating is that The Pitt has life lessons buried in every episode. Sometimes you catch it immediately, sometimes it’s at the end, sometimes you catch it when you watch it again.

But it represents so much of humanity because humanity doesn’t get put on hold when you get sick — you just go to the hospital with your full self. And so every episode — every patient scenario — there is a lesson to learn.

Michal Ruprecht is a Stanford Global Health Media Fellow and a fourth-year medical student.

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