By Jacob Stockinger
Madison has produced its share of important classical musicians who have gone on to achieve international reputations.
Among them was the composer Lee Hoiby (1926-2011).
More recently, there are the Naughton Twins, sister-duo pianists Christina and Michelle, who perform around the world.
And there is violist Vicki Powell (below), who was born in Chicago but started music lessons in Madison where she studied with the husband-and-wife team of violinist Eugene Purdue and Pro Arte Quartet violist Sally Chisholm, both of whom have taught at the UW-Madison.
Powell, who recently finished a tour of Asia and whose playing has garnered rave reviews internationally, returns to Madison this Friday night to perform with the Wisconsin Chamber Orchestra at 7:30 p.m. in the Capitol Theater of the Overture Center.
WCO music director Andrew Sewell will conduct. Unlike Sewell’s typical eclectic programming that mixes music from different eras, this concert feature music from a single period – the mid-20th century.
It offers “Variations on a Theme of Frank Bridge” by British composer Benjamin Britten, who studied with Bridge. Also included are two other British works: the Suite for Viola and Chamber Orchestra by Ralph Vaughan Williams, with Vicki Powell, and “Benedictus” by Sir Alexander Mackenzie. All three works are rarely performed.
The concluding work, on the other hand, is the popular and well-loved “Appalachian Spring” – a timely work for the coming of spring yesterday morning — by the American composer Aaron Copland.
For more information about the program, about how to get tickets ($10-$80) and about Vicki Powell, go to:
And here is a link to Vicki Powell’s website with a biography, concert bookings, recordings, reviews and her community outreach projects:
By Jacob Stockinger
Over the years, The Ear has heard quite a few child prodigies, many of them impressive.
But he has heard only one Julian Rhee (below).
Rhee, from Brookfield, is a young Milwaukee area violinist who has won numerous awards from and has performed with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Milwaukee Symphony Orchestra.
Rhee will perform again with the WCO (below), playing the complete Brahms Violin Concerto — not just separate movements or excerpts — this Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.
What makes Rhee so outstanding is that the level of his musicality matches his high technical mastery.
When he performed some of the Brahms concerto in the Madison Symphony Orchestra’s Final Forte competition, which he won two years ago, all eyes and ears popped open with the first notes. You just knew right away who was going to win.
(You can hear the Final Forte introduction to Julian Rhee, which aired on Wisconsin Public Televisi0n, in the YouTube video at the bottom.)
Rhee’s playing exuded a maturity that even seasoned listeners did not expect. And the Brahms is a perfect vehicle to display his interpretive maturity as well as his technical virtuosity. Surely Rhee still has room to grow musically. But his mastery is already something to behold.
If you enjoy being able to say “I heard him when …,” this concert has all the hallmarks of being a must-hear, do-not-miss event.
But there are other attractions on the program, to be played under music director Andrew Sewell, who has again combined works from the 18th, 19th and 20th centuries.
Igor Stravinsky’s “L’histoire du soldat” (The Soldier’s Tale) will be performed with guest narrator Jim DeVita (below) of American Players Theatre in Spring Green. The story involves a soldier who sells his soul to the devil.
And there will also be the Symphony No. 102 in B-Flat Major by Franz Joseph Haydn, a composer whose style brings out the best in WCO music director and conductor Sewell (below), an accomplished interpreter of music from the Classical era.
To read Julian Rhee’s complete and impressive biography, and to find out more information about the program, the performers and tickets, go to:
By Jacob Stockinger
This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.
Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:
As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.
The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.
This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)
Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.
The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.
For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.
So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.
This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.
Here is a link to the interview and story in The New York Times:
ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord
By Jacob Stockinger
This is a post about a very appealing FREE concert by Juilliard violinist Laurie Smukler (below) on this Saturday night at 8 p.m. in Mills Hall.
But for The Ear, some context seems fitting.
Some seasons are memorable for great singing or great piano playing or great orchestral playing. And there certainly has been, and will continue to be, lots more of all three this autumn and winter.
But what has really stood out to The Ear this Fall is the string playing, especially the violin.
Actually it started in the summer with a sizzling, white-hot performance by the Bach Dancing and Dynamite Society. The BDDS interspersed Vivaldi’s “Four Seasons” with Astor Piazzolla’s “Four Seasons in Buenos Aires.”
Violinist Suzanne Beia (below top) played the Vivaldi seasons and McGill University violinist Axel Strauss from Montreal (below bottom) played the Piazzolla seasons. The dueling violins were something to behold and to hear! And the alternation kept listeners from tiring of one particular composer or style. It was a thoroughly enjoyable and thoroughly memorable concert.
