By Jacob Stockinger
British violinist Daniel Hope (below) is a man on a mission.
Hope wants to foster the public’s appreciation of the composers who had to flee from Nazi Europe during World War II and who ended up exiled in Hollywood, where they composed film scores. They ended up creating the “Hollywood sound” and often won Oscars or Academy Awards, but recognition as serious concert composers usually eluded them.
Performances are in Overture Hall on Friday night at 7:30 p.m.; Saturday at 8 p.m.; and Sunday afternoon at 2:30 p.m.
The program for “Composers in Exile: Creating the Hollywood Sound” includes the Violin Concerto and Suite from “Captain Blood” by Erich Wolfgang Korngold; the Sinfonietta for Strings and Tympani, and the score to “Taras Bulba” by Franz Waxman, who also founded the Los Angeles Music Festival in 1947; and the “Theme, Variations and Finale” as well as “The Parade of the Charioteers” and the “Love Theme” from “Ben-Hur” and the “Love Theme” from Alfred Hitchcock’s “Spellbound” by Miklos Rozsa.
Tickets are $16-$84 plus fees for the Overture Center.
For program, information about tickets and links to audio samples, visit: http://madisonsymphony.org/hope
For more about the music, here are the program notes by MSO trombonist Michael Allsen who also teaches at the UW-Whitewater:
The award-winning Daniel Hope, who is busy touring and recording, graciously took time to answer a Q&A for The Ear:
How would you compare in seriousness and quality these “exiled in Hollywood” composers and their music to other well-known 20th-century composers and mainstream modern classical music?
I don’t make comparisons in music. The composers who escaped the Nazis found themselves for the most part in a very different set of circumstances than those for which they were trained. They were incredibly talented and had to adapt quickly.
I think the more interesting question is what would have happened to 20th-century music if countless musicians and composers had not been forced to leave Europe. (Below is a photo of Igor Stravinsky, on the left, and Franz Waxman in Los Angeles, where Waxman founded a music festival in 1947.) The world of music would be a very different place indeed.
Why do you think these composers and this music were kept out of the concert hall for so long? What traits most mark each composer’s style?
In those days, even writing one number for a movie would almost certainly have ruined your reputation as a “serious composer.” It was seen as selling out. The fact that many of these composers were trying to survive, to support their families and to get their relatives out of Europe, was often forgotten — especially after World War II.
But they were also phenomenally talented at what they did. As the son of Miklos Rozsa (below) wrote to me recently, one day these composers may actually be forgiven for writing film music.
In the case of Korngold (below), he was one of the first to really introduce a leitmotif, a recurring theme that followed the character throughout the film. Essentially an operatic composer, Korngold described each film for which he scored as “an opera without singing,” his music no longer passively accompanying the images but actively engaging in dialogue, emotion and presentation. I believe both Korngold and Max Steiner totally changed American film music, also by adding a fin-de-siècle European symphonic grandeur.
How much of their current appeal is cultural interest, human interest or personal stories, or the quality of the music itself?
I think it’s all of the above. But if you look at the symphonic works of some of the composers, Korngold’s and Rosza’s Violin Concertos or Waxman’s oratorio “The Song of Terezin,” you will find music of the highest quality. And let’s not forget, it was Mahler and Richard Strauss who forecast a great future for the young Korngold. (You can hear the lovely second movement of Korngold’s Violin Concerto performed by Hilary Hahn in a popular YouTube video at the bottom.)
What factors explain their revival as concert music? How did you rediscover them and become interested in them? Has a loosening of formal definitions of classical genres helped their revival?
I think both the role and the appeal of film music have changed in today’s society. I had long been aware of this group of émigré musicians.
Next to music, I’ve always had a passion for film, most of all for the movies of “vintage Hollywood,” for me the period beginning with the epic cinematic storytelling of the 1930s. As a young violinist, I was struck as much by the sound of the violin in these movies of the ’30s, ’40s and ’50s. I especially took note of the violinists playing this glorious mood music. To a young boy in London, names like Toscha Seidel, Felix Slatkin, Eudice Shapiro and Louis Kaufman sounded as exotic as the films they embellished.
