The Well-Tempered Ear
A changing Earth demands changing music to mark Earth Day
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By Jacob Stockinger
Today — Saturday, April 22 — is Earth Day 2023.
It is the 53rd annual celebration of the environment that was started on this date in 1970 by the former Wisconsin governor and U.S. Senator Gaylord Nelson (below bottom).
As the website “Self-Help Africa” says: “Earth Day is an annual event on April 22 to highlight environmental issues across the planet and demonstrate support for environmental protection.
“First held in the United States on April 22, 1970, it has since become THE BIGGEST SECULAR CELEBRATION OBSERVATION DAY IN THE WORLD, and an opportunity to highlight the issues and environmental challenges affecting our world.”
Here is the official Earth Day website: https://www.earthday.org/
Music has always been part of how the world celebrates the event.
But lately the trend in music seems to parallel the trends in the global warming crisis and species extinctions.
So, for example, in British composer Debbie Wiseman’s “Carnival of the Endangered Animals” in 2022 is meant to parallel but update the famous “Carnival of the Animals” by Camille Saint-Saëns.
Other titles of works by contemporary composers that reflect current realities about the natural world are: “The Lost Birds” by American composer Christopher Tin (below top); “Mass for the Endangered” by American composer Sarah Kirkland Snider (below middle); “The Rising Sea” Symphony by British composer Kieran Brunt; and “Glaciers in Extinction” by Italian flutist and composer Roberto Fabbriciani (below bottom).
You can hear these and other contemporary works plus a more familiar and traditional musical celebration of the Earth and nature by Beethoven. Just go this site for Colorado Public Radio:
Do you have a favorite among the new pieces?
Is there other music you think is appropriate to celebrate Earth Day and the natural world as they exist today?
What composers and pieces do you suggest listening to?
The Ear wants to hear.
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They decoded Beethoven’s DNA. Here’s what they found
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By Jacob Stockinger
After 200 years, the DNA of Ludwig van Beethoven (below, 1770-1827) has been analyzed by a team of researchers.
The DNA was obtained from some of the famous composer’s hair.
The new study analyzed the German composer’s genes to get a better understanding of the health problems — deafness and liver failure among them — that plagued him.
Read about it — via Apple News, just click on continue — in a story from the Canadian-American VICE magazine: https://apple.news/AgGnJPZZcRyuC3nH2ycFL3A
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Here’s how to donate a piano in the US
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By Jacob Stockinger
Maybe the kids have left home.
Maybe you are downsizing.
Maybe you have just stopped playing it.
Maybe you want to help out a school, a music student organization or a retirement center.
If you have an old piano you are looking to get rid of, you might find the following story helpful.
It comes from Hello Music Theory, a free website, and it offers helpful tips on donating old pianos, including tax deductions from the IRS.
https://hellomusictheory.com/learn/where-and-how-to-donate-piano/
Are you looking to donate a piano?
Why?
Have you already donated a piano?
What did you think of the experience?
Do you have tips or advice to share with others?
Are you looking to receive a donated piano?
Why, in what condition and what use will you put it to?
You could leave more information in the comment section.
Do have any tips or questions about donating pianos?
The Ear wants to hear.
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This ‘body percussion” version of Beethoven will make your day!
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By Jacob Stockinger
Here is something that easily outdoes Bavarian thigh-slapping in Lederhosen!
It features 157 school children playing the opening theme of Beethoven’s Fifth Symphony using “body percussion.”
That is, they use their hands, feet, knees and chests with various pressures and degrees of loudness, rhythm, speed and dynamics.
It is a performance practice and method of music education that has roots in folk music.
It was performed in 2020 — hence the covid masks — and was recently posted on Instagram by ClassicFM.
Here is a fuller definition from Wikipedia:
https://en.wikipedia.org/wiki/Body_percussion
The kids are amazing. They are so synchronized and precise.
It took five months of practicing and rehearsing, so the persistent music teacher who organized and executed this must be amazing too.
It all seems very French in its combination of the physical and the emotional.
Take a look and listen. Here is a link to the one-minute video:
Does anybody else wonder if an American parent might have protested or even filed a lawsuit alleging inappropriate touching by classmates?
What do you think of this “body percussion” Beethoven?
The Ear wants to hear.
