The Well-Tempered Ear

Classical music: Today is Memorial Day – a good time to remember the civilian dead as well as the military dead. The Ear likes Ravel’s “Le Tombeau de Couperin.” What music would you listen to to mark the holiday?

May 27, 2019
2 Comments

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By Jacob Stockinger

Today is Memorial Day, 2019, when the nation honors the men and women who died in military service. The Ear would like to see much more attention and remembrance paid to the huge number of civilians — much higher than military personnel and soldiers — who have died in wars and military service, whose lives weren’t given but taken.

In fact, why not establish and celebrate a separate holiday to honor civilian deaths in war? Perhaps it would help to know the detailed history and background of the holiday, since it is not as straightforward or modern as you might expect:

https://en.wikipedia.org/wiki/Memorial_Day

What piece of classical music would you listen to in order to mark the holiday?

There is a lot to choose from.

The Ear especially likes “Le Tombeau de Couperin” by the early 20th-century French composer Maurice Ravel. It is a “tombeau” – a metaphorical “tomb” or “grave” used by the French to mean paying homage to the dead – in two senses.

Its neo-Classical or neo-Baroque style recalls the 18th-century world of French composers and harpsichordists including Jean-Philippe Rameau and Francois Couperin. But in a second sense, Ravel (below, in 1910) dedicated each of the six movements to a friend – in one case, two brothers — who had died during World War I. So part of its appeal is that it is a very personal statement of grief.

Here is more detailed background about the piece:

https://en.wikipedia.org/wiki/Le_tombeau_de_Couperin

The work was orchestrated later, which added sonic color but cut out two movements. The Ear prefers the original piano version, which seems a little more percussive, austere and straightforward — less pretty but more beautiful, and more in keeping with the holiday by evoking sentiment without sentimentality.

In the YouTube video at the bottom, you can hear it in a live performance by Canadian pianist Angela Hewitt.

But there are lots of other works to choose from by many composers: John Adams (“The Wound Dresser” after poetry of Walt Whitman); Samuel Barber (Adagio for Strings); Ludwig van Beethoven (slow movements of Symphonies 3 and 7, and of the Piano Sonata Op. 26); Johannes Brahms (“A German Requiem”); Benjamin Britten (War Requiem);  Frederic Chopin (Funeral March from Sonata No. 2, polonaises, preludes and the “Revolutionary” Etude); Aaron Copland (“Fanfare for the Common Man” and “Letter From Home”); Edward Elgar (“Nimrod” from “Enigma Variations”); Gabriel Faure (Requiem and Elegy for cello); Franz Joseph Haydn (“Mass in Time of War”); Paul Hindemith (“When Lilacs Last in the Dooryard Bloom’d – A Requiem for Those We Love”);  Charles Ives (Variations on “America” and “Decoration Day”); Henry Purcell (“When I Am Laid in Earth”); John Philip Sousa (“Honored Dead” March); Ralph Vaughan Williams (Symphony No. 3 “Pastoral”); and many others, including Johann Sebastian Bach and Wolfgang Amadeus Mozart.

Here is a list from the British radio station Classical FM:

https://www.classicfm.com/discover-music/occasions/memorial/remembrance-day-music/war-requiem-britten/

Here is a list of patriotic music from Nashville Public Radio:

https://www.nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Here is another list from an American source:

http://midamerica-music.com/blog/five-classical-works-memorial-day/

Here are more sound samples from NPR:

https://www.npr.org/templates/story/story.php?storyId=104341851

And here is another one from Northwest Public Radio:

https://www.nwpb.org/2015/05/22/memorial-day-music-commemorate-celebrate/

What do you think of a holiday commemorating civilian deaths in war?

What favorite piece of classical music would you play and listen to as you mark Memorial Day?

Let us know, with a YouTube link if possible, in the COMMENT section.

The Ear wants to hear.


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Classical music: What’s the point of the new “Hyperpiano” if it just mars the music, frustrates the performer and alienates the audience?