Then came an unforgettable performance of the Violin Concerto by Tchaikovsky, played with intimacy and clarity as well as stunning virtuosity by the prize-winning Russian-born Ilya Kaler with the Wisconsin Chamber Orchestra under Andrew Sewell.
Then came wonderful performances by Norwegian violinist Henning Kraggerud of the Violin Concerto No. 1 by Max Bruch and some works by Kraggerud himself, accompanied by the Madison Symphony Orchestra under John DeMain.
Over at the Wisconsin Union Theater, superstar Joshua Bell didn’t disappoint. Appearing in a recital with pianist Alessio Bax, Bell played music by Ludwig van Beethoven, Johannes Brahms, Claude Debussy, Eugene Ysaye, Pablo de Sarrasate and Manuel Ponce. Violin recitals just don’t get better.
In between came several performances by the four always reliable and always outstanding string players of the UW-Madison’s Pro Arte Quartet (below top, in a photo by Rick Langer) as well as the newly reformed Ancora String Quartet (below bottom).
And there were many other events.
But The Season of Strings isn’t over yet.
This Saturday night at 8 p.m. in Mills Hall, there is a FREE recital by Laurie Smukler, a violin professor at the Juilliard School who is also doing a guest residency here that features master classes in the violin and chamber music.
Smukler was invited by and will be joined by Soh-Hyun Park Altino (below, in a photo by Caroline Bittencourt), who teaches violin at the University of Wisconsin-Madison School of Music and whose debut recital last year still lingers in The Ear’s ear.
Both women, who are personal friends, are terrific musicians and highly accomplished violinists.
The intriguing program, with the distinguished pianist Victor Asuncion, features the popular work “The Lark Ascending” by English composer Ralph Vaughan Williams; the Sonata for Two Violins by Soviet composer Sergei Prokofiev; and the Violin Sonata No. 3 in D minor by Brahms. (You can hear the heart-rending slow movement of the Brahms, played by violinist Itzhak Perlman and pianist Daniel Barenboim, in a popular YouTube video at the bottom.)
For more information about all events related to the Smukler residency, go to:
By Jacob Stockinger
One by one, the major groups in town are getting their new concert season under way.
PLEASE NOTE: The traditional starting time for the WCO Masterworks concerts has been changed from 8 p.m. to 7:30 p.m. The Ear isn’t sure whether it is for the convenience of audiences or because of the new security measures at the Overture Center. But he likes the earlier starting time since WCO programs are usually very generous.
True to his programming philosophy, WCO music director and conductor Andrew Sewell is mixing the very popular with the rarely heard and the almost completely unknown.
Kaler sounds very promising, since he is the only violinist ever to won gold medals at three prestigious competitions — the Tchaikovsky, Sibelius and Paganini competitions. In the YouTube video at the bottom, you can hear him perform a work by Fritz Kreisler at the Heifetz Festival.
The Symphony No. 4 in C minor by Franz Schubert (below) is a youthful work, but it possesses a surprisingly mature power deriving from its mood and mystery — perhaps because he composed it in the favorite key of his mentor and idol Ludwig van Beethoven. Hence its nickname, “Tragic.”
It should also be an outstanding performance because Schubert’s music is one of conductor Sewell’s many strengths.
William Boyce (1711-1779) was a Baroque-era English composer, a contemporary of George Frideric Handel, who was more popular in his own day. But who has been making something of a comeback, thanks to the early music movement.
Boyce (below) wrote six symphonies, and No. 5 in D Major on this program promises some pleasant surprises. The Ear doesn’t recall ever hearing Boyce performed live in Madison, though that is hardly the definitive word. Maybe he just missed it.
Single tickets are $10 to $80. For tickets, a sample of Ilya Kaler’s playing and background information, visit:
By Jacob Stockinger
The Isthmus Vocal Ensemble (below) will mark its 15th anniversary with two performances this coming weekend of the “German” Requiem by Johannes Brahms and the world premiere of a work by the contemporary American composer Andrew Rindfleisch.
These performances mark the first time the vocal group will be joined by an orchestra.
Performances are in Mills Hall on the UW-Madison campus this Friday, Aug. 5 at 7:30 p.m. and Sunday, Aug. 7 at 3 p.m.
Soloists are soprano Sarah Brailey (below top) and UW-Madison baritone Paul Rowe (below bottom).
