By Jacob Stockinger
A conservative musician who admired and valued the music of Johann Sebastian Bach and Wolfgang Amadeus Mozart above that of Ludwig van Beethoven and his own contemporaries, Frederic Chopin (1810-1849) is one of the most popular and most played of all Romantic composers.
He remains a perennial favorite of audiences, students and concert artists. Witness the recent sold-out concerts featuring Chopin’s music by Trevor Stephenson at his home and by Adam Neiman at Farley’s House of Pianos. An amazingly high percentage of Chopin’s works remains in the active repertoire.
His was no belated posthumous fame, either. Chopin, the famous Polish pianist-composer who was exiled in Paris, was well-known and widely respected in his own lifetime by the public and by other famous composers and pianists such as Franz Liszt and Robert Schumann.
Yet despite many drawings and paintings of Chopin – often at odds in their depictions — until recently only one known photograph of Chopin existed: The familiar one taken by Louis-Auguste Bisson in Paris towards the end of Chopin’s life, just months before he died of tuberculosis at age 39 in 1849.
Now a second photograph — or daguerreotype, to be exact — has been discovered. It probably dates from 1847 or so.
Here is the new photographic portrait of Chopin:
Want to know some background?
Here is the story from Poland via The Washington Post and the Associated Press:
Here are the two known photographs side by side for comparison:
And here is a terrific blog analysis of the two photographs that also discusses his late music and what the photographs tell us about Chopin:
The Ear wonders how long it will be before we start seeing the new photograph of Chopin on CD jackets and liner notes.
By Jacob Stockinger
The third time is the charm.
By then you know a tradition has been born.
For the third year in a row, the University of Wisconsin-Madison is holding a Schubertiade at the end of January, near the birthday of Austrian composer Franz Schubert (1797-1828, below). Can there be a better way to kick off the second semester of concerts and music-making?
The event, which was founded by and now is organized by and performed by the wife-and-husband team of UW-Madison collaborative piano professor Martha Fischer and piano teacher and former music director for Wisconsin Public Radio Bill Lutes, takes place this Saturday night at 8 p.m. in Mills Hall.
Admission is $15 for adults, free for students of all ages. A post-concert reception is included.
ALSO, BE ADVISED THAT THERE IS A UW HOCKEY GAME THAT NIGHT, SO FINDNG PARKING WILL BE MORE CHALLENGING THAN USUAL. ALLOW FOR EXTRA TIME TO GET TO THE CONCERT. THE HALL WILL OPEN AT 7:30 P.M., IF YOU WANT TO COME EARLY AND GET TO YOUR FAVORITE SEATS.
What is it about Schubert that makes him special to the many performers and listeners who will take part?
One answer can be found in a press release from the UW-Madison:
More can be found in a story written by Sandy Tabachnick for Isthmus:
But Bill Lutes also agreed to talk about Schubert (below) and the Schubertiade in an email Q&A with The Ear:
This is the third consecutive year of the UW-Madison Schubertiades that you have presented in honor of his birthday on Jan. 31, this year being the 219th. What is it about Schubert that draws audiences and performers to his music?
Probably the most obvious thing we love about Schubert is the endless stream of glorious, memorable melody – melodies that we can only call “Schubertian.” Who can forget a tune like “The Trout” or “Ave Maria” or the famous “Serenade”? These are part of our cultural DNA.
Then there is Schubert’s rich harmonic vocabulary, and his expansiveness and generosity of form. Although he fashioned innumerable miniatures of exquisite perfection – short songs and piano pieces – he also wrote some of the biggest works of the time, including some of the songs we are performing.
They are big in every way, the “heavenly length” that Robert Schumann wrote about and loved, the sense of adventure and the unexpected and the sheer spaciousness of his musical paragraphs — and the long passages of rhythmic obsession that seem to anticipate today’s Minimalist composers.
Above all, his music is unique in the ways it explores the most joyful and the most tragic aspects of our experience, often interwoven, and ambiguously overlapping.
Those of us who are attracted to Schubert feel that he is our friend, our consoler, our guru and our guide to something that shines beyond the travails of our earthly life. He left us such a rich and varied body of music. The amount he composed in his 31 years is absolutely incredible. But also the level of inspiration is so high throughout so much of it.
Your program has a lot of variety. Is there some overarching “theme” that ties the program together?
