ALERT: This Monday night, Sept. 21, mezzo-soprano Allisanne Apple (below) and pianist Jane Peckham will present a FREE concert with the theme of “Home/Travels/Longing/Return” that features songs by Leonard Bernstein, William Bolcom, Aaron Copland, Hugo Wolf and others. The recital is at 7 p.m. in the Oakwood Village West Auditorium, 6209 Mineral Point Road, on Madison’s far west side.
By Jacob Stockinger
The Ear has been asked to distribute the following public invitation from Bridget Fraser, the executive director of the Wisconsin Youth Symphony Orchestras (WYSO).
He is happy to do it in the belief that there is no better local investment in music education or in the future of classical music than WYSO, which has educated and trained thousands of area students and their parents over the past half-century.
Fraser writes:
“This coming Friday, Sept. 25, from 5 to 7 p.m. opens the year-long celebration of our 50th anniversary.
“I hope our friends, former conductors and staff, alumni and faithful supporters will join us as we pay tribute to the amazing impact that WYSO has had and continues to have on hundreds of young musicians each season.
“Local artist and devoted WYSO board member, Andree Valley has captured the true essence and importance of WYSO in a stunning visual display.
“You are invited to attend the opening celebration of the Wisconsin Youth Symphony Orchestras retrospective exhibit, featuring 50 years of compelling history, captivating photographs and intriguing Art of Note painted violins (below) in an extensive display at the Dane County Regional Airport.
Here is WYSO founder Marvin Rabin conducting the Youth Orchestra during the 1966-67 season:
And here is UW-Madison professor and current WYSO music director James Smith conducting the Youth Orchestra in 2015:
And at bottom is a YouTube video of the WYSO Youth Orchestra playing the rousing opening of Georges Bizet‘s Overture to his opera “Carmen.”
“The opening reception will feature music by WYSO’s premier quartet and light refreshments and hors d’oeuvres. Please join us in this tribute to the first 50 years of the Wisconsin Youth Symphony Orchestras.
This exhibit was organized by Tandem Press, in collaboration with WYSO. For more information, click on our reception invitation, or contact WYSO at (608) 263-3320 or wyso@wyso.music.wisc.edu.
By Jacob Stockinger
Is classical music in Madison — and in Wisconsin and the U.S. — racist?
Most of the classical musicians I know, and most of the performing and visual artists for that matter, take pride in being politically progressive and liberal in their political leanings and social sympathies.
And yet.
And yet, I have to ask the difficult question: If that is true, why are we not hearing more music from “minority” composers who are African American, Hispanic and Latino, American Indian and Asian — but especially African American composers since the other kinds of music they have written, from spirituals and blues to jazz, seem to have inspired so much mainstream classical music, both American and European.
Could it be — at least when it comes to classical music — that this famously liberal city is not really as progressive as we hope or claim, that we are not as culturally tolerant and ethnically diverse as we think we are? Is that why I can’t recall a single live performance of a long or short work by William Grant Still (below)?
Curiously, it was a famous and popular Czech composer, Antonin Dvorak (below), who is recognized for acknowledging black and American Indian music in his Symphony No. 9 “From the New World.”
It is a difficult and embarrassing question to ask and issue to bring up. And I include myself, since my own collection of classical CDs, as I recently discovered, contains almost no music by African Americans.
In “Artists in Exile,” the extremely insightful cultural historian Joseph Horowitz (below) has written about and documented the bias and shows how the American classical music scene has always been Eurocentric and biased toward the Germanic school – Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Schumann and Brahms for a start.
I would add that American musicians also seem biased toward Anglo-American composers. Even Italian composers are generally mainstream repertoire except when it comes to some baroque music and especially to opera, but not much else. And Spanish music seems to come into favor only whenever there is an outstanding Spanish performers – as happened with Isaac Albeniz and Enrique Granados in the hands of the late pianist Alicia de Larrocha.
Anyway, the issue of classical music and racism came to mind recently when I read a wonderful post on NPR’s outstanding blog “Deceptive Cadence.” Jeffrey Mumford (below), an African American composer, spoke about the situation in an NPR interview. He rightly questioned why more Americans don’t know and hear works, especially symphonies, by African American and black composers performed.
Mumford specifically cited works by George Walker (below top), who won the Pulitzer Prize in 1996 and whose early “Lyric Suite” for string orchestra can be heard at the bottom in a YouTube video; and the “The Black Mozart,” Joseph Boulogne, also known as the Chevalier De Saint-Georges (below bottom), whose violin virtuosity and compositions were admired by Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven:
So I find myself asking: Does that same criticism apply to liberal Madison and its performing arts scene?
After all, I have a hard time recalling when groups that I love and attend frequently -– such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, various UW-Madison groups, large and small, and other ensembles — have indeed performed African American musicians and put them before the general public with a high profile.
Could that be why more African Americans don’t subscribe to or attend their concerts?
Here is a link to the thought-provoking essay from the NPR blog, which also has terrific sound snippets:
Maybe I am mistaken in my musings and in my embarrassment at Madison sharing a form of artistic racism.
I look forward to reading the reactions, opinions and facts that I hope to get from other readers.
The Ear wants to hear.
By Jacob Stockinger
Judging from news reports, an icon of American classical music is living out his final days.
American pianist Van Cliburn (below, in a photo taken by Ross Hailey for the Fort Worth Star-Telegram), now 78, has been diagnosed with advanced bone cancer . The very consistent stories, clearly taken form the same press release, do not say whether it is Stage III or Stage IV (there is no Stage V) but the word “advanced” suggests it is one of them and is probably beyond any hope of a cure or even a long survival.
As a young pianist, Cliburn was a superstar sensation with the public, the first classical musician to sell one million LPs (of his live recording of the Tchaikovsky Piano Concerto No. 1) and the first classical musician to get $10,000 a night. Sviatoslav Richter, one of the giants of 20th century Russian pianism also thought Cliburn so gifted that he handed Cliburn all his votes to seal Cliburn’s win in the first International Tchaikovsky Competition (below).
But Cliburn has also had his detractors, critics who found his performances uneven and lazy, especially as he aged and seemed to grow bored with his art. And some people including The Ear, also wish that he had come out publicly, despite his conservative politics and apparently deep religious beliefs.
For myself, in his prime I found most of his performances very good and several of his performances stupendous, including his Tchaikovsky First and Rachmaninoff Third concertos, but also his MacDowell Second Concerto.
Anyway, in an earlier post I asked: How good was Van Cliburn?
Here is a link:
https://welltempered.wordpress.com/2011/04/17/classical-music-how-good-was-pianist-van-cliburn/
And here are links to the latest story from The Associated Press about Cliburn and his diagnosis of cancer:
http://www.nytimes.com/aponline/2012/08/28/arts/ap-us-cliburn-illness.html?_r=1&ref=arts
http://www.spinner.com/2012/08/28/van-cliburn-cancer/
http://www.usatoday.com/life/music/news/story/2012-08-27/van-cliburn-cancer-diagnosis/57355752/1
I don’t know if Cliburn reads The Well-Tempered Ear, but if he doesn’t now maybe he will if there are enough hits or somebody forwards it to him.
So leave a message in the COMMENTS column.
And tell us about your favorite Van Cliburn moments or performance.
One of mine is his playing of Franz Liszt’s transcription of Robert Schumann‘s song “Widmung” (Dedication) — which was a favorite encore of Cliburn in his heyday and which is meant to honor the joy, the beauty and the inspiration he provided to so many young listeners and players, including me.. (Many more such moments, including Chopin, Brahms and Debussy can be found for free on YouTube. Tear yourself and listen to a few).