Tickets are $20 for adults, $15 for seniors and $10 with a student ID. Children under 6 under should not attend. More information can be found at www.isthmusvocalensemble.org
The Ear asked Scott P MacPherson (below), formerly of the University of Wisconsin-Madison School of Music and now the director of choral activities at Kent State University in Ohio, to talk about the anniversary and concert. MacPherson is the founder and artistic director of the Isthmus Vocal Ensemble.
“We are excited to announce that the Isthmus Vocal Ensemble is celebrating it’s 15th Anniversary with two performances of Johannes Brahms’s Ein deutsches Requiem (A German Requiem) with soloists and professional musicians for the 45-piece orchestra.
“Additionally, IVE marks this significant milestone by presenting the world premiere of the Song of Jubilation, by Andrew Rindfliesch, the native Wisconsin composer’s first choral-orchestral piece.
“Started in 2002, the critically acclaimed Isthmus Vocal Ensemble is Madison’s “temporary” choir—it gathers some of the region’s finest singers every summer for two intensive weeks of rehearsal (below) culminating in two performances on the first weekend of August.
“IVE started up as a summer group of dedicated singers who wanted to perform great choral music together. Many charter members sang under the direction of Robert Fountain in the Concert Choir or with me and the UW Madrigal Singers or Chamber Singers when I was on the UW faculty in the 1980s and 1990s.
“The group has grown from about 35 in its first year to averaging over 60 singers each year. This summer, I have expanded the choir to 115 singers in order to meet the musical and vocal demands of the Brahms German Requiem. (You can hear one of the most popular movements, “How Lovely Is Thy Dwelling Place,” in a YouTube video at the bottom.)
“From the beginning, IVE has served the Madison choral community with excellent performances of a varied and demanding repertoire, from Renaissance and Baroque motets to part songs and motets of the 19th century to choral works either unaccompanied or with piano or organ accompaniment in the 20th century to music by living composers of our time.
“A few years ago, I suggested to the IVE board that we commemorate our 15th anniversary in 2016 by performing a completely different repertoire than our usual fare.
“The Brahms Ein deutsches Requiem immediately came to mind—there wasn’t a doubt in my mind that this would be the right piece to commemorate this milestone. A favorite for the singers and audiences alike, the music of Brahms has frequently been highlighted on IVE’s programs over the years.
“Also, IVE has never before collaborated with an orchestra for an entire concert, although in 2008 we prepared Coronation Anthem No. 2 by George Frideric Handel for Concerts on the Square with Andrew Sewell and the Wisconsin Chamber Orchestra). Performing the German Requiem, arguably Brahms’s finest work, symbolizes the “pinnacle achievement” for many choirs.
I also approached my dear friend composer Andrew Rindflebisch (below), a UW-Madison alumnus who now serves as professor of music and heads the composition program at Cleveland State University, about sharing in our celebration by writing a choral-orchestral piece especially for IVE.
I asked Andy for a brief piece to serve as an opener for the Brahms. Song of Jubilation is a fanfare, a short celebratory anthem of power and beauty. Since it specifically introduces the Brahms, Rindfleisch uses nearly the same instrumentation and even selected one of the texts from the Requiem for his new composition. We are honored and privileged to present the world premiere of this fine work.
Brahms (below) was likely inspired to write his Requiem by the death of his mother in 1865 and possibly also by losing his dear friend Robert Schumann a decade earlier.
In contrast to the Roman Catholic Requiem or Mass for the Dead, which places a great deal of emphasis on the hoped-for salvation of the deceased, Brahms chose a path unheard of in his time: he selected biblical texts in his native German language mostly with themes of consoling the living, comfort in the time of loss, hope, and even a sense of joy for the bereaved for his Requiem.
The resulting 7-movement work quickly became an enduring statement of universal consolation, a “Human” Requiem as Brahms once called it. We hope that not only our dedicated audience members over the years will come and be moved by this incredible music, but that many more new audience members will be there as well.
By Jacob Stockinger
This coming Wednesday night at 7 p.m., on the downtown Capitol Square, marks the opening of what has been billed as “The Biggest Picnic of Summer” — the six annual outdoor summer Concerts on the Square (below) by the Wisconsin Chamber Orchestra and guest soloists.
They are big because each concert, under the baton of WCO artistic director Andrew Sewell, last year averaged a weekly crowd of more than 42,000 people, up from 35,000 the previous year, according to the Capitol Police. (The highest was 50,000; the lowest 28,000.)