This year, the pieces we are doing are all inspired by Schubert’s exploration of the sounds and imagery of nature. We’re calling it Schubertian “Naturescapes: Water, Winds and Woodlands.” Schubert came along at a time when the Romantic poets, painters and musicians began to think of nature in a new way.
Like Frank Lloyd Wright, Schubert and his poets spelled Nature with a capital N. The poetry he set to music often evokes the grandeur and sublimity of Nature, and the ways that we humans experience transcendence by observing mountains, forests, lakes and seas, and rushing winds or gentle breezes. All of the lieder that we have selected for this program reflect this almost religious attitude toward Nature (depicted below in the painting “Summer,” with a couple embracing amorously under a tree, by the Romantic German artist Casper David Friedrich.)
What are some of the challenges that Schubert’s music poses to pianists in particular?
Schubert’s piano style is unique, and calls for an ability to sing on the instrument, and to play with an array of orchestral colors.
Playing his songs of course means that you understand something about what it takes to sing them, and you have to completely get into the poetry and the ideas being explored.
He was a very social and sociable composer, and so a lot of playing Schubert involves playing nicely with others. That includes of course playing duets by two pianists at one keyboard.
Schubert was probably the greatest composer for this medium and wrote some of this greatest works for piano duet.
The two pianists must play the same instrument, and sound as one. It is harder than you might think! The issue of playing in such close proximity to your partner invites a level of physical intimacy that can be quite pleasant or quite awkward, depending on the music in question.
The great pianist Artur Schnabel (below) spoke of “music that is better than it can be played.” He included most of Schubert in this category.
The idea for the Schubertiades originated in Schubert’s lifetime — social gatherings devoted to hearing Schubert’s music, but also to having a good time with friends. How do modern performers recreate this informal atmosphere?
Part of it is the variety of the music, and the large number of performers who will be joining us, most of whom will be seated around the piano on stage during the concert (below top). We will also have seating on stage for audience members who want to have a bit of the intimate feeling of those first legendary Schubertiades (below bottom) held in salons in Vienna.
We aim for an atmosphere of spontaneity and informality, as we have in the past two Schubertiades. We are thrilled this year that our concert is underwritten by a generous donor, Ann Boyer, whose gift has allowed us to include opera singer Jamie-Rose Guarrine (below, in a photo by Peter Konerko) as our featured guest artist and alumna.
We both worked a lot with Jamie-Rose when she was a student here and she’s a wonderful singer who will be travelling to us from New England where she is a new voice faculty member at the University of Massachusetts at Amherst.
And of course we are delighted to be making music with so many of our UW-Madison School of Music faculty, other alumni and friends.
Anything else you want to add?
We will be performing all the songs in their original German. However, you’ll find full German texts and translations at the door. We encourage people to come early and read the poetry before the concert begins. It’s a nice way to familiarize yourself with the gist of the poems without having to be glued to your program while the songs are being sung.
Here is the impressive and appealing complete list of works and performers:
Schubertian Naturescapes – Water, Winds and Woodlands
Jamie-Rose Guarrine (JRG), Mimmi Fulmer (MF), Sara Guttenberg (SG), Marie McManama (MM), Daniel O’Dea (DO), David Ronis (DR), Paul Rowe (PF), Benjamin Schultz, (BS), singers
Soh-hyun Park Altino (SP), violin
Sally Chisholm (SC), viola
Parry Karp (PK), cello
Ben Ferris, (BF), double bass
Daniel Grabois (DG), horn
Wesley Warnhoff (WW), clarinet
Bill Lutes (BL) and Martha Fischer (MF), piano
Wanderers Nachtlied (II), D. 768 Wayfarer’s Night Song (MF, BL) Johann Wolfgang von Goethe
Der Fluss D. 693 The River (JRG, BL) Friedrich von Schlegel
Widerspruch, D. 865, Contrariness (DO, DR, BS, PR, MF) Johann Gabriel Seidl
Auf dem Wasser zu Singen, D. 774, To Be Sung on the Water (SG, MF) Friedrich Leopold, Graf zu Stolberg-Stolberg
Fischerweise D. 881, Fisherman’s Ditty, (BS, MF) Franz Xaver von Schlechta
Die Forelle, D. 550, The Trout (MM, BL) Christian Friedrich Schubart
Piano Quintet in A major “Trout,” D. 667 (SP, SC, PK, BF, MF) Movement IV: Theme and Variations (heard in a YouTube video at the bottom)
Suleika I, D. 720 (JRG, BL); Suleika II, D. 717 (JRG,MF) Marianne von Willemer, rev. Goethe
Auf dem Strom, D. 943, On the River (DO, DG, MF) Ludwig Rellstab
Frühlingsglaube, D. 686, Faith in Spring (DR, BL) Ludwig Uhland
Im Walde “Waldesnacht,” D. 707, In the Forest “Forest Night” (PR, BL) Friedrich Schlegel
Dass sie hier gewesen, D. 775, That She has Been Here (MF, BL) Friedrich Rückert
Allegro in a minor ”Lebensstürme,” D. 947, Life’s Storms (MF, BL)
Der 23 Psalm, D. 706, (MM, SG, MF, MF, BL) The Bible, trans. Moses Mendelssohn
Der Hirt auf dem Felsen D. 965, The Shepherd on the Rock (JRG, WW, MF) Wilhelm Müller/Karl August Varnhagen von Ense
An die Musik, D. 547 To Music. Franz von Schober. Everyone is invited to sing along. You can find the words in your texts and translations.
