The Well-Tempered Ear
Classical music: When you need a quick shot of music, go to “60 Seconds of Classical” on Instagram, Facebook and YouTube
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By Jacob Stockinger
Sometimes a minute is all the time you have.
Or all you want or need.
But a quick moment of classical music can still provide the perfect mini-break or pick-me-up or shot-in-the-arm.
Kind of like those Daily Affirmations some people use.
Thanks to gentle nudging by a friend, The Ear has discovered just how to get that mini-fix of music.
It is a site on the social media site Instagram (below).
And the site is called 60secondsofclassical (below), which you can also find in somewhat different formats on Facebook and YouTube
It has terrific diversity and variety, top-quality performers, great music and excellent editing.
It is, in short, a lot of fun.
Almost like a game.
You can subscribe to it and also let the site know what entries you really like or even love.
Don’t read the caption at first.
See if you can identify the performer.
See if you can identify the composer.
See if you can identify the piece.
And see if you know what comes before and after the one-minute snippet.
Anyway there is a full menu of great music, great performers and great performances.
So take a minute — or two or three — and try it.
Check it out.
Then let us know what you think.
The Ear wants to hear.
Tags: 60 seconds of classical, 60secondsofclassical, affirmation, Arts, Bach, Baroque, Baroque music, Beethoven, brass, caption, Cello, Chamber music, choral music, Classical music, Compact Disc, composer, concerto, conductor, daily, daily affirmation, diversity, Early music, Facebook, fix, format, Franz Schubert, game, George Frideric Handel, great, Instagram, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, like, Love, Ludwig van Beethoven, Madison, mini, minute, Mozart, Music, need, opera, Orchestra, People, percussion, performance, performer, Piano, piece, snippet, social media, Sonata, strings, symphony, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, use, variety, Viola, Violin, vocal music, want, winds, Wisconsin, Wolfgang Amadeus Mozart, woodwinds, YouTube
Classical music: Voces Aestatis — Summer Voices — will perform early and Baroque vocal music this Friday night
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By Jacob Stockinger
The Ear has received the following information to post from Ben Luedcke, the artistic director of the choral group Voces Aestatis (Summer Voices, below).
Luedcke writes:
Voces Aestatis (Summer Voices) will present its third annual summer concert this Friday night, Aug. 25, at 7:30 p.m. at Saint Andrew’s Episcopal Church (below top and below bottom), 1833 Regent Street in Madison.
Tickets are $20 and available at the door. (Cash and check only; sorry, no credit or debit card sales.)
Artistic Director Ben Luedcke (below) and Assistant Director Ena Foshay have carefully selected singers with a pure blend to perform in this intimate concert venue.
Voces Aestatis is Madison’s only professional choir that specializes in early music.
The group will maintain its tradition of favoring a cappella repertoire of the 16th century, but new this year will be a collaboration with Saint Andrew Episcopal’s music director, Ken Stancer (below).
Stancer will accompany the choir on organ in four 17th-century pieces, including works by Heinrich Schütz, Giovanni Gabrieli, Henry Purcell and Marc-Antione Charpentier.
While the Purcell is the familiar, powerful and climactic “Hear My Prayer,” Gabrieli’s “O Jesu mi dulcissime” and Charpentier’s “Te Deum,” H.147, are rarely performed and are not to be missed.
The Gabrieli setting is for double-choir. But rather than two equal choirs, there are separate low-voice and high-voice choirs that provide a unique and sonorous texture of men and women. Additionally, the Charpentier is full of variety, including solos and quartets within the larger 10-minute piece.
Other a cappella works round out the program, including music by Tomás Luis de Victoria and William Byrd (below).
Most noteworthy will be the group’s fresh look at the double-choir motet “Super flumina babylonis,” by Phillipe de Monte (below). Although the work is typically performed rather slowly and lamentingly, the group will bring a decisively different interpretation with a quicker tempo and active articulations. (You can hear a traditional performance in the YouTube video at the bottom.)
Also of note on the first half are pieces by Giovanni Pierluigi da Palestrina (below top) and Orlando di Lasso (below bottom), with texts from the “Song of Solomon” — a collection of bible passages that allege to describe the love between Christ and the Church, though they are in fact favorites of choral composers as they are known for their rather erotic descriptive passages.
Finally, Jacob Obrecht’s “Salve Regina” for six voices is likely to stun listeners not only for its beauty, but also because it was written almost 100 years earlier than anything else on the program.
It features a noticeably different and almost austere harmonic palette with overlapping thick textures, as well as many complicated rhythms and chants in between major sections.