You should also know that this year the Concerts on The Square will include a generous — maybe, The Ear suspects, even an unprecedented — amount of classical music on June 29, July 6, July 17, July 27 and Aug. 3.
On the programs you will find music by Felix Mendelssohn, Joaquin Turina, Aaron Copland and Ottorino Resphighi (this Wednesday); by Leo Delibes, Peter Tchaikovsky (including the annual and traditional Fourth of July or Independence Day performance of his “1812 Overture”) and Jules Massenet (with famed local Metropolitan Opera singer, mezzo-soprano Kitt Reuter-Foss on July 6); by Paul Dukas, Jean Sibelius, Niels Gade and Antonin Dvorak (on July 13); Ludwig van Beethoven (July 27); Arthur Honegger and Peter Tchaikovsky (Aug. 3).
Here is a link with more information including links to tickets, rules about behavior and seating, and food options:
Even as it prepares for this summer’s six Concerts on the Square, which start Wednesday night, June 26, and run through August 3, the Wisconsin Chamber Orchestra has announced its 2016-27 indoor Masterworks season of five classical concerts. It is an impressive lineup that features a local violist who has made it big, Vicki Powell, and the very young violin sensation Julian Rhee, who won the Madison Symphony Orchestra’s Final Forte with a jaw-dropping reading of the Violin Concerto by Johannes Brahms, as well as a guitarist and duo-pianists.
Here is a link to more information:
A REMINDER: Tonight at 8 p.m., Wisconsin Public Television will air a one-hour broadcast of the 50th anniversary concert in Overture Hall by the various groups in the Wisconsin Youth Symphony Orchestras.
For more information, here is a link:
By Jacob Stockinger
The Ear has received the following news release, which should interest a lot of local arts fans. Unfortunately, it contains some grant jargon. But the bottom line is clear: Both the Wisconsin Chamber Orchestra and Madison Ballet will use the money see if and how they can share their resources and thereby become more secure, efficient and financially stable. You may recall that Madison Ballet had to abruptly cancel its past season when donations for its production of “Peter Pan” fell short:
The Wisconsin Chamber Orchestra and Madison Ballet have been awarded a $30,000 Community Impact grant from Madison Community Foundation to explore an innovative and shared resource business model for the two organizations.
The award will fund a comprehensive feasibility study that will assess the resources of each organization and identify opportunities for efficiency and growth.
Madison Ballet and the Wisconsin Chamber Orchestra, both well-established arts organizations, have long been providing world-class performances and creative programming in the community.
But as competition for non-profit funding increases, these two organizations are looking for creative business solutions to maintain excellence, support program growth, and ensure long-term sustainability.
“We are so pleased that Madison Community Foundation is supporting this project,” says Madison Ballet’s General Manager Gretchen Bourg. “All businesses—especially those in the non-profit sector—are realizing the need for new models for success and sustainability. This study is an exciting first step toward a truly innovative way of serving our community.”
The feasibility study represents Phase 1 of a larger project that could result in a business model in which the Wisconsin Chamber Orchestra and Madison Ballet share key administrative functions, minimizing redundant costs and leveraging each organization’s unique strengths.
Each would retain the signature artistic and outreach programs for which they are known.
Mark Cantrell, CEO of the WCO says “This grant provides a wonderful opportunity to explore ways for our two organizations to come together to help build a better community.”
“I have worked together with Earle [Smith] for the past 16 years. We arrived in Madison within a year of each other and have always maintained an excellent artistic and working relationship,” says Andrew Sewell (below), music director of the WCO. “Our two organizations have performed together for their annual Nutcracker performances, as well as collaborated on special projects such as the Halloween concert, Concerts on the Square® and most recently the 10th anniversary concert of Overture Center. I’m excited to explore the benefits this unique arts organizational model may represent for both groups.”
Madison Ballet’s Artistic Director, W. Earle Smith (below), echoes support for the project: “I am very grateful to the Madison Community Foundation for this opportunity to find better ways to engage our audiences and support our artists.”
The boards of directors of Madison Ballet and Wisconsin Chamber Orchestra expect to select a consulting firm to conduct the study by the end of May. Data from the study will be used to identify next steps in strategic planning for long-term sustainability.
The Wisconsin Chamber Orchestra, led by Maestro Andrew Sewell, is a vibrant and thriving professional orchestra dedicated to advancing Wisconsin communities through the transformative power of music.
The WCO performs for over 240,000 people per year, including Concerts on the Square (below)®, Masterworks, Holiday Pops, Handel’s Messiah, Youth Concerts, and other performances across the state. For more information, visit wcoconcerts.org.
