The Well-Tempered Ear

Classical music: What will the fall concert season will look like? And what will the post-pandemic concert world be like?

May 18, 2020
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By Jacob Stockinger

This past week, The Ear listened to and read a lot of news about COVID-19 and the arts.

And it got him thinking: What will happen this fall with the new concert season? And even later, what will a post-pandemic concert world look like? (Below is the Madison Symphony Orchestra in a photo by Peter Rodgers.)

As you may have heard, the Tanglewood Festival, the summer home of the Boston Symphony Orchestra, has been canceled this year. So too has the Ravinia Festival, the summer home of the Chicago Symphony Orchestra.

Locally, American Players Theatre in Spring Green also just canceled its summer season.

So far, the summer season seems to be one big cancellation for the performing arts.

True, there are some exceptions.

The Token Creek Chamber Music Festival has yet to announce its plans for August.

One also has to wonder if crowds of up to 20,000 will feel safe enough to attend the Concerts on the Square (below), now postponed until late July and August, by the Wisconsin Chamber Orchestra?

Will people still want to attend the postponed Handel Aria Competition on Aug. 21 in Collins Recital Hall at the UW-Madison’s new Hamel Music Center, assuming the hall is open?

Fall events seem increasingly in question.

Last night on CBS’ “60 Minutes,” Jerome Powell, chairman of the Federal Reserve, said that sports events and concerts will be among the last mass gatherings to take place safely, probably not until next spring or summer or even later, depending on when a vaccine becomes available.

Some public health experts also offer dire predictions about how easing up lockdown restrictions too soon might lead to an even worse second wave of the coronavirus virus pandemic this autumn and winter, despite all the happy talk and blame-shifting by Team Trump.

So, what do you think will happen beyond summer?

The Ear wonders what the fallout will be from so many music groups and opera companies turning to free online performances by solo artists, symphony orchestras and chamber music ensembles.

Will season-opening concerts be canceled or postponed? What should they be? Will you go if they are held?

Will at-home listening and viewing become more popular than before?

Will the advances that were made in using streaming and online technology (below) during the lockdown be incorporated by local groups — the UW-Madison especially comes to mind — or expected by audiences?

In short, what will concert life be like post-pandemic and especially until a vaccine is widely available and a large part of the population feels safe, especially the older at-risk audiences that attend classical music events?

Will larger groups such as symphony orchestras follow the example of the downsized Berlin Philharmonic (below, in a photo from a review by The New York Times) and play to an empty hall with a much smaller group of players, and then stream it?

Will some free streaming sites move to requiring payment as they become more popular?

Live concerts will always remain special. But will subscriptions sales decline because audiences have become more used to free online performances at home?

Will most fall concerts be canceled? Both on stage and in the audience, it seems pretty hard to maintain social distancing (below is a full concert by the Madison Symphony Orchestra). Does that mean the health of both performers – especially orchestras and choral groups – and audiences will be put in jeopardy? Will the threat of illness keep audiences away?

Even when it becomes safe to attend mass gatherings, will ticket prices fall to lure back listeners?

Will programs feature more familiar and reassuring repertoire to potential audiences who have gone for months without attending live concerts?

Will expenses be kept down and budgets cut so that less money is lost in case of cancellation? Will chamber music be more popular? (Below is the UW-Madison’s Pro Arte Quartet during its suspended Beethoven cycle.)

Will fewer players be used to hold down labor costs?

Will imported and expensive guest artists be booked less frequently so that cancellations are less complicated to do? 

Will many guest artists, like much of the public, refrain from flying until it is safer and more flights are available? Will they back out of concerts?

Will all these changes leave more concert programs to be canceled or at least changed?

There are so many possibilities.

Maybe you can think of more.

And maybe you have answers, preferences or at least intuitions about some the questions asked above?

What do you think will happen during the fall and after the pandemic?

What do you intend to do?

Please leave word, with any pertinent music or news link, in the comment section.

The Ear wants to hear.


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Classical music: World-class conductors are making news with two retirements, a death and a contract renewal. Who will emerge as the new and younger star maestros? Plus, today is the last performance by the Madison Symphony Orchestra and pianist Ingrid Fliter of music by Benjamin Britten, Frederic Chopin and Robert Schumann. Read two reviews of the concert.

February 15, 2015
4 Comments

ALERT: Today at 2:30 p.m. in Overture Hall is the last performance by the Madison Symphony Orchestra under John DeMain and pianist Ingrid Fliter (below) of the “Variations on a Theme of Frank Bridge” by Benjamin Brittten, the Piano Concerto No. 2 in F Minor by Frederic Chopin and the Symphony No. 4 in D Minor by Robert Schumann. Here are two reviews to tempt you.