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Is it pretentious for the NFL to use Roman numerals for the Super Bowl?
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By Jacob Stockinger
Today — Sunday, Feb. 12, 2023 — is Super Bowl LVII.
Or as we say in ordinary English — “57.”
(It airs at 5:30 p.m. Central Standard Time on Fox.)
The Ear thinks it is pretentious for the NFL to use Roman numerals, which are esoteric and incomprehensible to many members of the public.
Does anyone else think so?
Using the Roman numerals in sports also seems unpractical.
Imagine the NBA using the same antiquated number system to record LeBron James’ new record for a lifetime basketball score — 33,388 points. According to Google, it would be XXXIIICCCLXXXVIII.
How convenient! And silly, no?
It seems the same kind of pretentious authenticity The Ear hears too often in Classical music where authentic foreign pronunciations often seem a sort of status symbol that says “Look at what I know and you don’t, but should.”
Not exactly the kind of effort at reaching out that classical music needs to draw bigger and younger audiences.
It’s like when non-Hungarian, American speakers say “Budapesht” when in English it is simply Budapest. And this often comes from the same people don’t usually say München for Munich, or Roma for Rome, or Paree for Paris.
Can American speakers just speak plain American English for the sake of clarity and simplicity?
And can the NFL just use either English numbers or, like the Olympics, the year to show which competition it is?
Anyway, despite such preciousness and pretentiousness, we can enjoy today’s 57th or 2023 Super Bowl championship game in Phoenix between the Philadelphia Eagles and the Kansas City Chiefs.
Here’s another easier equivalency: a beautiful long pass and a beautiful javelin throw.
Which why The Eater is offering the classical music piece “Javelin” in the YouTube video at the bottom, played by Yoel Levi conducting the Atlantic Symphony Orchestra.
Written on commission for the Atlanta Olympics by the Wisconsin-born composer Michael Torke, it soars with a grace and an energy that is made all the more understandable and moving for its lack of words and numbers.
Whatever quarterback does it, winner or loser, here’s to the thrower of the most beautiful pass today.
What do you think of the music? And of the comparison between passing a football and throwing a javelin?
And what do you think about using Roman numerals is sports and foreign pronunciations in classical music
The Ear wants to hear.
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See and hear The Cliburn piano competition for FREE via streaming. It runs through June 18
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By Jacob Stockinger
The 16th Van Cliburn International Piano Competition got under way this past Thursday, June 2, and will run through Saturday, June 18, when the winners will be announced.
2022 marks the 60th anniversary year of the competition, which the American pianist Van Cliburn founded at Texas Christian University after his 1958 Cold War victory in the Tchaikovsky International Competition in Moscow,.
You can follow it all online. The complete impressive competition is being broadcast on medici.tv and on YouTube.
But The Ear has used the competition’s own streaming website and finds the videos, sound quality, contestant biographies and background information very professional and helpful. So far, it has been a thoroughly satisfying, enjoyable and engaging experience. I highly recommendation it for students, amateur pianists and all music lovers.
For The Ear, one of the most impressive performances from yesterday was given by the 21-year-old Chinese pianist Yangrui Cai (below), heard in the YouTube video at the bottom. Such beautiful and subtly virtuosic but shaded Liszt and Brahms is not often heard.
Here is a link to the home page (below): https://cliburn.org
From there you can hear live performances, past performances and many facts , including the complete schedule, about The Cliburn, as it is now called. All times are Central Daylight.
Starting at 10 a.m. today — Saturday, June 4 — will see the final 10 performances (3 in the morning and night, four in the afternoon) of the preliminary round, which has featured 30 pianists in 40-minute solo recitals. Except for a specially commissioned “Fanfare Toccata” by Sir Stephen Hough, who is also on the jury, the choice of programs is entirely up to the individual contestants.
The road to the Cliburn is not easy.
It started with 388 applicants. That was trimmed down to 72 by preliminary judges. Out of 72, 30 were chosen by jurors to compete.
After today, it will be on to the quarter-finals with 18 contestants in 40-minute recitals with no repetition from the preliminary round; then the semi-final round with 12 contestants in a combination of 60-minute solo recital along with a Mozart piano concerto accompanied by the Fort Worth Symphony conducted by the Nicholas McGegan, who is famous for his interpretations of Baroque and Classical era music; and the final concerto round with each contestant play two concertos with Fort Worth Symphony under famed conductor Marin Alsop, who is also the head juror.