But then writing for the studio musicians of prewar and postwar Hollywood was a group of astonishing composers, many of whom had escaped the Nazis, and who helped shape what was to become the Hollywood Sound. (Below, y0u can hear excerpts from a sampler from the Deutsche Grammophon CD on which Daniel Hope explores the Hollywood Sound.)
You have recorded this music and performed it many times elsewhere. How do audiences typically respond to it?
Audiences are generally extremely enthusiastic about the music. And many of them are moved or intrigued by the stories of these composers.
By Jacob Stockinger
For tenors, High C’s are the brass ring on the carousel of opera.
The late great Italian tenor Luciano Pavarotti and the very busy Peruvian tenor Juan Diego Florez both earned fame and fortune with their singing of the astonishing nine high C’s in Gaetano Donizetti’s bel canto opera “La Fille du Regiment.”
In fact, Florez repeated the same nine high C’s as an encore and it brought down the house.
But it seems there may be another King of the High C’s in the making.
He is a native of New Orleans (isn’t that fitting?) and he is America tenor Bryan Hymel (below, in a photo by Dario Acosta for Warner Classics), who was recently featured on the terrific blog “Deceptive Cadence” for NPR (National Public Radio).
You will surely be hearing more about him. The 35-year-old Hymel has already made his debut at the famed Metropolitan Opera, where he has sung in “Les Troyens” by Hector Berlioz — a role he also sang at the Royal Opera House in London. And he will open the Met’s 2018 season in “Samson and Delilah” by Camille Saint-Saens.
Here is a link to that story by Tom Huizenga. It is complete with sound samples from Hymel’s debut album “Héroïque” — in particular the difficult aria “Asile héréditaire” from the opera “William Tell” by Giachino Rossini — and the CD features a total of 19 high C’s. That led Huizenga to proclaim: “This is why we listen to opera!”
The Amazon.com reader reviews of the new all-French album (below, with an audiovisual clip of the behind-the-scenes recording process) not only praise Hymel for his high C’s – and C-sharps and even D’s — but single out the quality of his singing.
You can hear that strong, pitch-accurate and seemingly effortless quality in one of The Ear’s favorite tenor arias: “Nessun dorma” from “Turandot” by Giacomo Puccini, which Hymel signs with the Jerusalem Symphony Orchestra in a YouTube video at the bottom.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The concert by the Middleton Community Orchestra (below) on last Wednesday night at the Middleton Performing Arts Center, at Middleton High School, drew an audience little deterred by snow and slow traffic, and greatly rewarded by the results.
The orchestra appeared this time under a guest conductor, Kyle Knox, who has prior and future connections with it and who is currently both pursuing graduate studies and conducting at the University of Wisconsin-Madison School of Music.
Knox (below) is a musician of very distinct talents: a knowing perspective on the works he conducts, a propensity for well-thought phrasing, and an ability to achieve definite rapport with his players.
Regular MCO conductor Steve Kerr was wise to give Knox an opportunity to hone the podium talents of this very promising conductor, and as a stimulus to this steadily maturing ensemble. (Kerr himself eventually turned up working the bass drum.)
The MCO delights in taking on compositions that are both challenging and quite familiar. In testing themselves thus, the orchestra invites its listeners to measure its progress against the orchestras that have set extremely high performing standards in concerts and recordings. So it is proper that we do just that, especially in the beloved music from the score for the Incidental Music to “A Midsummer Night’s Dream” by Felix Mendelssohn.
The conventional five movements were played. In the fabled Overture, the strings had some struggles with their extremely demanding parts, but generally Knox achieved a well-integrated balancing of the elfin and the eerie.
Perhaps to avoid straining the players too much, Knox set a slightly slow tempo in the fairyland Scherzo, which sagged just a bit, but the Intermezzo was beautifully shaped.
Best was the evocative Nocturne, in which the French horn section demonstrated greatly improved tone and ensemble over recent showings, in a truly beautiful rendition. (You can hear the Nocturne in a YouTube video at the bottom.)