Please visit VocesAestatis.org for more information or to support the organization. The group relies on individual donations, so we thank you in advance for supporting the arts in Madison.
Tags: "Song of Solomon", a cappella, articulation, Artistic director, Arts, assistant, Baroque, Ben Luedcke, Bible, blend, Byrd, chant, Charpentier, Choir, choral, choral music, chorus, Christ, church, Classical music, collaboration, collection, composer, Concert, description, descriptive, donation, Early music, Ena Foshay, Episcopal, erotic, familiar, Friday, Gabrieli, harmony, Heinrich Schütz, interpretation, intimate, Jacob Obrecht, Jacob Stockinger, Jesu, Ken Stancer, lament, Lasso, Love, Madison, men, motet, Music, Music director, night, organ, organization, Orlando di Lasso, Palestrina, passage, performance, Philippe de Monte, powerful, prayer, professional, Purcell, Quartet, repertoire, rhythm, singer, solo, Solomon, song, sonorous, St. Andrew, summer, support, Te Deum, Tempo, text, texture, Tomas Luis de Victoria, tradition, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, variety, venue, vocal music, Voces Aestatis, voice, voices, Wisconsin, women, YouTube
Classical music: Listen to live “eclipse music” during today’s solar eclipse
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By Jacob Stockinger
Today is the day a lot of people have been waiting for for a long time.
The United States will experience a solar eclipse (below).
By now you’ve heard enough about not looking directly at the sun because of the severe damage you risk doing to your eyes.
But indirectly you can watch and also hear it unfold from about 11:15 a.m. CDT for three hours. And you can see it and hear about through any number of media, including television, radio and the Internet. Just Google it and take your choice.
What you may not know is that the entire eclipse in the U.S, will be accompanied by the famed and always adventurous Kronos Quartet (below top) playing an ingenious score – which uses the energy from the sun during the eclipse to create notes — written especially for this occasion by the contemporary San Francisco composer Wayne Grim (below bottom) especially for this occasion.
You can hear a sample of Grim’s music for another scientific project at the Exploratorium in the YouTube video at the bottom.
Here are links to the stories on National Public Radio (NPR) and the web, which feature a link to the live-streamed performance from the Exploratorium in San Francisco:
https://www.space.com/37845-kronos-quartet-serenades-total-solar-eclipse.html
And for good measure, here is a link to a story about the first photograph ever taken of a solar eclipse – the one that appears above. The daguerreotype dates from July 28, 1851 and was taken by Johann Julius Friedrich Berkowski.
https://www.forbes.com/sites/kionasmith/2017/08/20/behold-the-first-photograph-of-a-solar-eclipse/
Tags: airship, America, Arts, Berkowski, Cello, Chamber music, Classical music, contemporary music, create, Creation, daguerrotype, damage, day, eclipse, energy, Exploratorium, eye, eyes, float, Google, Internet, Jacob Stockinger, Kronos Quartet, live-stream, Madison, NASA, National Public Radio, note, notes, NPR, photograph, Radio, San Francisco, science, scientific, score, solar, solar eclipse, String quartet, sun, Television, time, today, TV, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, wait, Wayne Grim, Wisconsin, Zeppelin
Classical music: What classical music do you find necessary and why?
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By Jacob Stockinger
The Ear has heard many themes for concerts and festivals.
But he really, really likes the title of this year’s Token Creek Chamber Music Festival (below, inside the refurbished barn that serves as a concert hall).
It runs from Aug. 26 through Sept. 3.
Here is a link to complete details about the performers, the three programs and the five concerts that focus especially on the music of Johann Sebastian Bach and Franz Schubert, Maurice Ravel and Robert Schumann:
The theme or concept is NECESSARY MUSIC.
Of course, as the festival press release says, the Token Creek organizers recognize that the whole idea is subjective, so they refuse to be prescriptive:
“In what way, and for whom is a certain kind of music necessary?
“Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.
“So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.”
The Ear likes that concept.
And he thinks it applies to all of us.
So today he wants to know: What music is NECESSARY FOR YOU and WHAT MAKES IT NECESSARY
Of course, the idea of necessary music changes over time and in different circumstances.
Do you need relief from the anxiety of political news?
Are you celebrating a happy event?
Are you recovering from some kind of personal sadness or misfortune?
But right now, what piece or pieces of music – or even what composer – do you find necessary and why?
In the COMMENT section, please tell us what it is and what makes it necessary?
And please include a link to a YouTube video performance, if possible.
The Ear wants to hear.