Madison Ballet touches the lives of 50,000 individuals in the community each year through engaging outreach programs and unforgettable performances.
Its annual presentation of The Nutcracker remains an essential part of many families’ holiday traditions, and it has broken new ground with innovative productions like the original rock ballet, Dracula.
By Jacob Stockinger
The Wisconsin Chamber Orchestra (below), under its longtime music director Andrew Sewell, will close out its current Masterworks season this Friday night at 8 p.m. in the Capitol Theater of the Overture Center.
The program – which features guest pianist John O’Conor (below) – includes the Piano Concerto No. 1 by John Field; the Piano Concerto No. 21 in C Major, K. 467 (“Elvira Madigan”), by Wolfgang Amadeus Mozart; the Suite No. 1 for Small Orchestra by Igor Stravinsky; and the Symphony No. 1 by Carl Maria von Weber.
Tickets are $15-$80.
For more information, including a full biography of John O’Conor and the purchasing of tickets, visit:
John O’Conor, who has an extremely busy career performing, teaching, recording and judging piano competitions recently agreed to a Q&A with The Ear:
John Field is best known as the precursor of Chopin when it comes to composing nocturnes. How right or wrong is that perception and how would you change it? What else should we know about Field, his stylistic roots and his influence, especially through his other piano music, in particular his concertos?
John Field (below) is indeed the originator of the Nocturne form for piano music. He realized that the usual forms of music of the 18th century (sonatas, variations etc.) were not really suitable for after-dinner performances at the residences of the nobility in the 19th century, so he published various short pieces entitled “Pastorale” and other such names until he happened on the idea of the “Nocturne” in 1814 (when Chopin was only 4 !!) when he published his first three.
They were an immediate sensation and he quickly published many more. It is said that one of his Polish students in St. Petersburg went back to Poland in the 1820s, played some of his Nocturnes, Chopin heard them and wrote his own and the rest is history.
Field was a prodigy in his native Dublin where he was born in 1782. His father recognized his talent and spent the enormous sum of 100 pounds to apprentice him to Muzio Clementi in London when he was only barely in his teens. Clementi was not only a famous pianist and composer but also a piano manufacturer.
He soon realized that when Field demonstrated his pianos, he sold more pianos! So he brought him on a promotional your around Europe in 1802. They visited Paris and Vienna and then St. Petersburg, when winter set in and they had to stay there until they could travel again in spring.
But during the winter the very handsome Field became the darling of the salons and all the daughters of the nobility wanted to study piano with him. So when Clementi (below) left in spring, Field stayed on. He spent most of the rest of his life in Russia and died in Moscow in 1837.
What would you like the public to know about the Piano Concerto No. 1 in E-flat Major by Field that you will perform in Madison?
Apart from Nocturnes, Field also wrote four sonatas and seven piano concertos. The concertos were tremendously popular in the 19th century and his second concerto was often the debut concerto of young virtuosi — in the same way that Sergei Rachmaninoff‘s Piano Concerto No. 2 became so in the 20th century.
The problem with the concertos is that they often lack an advanced sense of form and meander quite a bit — but quite beautifully!
I love the first concerto because it is the most concise and best organized of the concertos. It is full of youthful exuberance and he obviously wanted to show off his considerable technique in the flying fingers of the outer movements.
The middle movement is a set of variations on a Scottish folk song and though he composed this piece while still living in London with Clementi you can already hear the gentle filigree figurations that became such a characteristic of his later Nocturnes.
The Piano Concerto No. 21 by Mozart (below) is best known for its slow movement that was used as the soundtrack to the popular film “Elvira Madigan.” What else would you like to point out about this particular concerto to the public? In your view, where does it rank among Mozart’s 27 piano concertos?
There is no connection between Field and Mozart that I know of. But the Mozart Concerto is another example of a composer showing off his virtuosity. Both the outer movements sparkle with vivacity and charm, and the beauty of the slow movement needs no introduction from me. It is one of the most beautiful movements that Mozart ever wrote. (You can hear the slow movement in the YouTube video — with 39 million hits!~ at the bottom.)
You are very well known internationally as a both a teacher and an award-winning performer. For you, how does each activity inform the other?
I love teaching. I have always loved teaching piano. To some people, it might seem like drudgery, but I hope none of my students have ever felt that.
Nowadays I have incredibly gifted students who regularly win prizes at international piano competitions. But even when I started teaching, I hope I made the music fun for all my less talented students. It is a privilege to give them a love of the art that will keep for the rest of their lives.