The Wedding March was also marked by a bit of ragged playing, but Knox paced it nicely and integrated it successfully. Overall, they get good marks for showing distinct progress in some very satisfying Mendelssohn.
The novelty of the program was the rarely played Canzonetta for Oboe and Strings by the 20th-century American composer Samuel Barber (below). This was a late work, the only completed movement of what was to be a full-length oboe concerto, and was published posthumously.
It displays the familiar qualities of Barber as the pre-eminent American neo-Romantic, in music that is gentle, gracious and lyrically flowing. But it also highlights another feature of Barber: the composer’s identification with the human voice. A fine singer himself (he was a baritone), Barber was a master of song and vocal music, and the solo oboe part is, to a considerable degree, a kind of song — as the title says, a “canzonetta” or small song.
The oboe soloist, Andy Olson (below), with his own long affiliations with the MCO, clearly recognized this characteristic, and realized it in his beautiful playing.
For the finale, the other super-familiar score, was the dazzling — and very tricky — orchestration by Maurice Ravel of the solo piano suite Pictures at an Exhibition by Russian composer Modest Mussorgsky (below).
At the very outset, in the opening “Promenade,” the brass section displayed a new level of power and ensemble. The saxophone solo in “The Old Castle” was truly compelling. The heavy cartwheels of “Byddlo” were inexorable, and “The Hut on Fowl’s Legs” or “Baba-Yaga” (a sorceress) was truly ferocious.
The triumphant final movement, “The Great Gate of Kiev” was stunning. One feature of old Russian city portals was the inclusion of working chapels. I have never heard the hymn-like quality of the whole piece, with its interludes of liturgical chanting and tolling bells, so successfully evoked.
Overall, this performance was magnificent, and I have never heard this orchestra play so well.
It was a performance full of head and heart, with open-throttle devotion from the players. Knox obviously deserves much credit for this, but the players themselves made it clear that they owed no apologies for the results they could produce. (Below, conductor Kyle Knox singles out the brass for recognition by the audience.)
The MCO has proven itself to be, more than ever, a really extraordinary factor in the Madison area’s musical life. It is a non-, or semi-, or extra-professional ensemble whose music-making is truly inspirational. Its concerts should be supported and enjoyed by all our cultural community.
By Jacob Stockinger
Our friends at the Madison Youth Choirs and the Madison Choral Project sent us the following announcement:
On this Saturday night, Feb. 28, at 7:30 p.m. at the First Congregational United Church of Christ, 1609 University Ave., two generations of Madison’s talented vocalists will come together for an ambitious concert that will bring over 900 years of choral tradition to life.
The two most advanced ensembles of the Madison Youth Choirs — Ragazzi and Cantabile (below), composed of singers ages 15-18 and conducted by Michael Ross — will perform two early music selections: Hildegard von Bingen‘s 12th-century “Sed Diabolus” and Josquin’s 15th-century “Ave Maria.”
The Madison Choral Project, a professional chamber choir directed by Albert Pinsonneault (below), will bring the concert into the 19th and 20th centuries with Gabriel Fauré’s Requiem and James MacMillan‘s “Te Deum.”
Gabriel Faure‘s “Requiem” is gentle, yearning, sublime, and transcendent. We have worked so hard on crafting a fine sound and bringing nuanced phrasing to the fore. We are thrilled to present this work!
James MacMillan’s “Te Deum” is spacious, vibrant, at times meditative and at times intense. This virtuosic work demands the highest possible musicianship with its complex rhythms weaving together to form a larger tapestry of sound.
In the Faure and MacMillan, we join with guest organist Bruce Bengtson, who pulls amazing sounds from the great organ at First Congregational United Church of Christ.
The two choirs will also combine to sing Hans Leo Hassler‘s “Ach weh des Leiden” (you can hear them perform the work in a YouTube video at the bottom) and the American traditional “Down in the River to Pray,” used to memorable effect in the popular Coen brothers‘ film “O Brother, Where Art Thou?“
Tickets $20 in advance at http://themcp.org/tickets/ or $25 at the door
ABOUT THE MADISON CHORAL PROJECT
The Madison Choral Project is Wisconsin’s only professional chamber choir. Our Project is to enrich lives in our community by giving voice to the great music of our diverse world; to express, to inspire, to heal; to garner joy in the experience of live music; and to educate and strengthen the next generation of singers and listeners.
