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
‘How to Rule the World’ explores education and power at Stanford University
Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.
Ben Margot/AP
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Ben Margot/AP
When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.
Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.
Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.
He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.
In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.
We reached out to Stanford University for comment and have not heard back.
Listen to the interview by clicking play on the blue box above.
Lifestyle
OTB Takes Full Control of Viktor & Rolf
Lifestyle
How having zero points in tennis — or ‘love’ — came to sound so sweet
The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.
Kirsty Wigglesworth/AP
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Kirsty Wigglesworth/AP
Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.
As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.
“Love” comes from the heart — or an egg?
It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.
“By and large, the original system has held up almost entirely,” Flink said.
The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.
Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.
The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.
It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.
“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.
To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.
But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.
“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.
“Love” probably isn’t going anywhere
Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.
“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”
There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.
But “love” still prevails.
“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”
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