The Ear will be posting his own thoughts as he experiences the extensive competition, maybe after each round or even each day.
But The Ear also wants to hear from you.
Do you have thoughts about the various contestants?
Who are your favorites and why?
Thoughts about the programs and repertoire being played?
Other thoughts about the competition in general?
The Ear Wants to hear.
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YOU MUST HEAR THIS: No piece captures the mixed emotions of Memorial Day better than Charles Ives’ “Decoration Day”
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By Jacob Stockinger
Today is Memorial Day, 2022.
It is the annual holiday to remember those who died in military service to the country. (Below are flags placed each year at the tombstones in Arlington National Cemetery in Virginia.)
If you want to honor survivors and current service members, that would be Veterans Day on Nov. 11.
All weekend long the radio has been playing music and the television has been showing war movies.
A lot of the music is familiar and repeated every year: Sousa marches and Morton Gould suites, elegies by Gustav Mahler, Samuel Barber, Aaron Copland and Leonard Bernstein; requiems by Mozart and Fauré; a hymn by John Williams and other movie scores. This year has also seen the playlist include rediscovered works of homage by African-American composers such as William Grant Still.
But only this year did The Ear finally hear — thanks to Wisconsin Public Radio — the one piece that, to his mind, best captures Memorial Day with its blending of consonance and dissonance, its mix of major and major keys, of familiar or “found” music and original music.
It is called, simply, “Decoration Day” and it was composed in 1912 — but not published until 1989 — by the 20th-century iconoclastic and early modernist American composer Charles Ives (below, 1874-1954). It ended up as part of a work the composer called “A Symphony: New England Hollidays.”
See if you agree with The Ear.
Listen to the 8-minute performance by “The President’s Own” United States Marine Band in the YouTube video at the bottom.
Listen to the deep anguish and and sense of loss conveyed in the opening, when a solemn remembrance procession goes to a cemetery to plant flags and lay flowers and wreaths to “decorate” the graves of the fallen.
Listen carefully and you will hear a faint version of “Taps” and ringing church bells in the atmospheric music.
Then as so often happens in reality, life suddenly intrudes in the form of a celebration by a loud marching brass band as it leaves the cemetery for the celebratory marches, picnics and fireworks.
But at the end, the darkness briefly returns. The sense of loss lingers long after the actual death and long after the holiday has been celebrated.
There is no closure.
Just resignation.
Just living with loss.
Here is the background from Wikipedia about how the holiday started as Decoration Day after the Civil War and when it evolved into Memorial Day in 1970: https://en.wikipedia.org/wiki/Memorial_Day
And here is biographical background, with the actual sources and depictions of “Decoration Day” — just go down the page to compositions and click — about Charles Ives: https://en.wikipedia.org/wiki/Charles_Ives
Did you know and like Charles Ives’ music?
Does “Decoration Day” impress or move you?
What music most embodies Memorial Day for you?
The Ear wants to hear.
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Should the 1812 Overture be played this Fourth of July?
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By Jacob Stockinger
The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.
The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.
For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
An asterisk says programs are subject to change.
Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud 1812 Overture, be played again this year?
It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources.
But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program.
It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.
After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).
So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?
As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)
Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture
Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).
What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?
Do you have a suggestion?
The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?
Meanwhile, as comedian Stephen Colbert likes to say: What do you think?
Should the “1812 Overture” be played on this Fourth of July?
Why?
Or why not?
The Ear wants to hear.
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Check out the 2022 classical music Grammys for trends and suggested listening
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By Jacob Stockinger
No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.
But chances are you haven’t heard much about the classical music Grammys.
That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.
But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.
You can also get a good idea of trends in classical music.
Contemporary or new music is big again this year, dominating the old standard classics.
Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.
You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.
Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.
Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.