Tags: anxiety, Arts, Bach, Baroque, Beethoven, Cello, Chamber music, chance, choral music, circumstances, Classical music, concept, Concert, Early music, event, festival, Franz Schubert, George Crumb, George Frideric Handel, happy', idea, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, listener, Ludwig van Beethoven, Madison, misfortune, Mozart, Music, necessary, occasion, opera, Orchestra, performance, personal, Piano, pieces, political, Politics, prescriptive, presenter, program, Ravel, sadness, Schumann, Sonata, soul, subjective, symphony, theme, time, Token Creek Chamber Music Festival, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, Viola, Violin, vocal music, Wisconsin, Wolfgang Amadeus Mozart, YouTube
Classical music: The Madison Symphony Orchestra presents another FREE Farmer’s Market Organ Recital this Saturday at 11 a.m.
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By Jacob Stockinger
This Saturday at 11 a.m. in Overture Hall of the Overture Center, the Madison Symphony Orchestra will offer another FREE Farmer’s Market Organ Recital.
The concert will last 45 minutes. No tickets or reservations are required. All ages are welcome to attend.
The organist this time is the prize-winning Simone Gheller.
Gheller (below) is an international organist from Padua, Italy. He has played concerts in prestigious locations in Italy, France, Germany, Austria, Brazil, and America among others. Gheller studied at Oberlin College in Ohio with Professor James David Christie and Olivier Latry, and currently serves as the Music Director and Organist at St. Jerome Catholic Church in Oconomowoc.
Gheller’s program will feature works by Liszt, Bossi, Thalben-Ball, Buck and Creston. Sorry, no word about specific works on the program. (You can hear Gheller playing a dramatic and animated work by Liszt in the YouTube video at the bottom.)
For more information about the performer, go to:
http://www.simonegheller.it/en/biography.html
For more information about the Farmer’s Market Organ Recitals, go to:
https://www.madisonsymphony.org/farmer
Tags: America, animated, Austria, Bossi, Brazil, Buck, Catholic, church, Classical music, Dane County Farmers' Market, drama, dramatic, Farmer's Market, France, George Thalben-Ball, Germany, international, Italy, Jacob Stockinger, Liszt, Madison, Madison Symphony Orchestra, Music, Oberlin College, Oconomowoc, organ, Paul Creston, recital, Roman Catholic, Simone Gheller, St. Jerome, study, United States, University of Wisconsin-Madison School of Music, Wisconsin, YouTube
Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3
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By Jacob Stockinger
The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:
TOKEN CREEK, WIS. – In what way, and for whom, is a certain kind of music necessary?
Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.
So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.
Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo
Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.
We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.
Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.
Works:
BACH Sonata in E minor for violin and continuo, BWV 1023
HAYDN Trio in F major for flute, cello and piano XV:17
BACH Two Fugues, from The Art of Fugue, BWV 1080
HARBISON Mark the Date, for flute and piano (pre-premiere)
BACH Sonata in G major for violin and continuo, BWV 1021
BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079
BACH Sonata in C minor, from The Musical Offering, BWV 1079
Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert
A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).
In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).
Works:
SCHUBERT Andante, from Sonata in C for Piano Four Hands (“Grand Duo”), D.812
SCHUBERT Moments Musicaux, D.780
SCHUBERT Schwanengesang, D.957
Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz
This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.
We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)
We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).
Works:
FRITZ KREISLER Three Old Viennese Melodies for Violin and Piano
DONALD SUR Berceuse for Violin and Piano
SCHUBERT Waltz Sequence
RAVEL Valses nobles et sentimentales
GEORGE CRUMB Sonata for Solo Cello
SCHUMANN Quartet in E-flat for Piano and Strings, Op. 47
The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.
Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.
The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.
Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.
The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.
Concert tickets are $32 (students $12). Reservations can be secured in several ways:
- Online: https://www.eventbrite.com/e/token-creek-chamber-music-festival-2017-necessary-music-tickets-36091343179
- Website: www.tokencreekfestival.org (a link to our online ticketing, or a printable order form)
- Phone: 608-241-2525 (voicemail only, please leave a message)
- Email: info@tokencreekfestival.org
- U.S. mail: P.O. Box 5201, Madison WI, 53705
More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.