By Jacob Stockinger
It is described as “Wisconsin Young Artists Compete.”
“The Final Forte” event is the final round of the Bolz Young Artist Competition in which the four finalists perform in a FREE concert with the Madison Symphony Orchestra that is broadcast live by Wisconsin Public Radio (WPR) and rebroadcast by Wisconsin Public Television (WPT).
“The Final Forte” will take place this Friday night at 7 p.m. in Overture Hall of the Overture Center. Seating is FREE but you must register with the Madison Symphony Orchestra. John DeMain will conduct the Madison Symphony Orchestra.
According to the Madison Symphony Orchestra, which organizes and conducts the competition:
“The Final Forte 2016 finalists (above) were selected from several young Wisconsin artists who competed in the Bolz Young Artist Competition’s two preliminary rounds. The event gave these four artists the chance to perform a movement from a concerto with the MSO.
The 2016 contestants are (below, left to right): Pianist Audrianna Wu of Madison, who will perform the third movement of the Piano Concerto in A minor by Edvard Grieg (you can hearing the famous concerto played by Norwegian pianist Leif Ove Andsnes in a YouTube video at the bottom); pianist Liam Mayo of Green Bay, who will perform the first and third movement of the Piano Concerto No. 1 by German composer Felix Mendelssohn; violinist Tabby Rhee of Brookfield, who will perform the first movement of the Violin Concerto by Finnish composer Jean Sibelius; and marimbist Robert Rockman of Sun Prairie, who will perform the “Fantasy on Japanese Prints” by American composer Alan Hovhaness.
This year’s anniversary event features special guest co-host, concert pianist Christopher O’Riley, who hosts NPR’s “From the Top” that airs here on Sunday night 8-9 p.m.
The most comprehensive information about the FREE concert, the live broadcasts, the biographies the four young contestants, the complete list of sponsors and a link to register to reserve a seat (you can also call 608 257-3734) can be found at the Madison Symphony Orchestra’s website:
According to the MSO: “This competition has captured an enormous following and numerous honors, including an Emmy nomination, First Place in the “Special Interest” category from the Wisconsin Broadcasters Association in 2007, and fifth most-watched program in the February 2007 Nielsen ratings.
The 2008 WPT and WPR broadcasts reached more than 60,000 viewers and listeners in the Madison market alone and the 2009 broadcasts reached an estimated 200,000 statewide.”
This event will be broadcast on: Wisconsin Public Television: Tuesday, Feb. 2, at 8 p.m. and Sunday, Feb. 7, at 12 p.m.
Milwaukee Public Television: Friday, Feb. 5, at 8 p.m. and Tuesday, Feb. 9, at 4 a.m.
Wisconsin Public Radio: Sunday, Jan. 31, at 12:30 p.m.
Here is a link to Wisconsin Public Television, which features introductory videos about each performer:
And here is a link to Wisconsin Public Radio, where Thursday right after the noon news on The Midday, Christopher O’Riley, host of NPR’s popular classical music program From The Top, chats with radio host Stephanie Elkins (below) about his show and the young musicians from Wisconsin that have appeared on his show in the past. O’Riley is in town to help celebrate the 10th anniversary of the Bolz Young Artists Final Forte.