November 3, 2016
16 Comments

By Jacob Stockinger

Like everyone in the almost sold-out house at Mills Hall last Friday night, The Ear went to hear the wonderfully gifted UW-Madison piano virtuoso Christopher Taylor unveil his new hi-tech invention: the so-called “Hyperpiano.”

Taylor (below) patiently explained in detail how the hybrid electronic-acoustic piano was conceived and developed, and then how it worked.

Here is a link to two stories with detailed background:

https://uwmadisonschoolofmusic.wordpress.com/2016/09/13/christopher-taylor-to-debut-new-piano/

Hyperpiano explaining

But at the risk of hurting the feelings of the brilliant and personable Taylor, The Ear has to confess: He left the event – more an experiment or demonstration than a concert – disappointed. He just doesn’t see the point. It seems a case where the idea will inevitably prove superior to the reality.

This new piano, conceived and executed by Taylor with lots of help, features a digital-like console (below) with two keyboards. The console then links up electronically to two regular acoustic concert grand pianos by means of lots of wires. Wires pass along electronic digital impulses to mechanical fingers that hit actual piano keys and makes traditional pianos play.

Hyperpiano console

If the Hyperpiano sounds like some kind of Rube Goldberg contraption, well, that’s because it IS. Ingenious, yes; practical, hardly.

The piece Taylor used to demonstrate his new piano was the momentous and magnificent “Goldberg” Variations by Johann Sebastian Bach, a promising and appealing challenge for the new piano. The Ear has heard Taylor play this music before, and it was a memorable experience. 

Not this time.

A great instrument is supposed to make playing easier, to bring both the performer and the audience closer to the music. But this new piano interfered with both and did just the opposite. It put you on edge, just waiting for the next thing to go wrong and get fixed and then go wrong again. It made no sense, and little beauty.

Hyperpiano fixing a problem

Clearly the Hyperpiano – more accurately dubbed Frankenpiano by Taylor’s students — is a technological curiosity that is still a work-in-progress, with lots of snags and flaws that became apparent during 2-1/2 hours.

But even had it worked perfectly, The Ear asks: What is the point?

Certainly it makes for an interesting electrical engineering problem to solve, one that eats up lots of time, thought, energy and money. But why have three $100,000 concert grand pianos and a custom-built piano console all on the stage when a single traditional piano would do the job just fine?

Hyperpiano stage

Single-keyboard pianos have brought us many memorable performances of the Goldbergs – including those by Rosalyn Tureck, Glenn Gould, Andras Schiff, Jeremy Denk, Murray Perahia and Angela Hewitt among others, to say nothing of Taylor himself.

And on stage was an old one-of-a-kind, two-keyboard Steinway that Taylor has used before to fine effect, rather like the two-manual harpsichord that Bach originally wrote the music for and that facilitates the difficult cross-hand passages.

Despite distractions, Taylor played the Bach with total commitment and enthusiasm as well as with his back to the audience, as piano recitals used to be played before the young Franz Liszt turned the piano sideways to show off his heart-throb profile.

Yet the misfiring of electrodes plus an unending loud chirp or tweet and the uneven pistons or clunky mini-jackhammers (below) that hit the keyboards as artificial “fingers” just meant a lot of dropped notes and, for the most part, a very choppy reading of Bach’s great music that stymied both the performer and the listeners.

Hyperpiano fingers

Compounding the performance was that Taylor took all the repeats, which often just doubled the frustration. How The Ear wishes Taylor had played just the first half on the Hyperpiano and then, for comparison, switched to a regular piano or to the two-keyboard Steinway.

True, at the end the audience gave Taylor well earned applause and a prolonged standing ovation. But The Ear suspects it was more for his perseverance, patience, good humor and stupendous effort than for the music itself or the new piano. He bets only a very few listeners would pay to go back to hear another recital on the Hyperpiano.

Will Taylor continue to work on improving the terrifically complex Hyperpiano? Yes, one suspects that he will and one wishes him success. But wouldn’t all that time and effort be better spent learning new music and performing it?

The Ear says: Enough hype about the Hyperpiano!

It’s time for a great musician to get back to the music.

Did you go hear the Hyperpiano?

What do you think?

The Ear wants to hear.


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