The Madison Choral Project is not just a choir; it’s a movement to improve our human experience through music.
ABOUT THE MADISON YOUTH CHOIRS (MYC)
Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 500 young people, ages 7-18, in 11 single-gender choirs.
The singers explore the history, context and heart of the music, becoming “expert noticers,” using music as a lens to discover the world.
Through a variety of high-quality community outreach programs and performance opportunities, MYC strives to make the benefits of arts participation accessible to all.
For further information: Madison Youth Choirs, see email@example.com, or call (608) 238-7464.
1) The master class by the Takacs String Quartet on Friday from 5 to 7 p.m. has been moved from Room 1341 of the UW-Madison Humanities Building to MOPRHY RECITAL HALL. The string quartet is in town to perform a concert of works by Schubert, Haydn and Beethoven at 8 p.m. on Saturday at the Wisconsin Union Theater.
2) The free Friday Noon Musicale, to be held 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison, 900 University Bay Drive, features soprano Nancy Vedder-Shults and pianist Dan Broner, who is also the FUS music director, in art songs by Franz Schubert, Robert Schumann, Johannes Brahms, Mary Howe and Seymour Barab.
3) The Madison Symphony Orchestra‘s Rhapsodie String Quartet (below, in a photo by Greg Anderson) will perform a concert this Friday night at 7 p.m. in St. Andrew’s Church, 1833 Regent Street, near Randall Elementary school on Madison’s near west side. The program is the Quartet No. 22 in B-flat Major by Wolfgang Amadeus Mozart and the Quartet No. 2 in A Minor by Felix Mendelssohn. Admission is open to the public, with a free-will donation requested.
By Jacob Stockinger
There are two reasons to pay attention to the Wingra Woodwind Quintet, one of the major performing artists ensembles at the University of Wisconsin-Madison School of Music.
The first reason is that this Friday, Feb. 27, at 7:30 p.m. in Morphy Hall, the group will perform a FREE concert. The program is “Tradition and Innovation: Music from the Old Country — Austria, Hungary and Bohemia, 1892-1969.”
Then on Saturday, April 25, from 4 to 6 p.m. at the University Club, the Wingra (below, in a photo by Michael R. Anderson) will celebrate its 50th year as an ensemble. The public is asked to RSVP by April 20 by sending an email to firstname.lastname@example.org
Here is a link to an extensive biography, member list and history of the Wingra Woodwind Quintet, done by Sarah Schaffer at the University of Wisconsin-Madison, along with more details about the 50th anniversary part.
And here is the program for the concert on Friday:
Humoreske (1939) by Alexander Zemlinsky (1871-1942)
Wer hat dies Liedl erdacht? (1892)
Lob des Hohes Vertandes (1896)
Wind Quintet No. 2 (1969) by Frigyes Hidas (1928–2007)
By Jacob Stockinger
Last weekend brought a lot of conflicting classical music concerts to Madison.
The program featured the supremely gifted but much under-publicized pianist Shai Wosner (below, in a photo by Marco Borggreve). He performed two contrasting keyboard concertos by Joseph Haydn — No. 4 in G Major and the better known No. 11 in D Major.
It was simply a sublime use of a modern instrument to make older music that was originally composed for the harpsichord. Never was the witty music by Haydn overpedaled or overly percussive or distorted for virtuosity’s sake. In every way, Wosner served Haydn — not himself.
The concert was also noteworthy because it featured the longtime music director and conductor Andrew Sewell. He led the Wisconsin Chamber Orchestra (below) to shine in an eclectic program that included the Samuel Barber-like neo-Romantic and neo-Baroque Prelude and Fugue by the 20th-century Italian-American composer Vittorio Giannini and especially the youthful Symphony No. 2 by Franz Schubert.