By Jacob Stockinger
The program includes: the Canzona per sonare No. 2 by the Italian Baroque composer Giovanni Gabrieli (ca. 1554-1612); “In the Zone” by UW-Madison alumnus Andrew Rindfleisch (b. 1963); the Brass Quintet by Ira Taxin (b. 1950); and Rounds and Dances for Brass Quintet by Jan Bach (b. 1937)
Members of the Wisconsin Brass Quintet are (below in a photo by Michael R. Anderson, left to right): Mark Hetzler, trombone; Matthew Onstad, trumpet; Tom Curry, tuba; John Aley, trumpet; Daniel Grabois, horn.
Here is some background about the Wisconsin Brass Quintet:
Founded in 1972, the Wisconsin Brass Quintet is a faculty ensemble-in-residence at the University of Wisconsin-Madison School of Music.
The quintet’s musical expertise has been acknowledged by Verne Reynolds, Jan Bach, Karel Husa, John Harbison, Daron Hagen and many other composers.
In addition to performing with the WBQ, the players have also been members of the American Brass Quintet, Empire Brass Quintet and Meridian Arts Ensemble. Quintet members John Stevens and Daniel Grabois and former member Douglas Hill have also composed many works for the group.
With extensive performances throughout the Midwest and nationally, including appearances at New York’s Carnegie Recital Hall and Merkin Concert Hall, the quintet’s educational programs and master classes have been presented in such prestigious settings as The Juilliard School and the Yale School of Music.
The quintet performs annual live radio broadcast concerts on Wisconsin Public Radio. Its three CD recordings, on the Summit, Mark and Crystal labels, feature music by John Stevens, Douglas Hill, Verne Reynolds, Daron Hagen, John Harbison and Enrique Crespo.
An earlier LP recording features the only recording of Jan Bach’s “Rounds and Dances” and Hilmar Luckhardt’s “Brass Quintet.” Each of these works was composed for the Wisconsin Brass Quintet, in keeping with the WBQ’s commitment to commissioning and performing new music of the 20th and 21st centuries. (You can hear the Wisconsin Brass Quintet perform a commissioned work in the YouTube video at the bottom.)
Barry Kilpatrick writes for the American Record Guide: “I’ve reviewed over 250 brass recordings in the past five years, and this is one of the very best. The WBQ is a remarkable ensemble that plays with more reckless abandon, warmth, stylistic variety and interpretive interest than almost any quintet in memory.”
ALERT: Trevor Stephenson, the founder and artistic director of the Madison Bach Musicians, writes:
Dear Friends: The Madison Bach Musicians begins its 12th season next weekend on Saturday night (8 p.m. at Immanuel Lutheran Church on the near east side) and Sunday afternoon (3:30 p.m., at Holy Wisdom Monastery on the far west side on County M) with a marvelous program of four Baroque concertos by Johann Sebastian Bach, Heinrich Biber, Leonardo Leo and Antonio Vivaldi! Soloists will be MBM concertmaster violinist Kangwon Kim, and guest artist Steuart Pincombe baroque cellist. I’ll give pre-concert lectures at both events (at 7:15 p.m. and 2:45 p.m., respectively).
I’ll be discussing these upcoming concerts on two radio programs here in the next couple of days. This Sunday morning, Sept. 27, from 10:30 to 11 a.m. on WORT FM radio (89.9), I’ll be Alan Muirhead’s guest on the Musica Antiqua program. On Wednesday, Sept. 30, Kangwon Kim, Steuart Pincombe and I will all be Norman Gilliland’s guests on the Midday program noon-12:30 p.m. on Wisconsin Public Radio (88.7 FM). I hope you can tune in. Tickets are available online at (www.madisonbachmusicians.org), at our ticket outlets, and at the door. I look forward to seeing you at the concerts!!
By Jacob Stockinger
The new concert season is here.
That means many of us will spend too many minutes reading second-rate program notes and inferior artist biographies as we wait for a concert to take place — even though I think many local groups and local program note writers do quite well.
But why do so many of those predictable and formulaic artist bios seem such surefire ways to bore an audience or put it to sleep? (Below is a photo from istock.)
It’s a good piece and raises a lot of questions as well as provides some suggestions. It has been long overdue.
Here is a link:
Leave your own reactions, criticism and suggestions about program notes and artist bios in the COMMENTS area.
The Ear wants to hear.