If you want to see the nominations and winners in other categories, here is a link:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
- Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
- Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)
76. Producer Of The Year, Classical
- Blanton Alspaugh
- Steven Epstein
- David Frost
- Elaine Martone
- Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)
CLASSICAL
77. Best Orchestral Performance
- “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
- “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
- “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
- “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)
78. Best Opera Recording
- “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
- “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
- “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
- “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
- “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
79. Best Choral Performance
- “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
- “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
- “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
- “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)
80. Best Chamber Music/Small Ensemble Performance
- “Adams, John Luther: Lines Made By Walking” — JACK Quartet
- “Akiho: Seven Pillars” — Sandbox Percussion
- “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
- “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
- “Bruits” — Imani Winds
81. Best Classical Instrumental Solo
- “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
- “An American Mosaic” — Simone Dinnerstein
- “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
- “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
- “Mak Bach” — Mak Grgić
- “Of Power” — Curtis Stewart
82. Best Classical Solo Vocal Album
- Confessions — Laura Strickling; Joy Schreier, pianist
- Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
- Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
- Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
- Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
- Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
- Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)
84. Best Contemporary Classical Composition
- “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
- “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
- “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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Con Vivo woodwind quintet plays a FREE outdoor concert TONIGHT on Madison’s west side
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By Jacob Stockinger
The Ear wants to thanks the many readers who sent congratulations and best wishes to him on the return of his blog.
He also wants to post the following announcement:
Con Vivo! … music with life has been opening its 18th season of chamber music concerts with free concerts in city parks performed by CVQ — the con vivo! woodwind quintet (below).
The last FREE performance will take place TONIGHT – Saturday, June 12 — at 7 p.m. at Rennebohm Park (below, the exterior and interior of the shelter), 115 North Eau Claire Ave., on Madison’s west side not far where the old state DMV building used to be.
The concert will include music by Aaron Copland, Louis Moreau Gottschalk, Franz Danzi and Beethoven.
The woodwind quintet is composed of flute, oboe, clarinet, bassoon and French horn.
The event is free and everyone is welcome. So bring a lawn chair or blanket, and join us for what will prove to be an enjoyable evening of live music!
For more information, visit www.convivomusicwithlife.org or call (608) 277-8087.
This project is supported in part by Dane Arts with additional funds from the Endres Mfg. Company Foundation; The Evjue Foundation, Inc., the charitable arm of The Capital Times; the W. Jerome Frautschi Foundation; and the Pleasant T. Rowland Foundation.
Tags: #AaronCopland, #AmericanComposer, #BlogPost, #BlogPosting, #ChamberMusic, #CityofMadison, #ConVivo, #ConVivoQuintet, #DaneArts, #DepartmentofMotorVehicles, #DrpartmentofTransportation, #EndresMfg.Company, #EvjueFoundation, #FacebookPost, #FacebookPosting, #FranzDanzi, #FrenchHorn, #HolidaySeason, #InstrumentalMusic, #JacobStockinger, #LiveMusic, #LouisMoreauGottschalk, #LudwigVanBeethoven, #MadisonWisconsin, #MusicWithLife, #PleasantT.Rowland, #RennebohmPark, #TheCapitalTimes, #TheEar, #W.JeromeFrautschi, #WestSide, #WindMusic, #WoodwindInstruments, #WoodwindMusic, #WoodwindQuintet, Aaron Copland, American, arm, Arts, audience, Bassoon, bassoonist, Beethoven, blanket, blog, building, chair, Chamber music, charitable, charity, city, city of Madison, clarinet, clarlinetist, Classical music, composer, Con Vivo, Concert, Copland, CVQ, Dane Arts, Department of Motor Vehicles, Department of Transportation, DMV, DOT, Early music, Endres Mfg. Company, enjoyable, Evjue Foundation, exterior, Facebook, Facebook post, Facebook posting, flutist, forward, foundation, Franz Danzi, free, French horn, funding, Gottshalk, hornist, instrument, instrumental music, interior, Jacob Stockinger, journalism, last, lawn, life, like, link, live music, Louis Moreau Gottschalk, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, manufactoring, Mozart, Music, Music With Life, obie, Oboe, oboist, old state, Orchestra, outdoors, parks, performance, Pleasant T. Rowland, post, posting, Rennebohm Park, Saturday, Season, share, Sonata, sponsor, state, tag, The Capital Times, The Ear, tonight, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, W. Jerome Frautschi, welcome, west side, wind music, Wisconsin, woodwind music, Woodwind quintet
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The Well-Tempered Ear 