Plus, Sewell (below) proved a perfect accompanist in the Haydn concertos. Clearly, chemistry exists between Sewell and Wosner, who have also performed together concertos by Ludwig van Beethoven and Wolfgang Amadeus Mozart with the WCO.
It was, in short, a program that was beautifully planned and beautifully played – even down to Wosner playing an encore by Schubert (the late Hungarian Melody, a lovely bittersweet miniature) that set up the second half with the Schubert, whose musical attractions Wosner explains so insightfully in a YouTube video at the bottom.
For his part, Sewell brought out balance and voicing, along with the expressive, but not excessive, lyricism that befits the ever-songful Schubert. As he has proven many times with his readings of Haydn and Mozart symphonies and concertos, Sewell is a master of the Classical style.
Wosner’s subtle and suitably quiet playing — he always puts virtuosity at the service of musicality — was also a model of clarity and restraint, perfectly suited to Haydn. But it left me with only one question:
When will we in Madison get to hear Shai Wosner in a solo recital?
Three of Wosner’s four acclaimed recordings are solo recitals of difficult works. They feature the music of Johannes Brahms, Arnold Schoenberg, the contemporary American composer Missy Mazzoli and especially Franz Schubert, with whom Wosner obviously feels, and shows, a special affinity. The fourth CD is a violin and piano duo done with the gifted young violinist Jennifer Koh.
I don’t know what presenter, besides the Wisconsin Union Theater, would bring Wosner back — and benefit from the WCO audiences that already have heard him. Or maybe the Wisconsin Chamber Orchestra could sponsor a solo recital as a sideline. But we could use more solo piano recitals in Madison — especially if they offer playing of the scale of Wosner’s.
I don’t know how it would happen, but I sure hope it does happen.
Shai Wosner is a great pianist who deserves a wider hearing in a wider repertoire.
By Jacob Stockinger
This Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater, the famed and long-lived Takács Quartet performs a MUST-HEAR concert of music by Haydn, Beethoven and Schubert.
The program includes the Quartettsatz (Quartet Movement) in C Minor, D. 703, by Franz Schubert (1797-1828); the String Quartet No. 50 in B-flat Major, Op. 64, No. 3 by Joseph Haydn (1732-1809); and the “Razumovsky” String Quartet No. 7 in F Major, Op. 59, No. 1 — from his middle period — by Ludwig van Beethoven (1770 – 1827) with its well-known “Russian Theme.” (You can hear the Russian Theme in a performance by the now disbanded Tokyo String Quartet in a YouTube video at the bottom.)
Tickets are: General Public: $45, 25; Wisconsin Union Members and Non UW-Madison Students: $40; UW-Madison Faculty and Staff: $42; UW-Madison Student (with ID): $10. Prices do not include fees. See more at:
The Takacs Quartet seems to The Ear a perfect choice for the annual Fan Taylor Memorial Concert — an event designed to honor the first and longtime director of the Wisconsin Union Theater.
For more about Fan Taylor (below), whose name is also used for the Wisconsin Union Theater’s endowment fund, or to donate to it, visit these links:
Here is some publicity material from the Wisconsin Union Theater:
Widely heralded as modern masters of classical music, the Takacs Quartet has delighted audiences in Europe, Asia, Australia and North America, bringing a vivid intensity to the works that built their genre. Known for their “supreme artistry manifest at every level,” (The Guardian) they are the only string quartet ever to be inducted into Gramophone’s Hall of Fame.
Such an honor is hardly unfamiliar to the group, however, having also taken home Disc of the Year and Chamber Award from BBC, as well as a Grammy for their Beethoven collection.
This talented quartet (below, in a photo by Hiroyuki Ito for The New York Times) continues to amaze while pushing the boundaries of chamber music.
Please note that there is a WIAA Individual Wrestling Tournament this evening, so allow enough time to find parking.