Here is a review that John W. Barker wrote for Isthmus:

http://www.isthmus.com/daily/article.php?article=44522&sid=841e6fa0653921af622026d5ee793a0f

And here is a review that Jess Courtier wrote for The Capital Times and the Wisconsin State Journal:

http://host.madison.com/ct/entertainment/arts_and_theatre/reviews/review-mso-gives-an-engaging-performance-of-variations/article_20ea0913-bf1b-5a71-a8fb-173831888a6e.html

ingrid fliter with keyboard

By Jacob Stockinger

Sometimes things just seem to happen in waves and clusters.

This past week has been a rough one for the media, for example.

There were the deaths of reporter Bob Simon (he was 73) of CBS News and “60 Minutes” and columnist David Carr (he was 58) of The New York Times.

Then there are the ongoing truth-telling problems of NBC’s top-rated anchor Brian Williams. And comedian-host Jon Stewart is leaving The Daily Show.

The same seems to go for orchestral conductors.

Female Orchestra Conductor With Baton

ITEM: Edo DeWaart will step down at the Milwaukee Symphony Orchestra after the 2016-17 season. It is a major loss for the orchestra that many critics say has never sounded better.

http://www.bizjournals.com/milwaukee/news/2015/02/12/edo-de-waart-to-step-down-as-milwaukee-symphony.html?surround=etf&ana=e_article

edo de waart conducting

ITEM: Alan Gilbert will step down from The New York Philharmonic after only eight seasons, after the 2016-17 season. He has his reasons for leaving such a prestigious post, especially after all the praise he has earned for programming and performing during his tenure.

Here is a terrific story from NPR (National Public Radio):

http://www.npr.org/blogs/deceptivecadence/2015/02/06/384318430/a-friday-surprise-alan-gilbert-will-leave-the-new-york-philharmonic

And another story for the revered British magazine Gramophone:

http://www.gramophone.co.uk/classical-music-news/alan-gilbert-to-leave-the-new-york-philharmonic

New York Philharmonic Alan Gilbert

ITEM: The conductor Israel Yinon – known for exploring neglected repertoire — has died at the age of 58, during a performance in Lucerne, Switzerland of Richard Strauss’ “An Alpine Symphony.”

http://www.gramophone.co.uk/classical-music-news/conductor-israel-yinon-has-died

Israel Yinon

But there is some good news:

On the other hand, the acclaimed Yannick Nézet-Séguin -– the openly gay French-Canadian maestro — has just extended his contract with the Philadelphia Orchestra through 2022.

Here is a story:

http://www.gramophone.co.uk/classical-music-news/yannick-nézet-séguin-extends-his-contract-with-the-philadelphia-orchestra

Yannick Nezet-Seguin close up

 


Classical music: See what goes into making a Stradivarius violin great, from the special Italian spruce trees to the master violin-makers who come to Cremona, Italy from around the world. But are the old violins really better than the best new ones?

December 13, 2014
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By Jacob Stockinger

Ever wonder what goes into a great violin made centuries ago by Stradivarius or Guarneri or Amati that makes them the favorite instruments of great performing virtuosos?

Stradivarius violin

(The Ear will forget for a while the stories about how blind hearing tests with professional violinists showed that new or modern instruments outscored the centuries-old masterpieces.)

For whatever reason last weekend brought two terrific stories about what goes into making world-class violins – in specific the violins, worth millions of dollars, by Antonio Stradivari (below) and other master crafters and luthiers in Cremona, Italy.

Antonio Stradivari

The stories followed the great violins — and also violas and cellos — from the special Italian spruce trees grown in the dolomite Alps, which are celebrated and serenaded with music, to the actual makers of the instruments and the overall cooperative music culture of Cremona, Italy.

Serenading spruce trees

One of the stories appeared on NPR (National Public Radio) , specifically on Weekend Edition with Scott Simon. Here is a link:

http://www.npr.org/blogs/deceptivecadence/2014/12/05/368718313/in-the-italian-alps-stradivaris-trees-live-on

The other was a great segment on CBS’ “60 Minutes.” It has great visuals and interviews. Here is a link:

http://www.cbs.com/shows/60_minutes/video/FWotANRzsjL84Aj5ziBSdezDN88_Hp3M/the-city-of-music/

And at bottom in a YouTube video, is a comparison test of old and new violin sounds. Listen to it, take it and see how you do.

What do you think of the comparison results?

The Ear wants to hear.


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