Tags: Art of Fugue, Arts, authority, Bach, barn, Baroque, Berceuse, Cello, Chamber music, chance, Charles Blandy, Classical music, composer, continuo, cornfield, coutnerpoint, Dawn Lawler, Die Schoene Muellerin, Donald Sur, enchanting, encounters, farm, Faure, Faure Quartet, flute, Franz Schubert, fresh, Fritz Kreisler, fugue, George Crumb, Haydn, inquiry', insight, integrity, interpretation, intimate, Jacob Stockinger, Johann Sebastian Bach, John Harbison, Kreisler, Kyle Price, late, lifetime, Linda Osborn, lullaby, Madison, masterwork, melody, Menghini, Moments Musicaux, Music, musical, musical offering, need, new, nuance, offering, originality, Piano, Piano Quartet, polyphony, prescription, program, Ravel, reservations, ricercar, rustic, Schumann, Schwanengesang, Season, sequel, shading, small, solo, Sonata, summer, Sun Prairie, Sur, Swan Song, tenor, ticket, Token Creek, Token Creek Chamber Music Festival, trio, Trout, Trout Quintet, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Valses nobles et sentimentales, video, Vienna, Viennese, Viola, Violin, voice, Waltz, Wisconsin, Ya-Fei Chuang, YouTube
Classical music: Explore how modern and contemporary piano music uses bird songs
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By Jacob Stockinger
Kyle Johnson (below, in a photo by Peter Jakubowski), a talented pianist who is studying at the UW-Madison and who has contributed reviews to this blog, sends the following information:
Hi all,
You’re receiving this email because you collaborated with me on my ongoing Messiaen podcast production, helped me in a small way, are on my doctoral committee, or are simply someone whom I’ve told about the project in recent weeks.
I’ve great news: Edge Effects, a magazine out of the Center for Culture, History and Environment (within UW’s Nelson Institute) picked up knowledge of the project and decided to feature it!
The feature is a full-length preview episode of the podcast series, specifically created for Edge Effects. That episode is currently available for streaming or download HERE.
I hope everyone can get a chance to listen to it and enter the world of birdsong (below), contemporary piano repertoire, composition, ornithology and performing. (You can hear Messiaen’s use of birdsong in the YouTube video at the bottom.)
Podcasting, itself, is a great, relatively new medium for education, storytelling, and informing — all attributes I hope you’ll take away after hearing it.
Happy listening,
Kyle
Kyle D. Johnson, Mead Witter School of Music
Dissertator, Doctor of Musical Arts
Tags: Arts, bird, birdsong, blog, Center for Culture, Classical music, committee, critic, dissertation, DMA, Doctor of Musical Arts, doctorate, Edge Effects, Education, email, episode, Gaylord Nelson, History and Environment, Jacob Stockinger, Kyle Johnson, listen, listening, Madison, magazine, medium, Messian, Nelson Institute, ornithology, PhD, photo, Piano, podcast, preview, project, review, series, singing bird, storytelling, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Wisconsin, YouTube
Classical music: Single tickets for the Madison Symphony Orchestra’s new season are now on sale
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By Jacob Stockinger
Just a quick reminder today: Single tickets for the new 2017-18 season of the Madison Symphony Orchestra (below), under music director John DeMain, are now on sale.
And there are some good deals.
Here are two links to information about the programs and guest artists for the new season, including an interview with John DeMain that John W. Barker did for this blog:
https://www.madisonsymphony.org/17-18
And here are two links to information about single ticket sales.
https://www.madisonsymphony.org/singletickets
http://www.overture.org/events/madison-symphony-orchestra
While you’re at it, what do you think of the new MSO season?
What do you like and what don’t you like?
The Ear wants to hear.
Tags: Arts, Bach, Barber, Baroque, Beethoven, Cello, Chamber music, choral music, Classical music, Jacob Stockinger, John DeMain, John W. Barker, Madison, Madison Symphony Orchestra, Music, Olga Kern, Orchestra, Overture Center, sale, Season, symphony, tickets, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Wisconsin
Classical music: The Ear listens with eyes open and finds interesting photos at concerts
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By Jacob Stockinger
It was the famous 20th-century composer and pioneering modernist Igor Stravinsky (below) who advised us to listen to music with our eyes open.
For one, it fosters our appreciation of the sheer physicality of making music. Musicians are, as the pianist Vladimir Horowitz once observed, athletes of the small muscles.
If you listen with your eyes open you can see a lot of things.
You can see how musicians give each other cues.
You can see the expression on their faces, the joy and pleasure that making music gives them.
You can observe how different members of the audience react differently to different music.
You can appreciate the many kinds of instruments with the eye-catching shapes, sizes and colors.
And you can see patterns that make for good photographs – if taking photos is allowed.
Of course even if it is, there are rules to follow so that the musicians and other audience members are not disturbed: no flash and no shutter sound are the main ones besides the rule of intellectual property and the forbidding of taking photographs – kind of a difficult one to enforce these days, what with all the smart phones out there.
But some musicians and groups are very friendly and open to photographing, especially if the photos are strictly personal and not for commercial use to earn a profit.