Because of a conflict at the UW-Madison School of Music, a master class will be held on this FRIDAY from 5 to 7 p.m. in Room 1341 Humanitites Building — NOT as previously stated on Saturday from 11 a.m. to 1 p.m. See more at:
Here is a link to the Wisconsin Union Theater, which also features audiovisual clips and reviews:
For the quartet’s website, go to:
By Jacob Stockinger
The Ear has received the following invitation from his good friends over at the Middleton Community Orchestra:
We invite you to step out of the cold to enjoy the winter concert of the Middleton Community Orchestra (below top) under the baton of guest conductor Kyle Knox (below), who is a graduate student in conducting at the University of Wisconsin-Madison School of Music.
The program includes the short but hauntingly beautiful Canzonetta for Oboe and Strings by the 20th-century neo-Romantic American composer Samuel Barber (below top), with oboe soloist Andy Olson (below bottom), who was educated at Lawrence University in Appleton, Wisconsin and who now works at Epic Systems digital health care records near Madison.
Also included on the program are the popular, playful and tuneful “Incidental Music to a Midsummer Night’s Dream” by Felix Mendelssohn (below top); and the darkly dramatic “Pictures at an Exhibition” by Modest Mussorgsky (below bottom), a work famous for the familiar and regal “The Great Gate of Kiev” finale, which you can hear at the bottom in a YouTube video as performed by Sir George Solti and the Chicago Symphony Orchestra.
The concert will begin at 7:30 p.m. this coming Wednesday evening, Feb. 25, at the comfortable Middleton Performing Arts Center (below) that is attached to Middleton High School.
Tickets are $10, and are available at Willy St. Coop West and at the door on the night of the show. Students are admitted free of charge.
The box office opens at 6:30 p.m. and doors open at 7 p.m.
There will be a meet-and-greet reception for the musicians and the audience following the performance.
For more information, please call 608-212-8690. You can also visit www.middletoncommunityorchestra.org for information about upcoming concerts and how to join or support the ensemble.
Mindy Taranto and Larry Bevic, Co-founders, Middleton Community Orchestra
Editor’s note: If you are not familiar with the Middleton Community Orchestra, you might want to read the post from this past December in which The Ear named the four-year-old Middleton group and other amateur musicians the Musician of the Year for 2014
By Jacob Stockinger
Maybe you were lucky enough to attend the gala showcase concert two weeks ago where winners (below) of the annual Concerto Competition at the University of Wisconsin-Madison School of Music performed. (They are below in a photo by Michael R. Anderson. From left they are: Keisuke Yamamoto, Ivana Urgcic, Jason Kutz and Anna Whiteway.)
Here is a link to a preview post:
If so you heard some relatively unknown works by Ernest Chausson (a Poem for Violin and Orchestra played by Yamamoto) and Francois Borne (a Fantasy on Themes from “Carmen” for flute and orchestra played by Urgcic) plus soprano Whiteway singing a famous aria from “Romeo and Juliet” by Charles Gounod.).
Kurtz did a bang-up job of this great work, which for The Ear, may just be his best and most concise work for piano and orchestra.
You just can’t beat that work’s ultra-Romantic 18th Variation – at the bottom in a popular YouTube video with pianist Arthur Rubinstein and Fritz Reiner conducting the Chicago Symphony Orchestra – that is, a friend remarked, much like the “Nimrod” Variation of Sir Edward Elgar’s “Enigma” Variations. It is irresistible and never fails.
But the concerto repertoire is such a rich one! There is something just so appealing about seeing the dramatic cooperation bertween the soloist and the orchestra.
So I was pleased to see that the BBC Music Magazine recently asked 10 concert pianists to name 10 concertos that they think are neglected and should be better known and performed more often.
The story included enlightening statements as well as audio-video clips of excerpts.
So in the spirit on the concerto winners, here is a link to the story:
Read and listen and see what you think.
The Ear knows a fair number of piano concertos, but a lot of these were new to him.
What do you think of the list?
And do you have any names of concertos and composers to add to the list?
The Ear wants to hear.
By Jacob Stockinger
Perhaps you have read about the rapidly escalating cost of great musical instruments.
That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.
For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.
But individuals can do so too.
Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.
When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.
Alsop didn’t want to sell the instruments.
But she also didn’t want them to lie unused and defeat their original purpose.
So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.
Here is a story from The New York Times:
It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.