At the last regular concert this summer by the Willy Street Chamber players a little over two weeks ago, The Ear found two that showed patterns for good composition.
It’s just fun. But productive fun that can capture the fascination with music and musicians, especially if you sit close to the performers.
Here they are.
First is “Three Clarinets,” a portrait of guest artist Michael Maccaferri, from the Grammy-winning chamber music group eighth blackbird, with the three clarinets he used in the Argentinian-Jewish composer Osvaldo Golijov’s “The Dreams and Prayers of Isaac the Blind.” The black verticality of the clarinets is heightened by the same quality of the music stands.
The second is “Two Cellos and One Violin,” taken during the bows after the string sextet version of Mozart’s “Sinfonia Concertante.” The shapes and shades of brown wood draw the eye.
Tell The Ear of you like this kind of photo essay and want to see more of them on the blog.
The Ear wants to hear.
Tags: Argentinian, Arts, athlete, audience, blind, brown, Business, Cello, Chamber music, Classical music, color, commercial, composer, Composition, concerto, cue, different, dream, Dreams and Prayers of Isaac the Blind, eighth blackbird, essay, expression, face, flash, Grammy, instruments, intellectual property, Jacob Stockinger, Jew, Jewish, Madison, Michael Maccaferri, modern, modernism, Mozart, muscle, Music, musicians, Osvaldo Golijov, pattern, photo, photography, Piano, pioneer, prayer, profit, reaction, shade, shape, shutter, Sinfonia Concertante, smart phone, Sound, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, verticality, Viola, Violin, Vladimir Horowitz, Willy Street Chamber Players, Wisconsin, Wolfgang Amadeus Mozart, wood, YouTube
Classical music: Why do we love Chopin? Ask pianist Jeremy Denk
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By Jacob Stockinger
I can’t think of anyone who doesn’t like playing or hearing the music of Chopin (below).
Can you?
But just why the 19th-century Romantic composer has such universal appeal is hard to explain.
One of the best explanations The Ear has read came recently from pianist Jeremy Denk, whose essay on “Chopin as a cat” appeared in The New York Times.
Denk, who has performed two outstanding solo recitals in Madison, is clearly an important musical thinker as well as a great performer. You can also see that at once if you read his excellent blog “Think Denk.”
The Ear suspects the current essay grew out of some remarks that Denk gave during a lecture on Chopin’s pedaling at the UW-Madison, and will be incorporated into the book he is working on that includes his previous acclaimed essays in The New Yorker magazine.
Denk (below), who has lately been performing an intriguing survey concert that covers 600 years of music, thinks that Chopin’s uniqueness resides in how he consolidated and fused both conservative values and radical, even modern, innovations.
To the Ear, it is the best modern analysis of Chopin that he has read since the major treatment that the acclaimed pianist-musicologist Charles Rosen wrote about the Polish “poet of the piano” in his terrific book “The Romantic Generation.”
Moreover, the online web version of Denk’s essay is much more substantial and satisfying than the newspaper print edition. It has not only audio-visual performances of important Chopin works by major artists such as Arthur Rubinstein and Krystian Zimerman, it also suggests, analyzes and praises some “old-fashioned” historical recordings of Chopin by Ignaz Friedman, Alfred Cortot and Josef Hoffmann.
Now if only Jeremy Denk would record an album of Chopin himself!
Here is a link to the Chopin essay:
https://www.nytimes.com/2017/08/04/arts/music/jeremy-denk-chopin.html
Enjoy!
Please listen to the wonderful clips that Denk suggests.
Then tell us what pieces are your favorite Chopin works, big or small, and what performers are your favorite Chopin interpreters.
The Ear wants to hear.
Tags: Alfred Cortot, analysis, Arthur Rubinstein, Arts, Bach, Ballade, barcarolle, Baroque, Beethoven, big, blog, cat, Chamber music, Charles Rosen, Chopin, Classical music, Compact Disc, composer, conservative, consolidate, essay, explanation, feline, Franz Schubert, fuse, harmony, hear, historic, Ignaz Friedman, important, innovation, interpreter, Jacob Stockinger, Jeremy Denk, Johannes Brahms, Josef Hofmann, Krystian Zimerman, lecture, Love, magazine, major, Martha Argerich, melody, modern, Music, musicologist, New York Times, Newspaper, online, pedal, pedaling, Piano, play, poet, Polish, Prelude, print, radical, read, record, recording, Romantic, small, SoundCloud, survey, The New York Times, The New Yorker, think, Think Denk, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, values, web, Wisconsin, Wisconsin Union Theater, Wolfgang Amadeus Mozart, YouTube
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