The Well-Tempered Ear

Classical music: Wisconsin Chamber Orchestra offers FREE concert tickets to furloughed federal workers

January 17, 2019
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By Jacob Stockinger

Restaurants, food banks, retail stores and other organizations have responded with compassion and generosity to victims of the ongoing partial shutdown of the U.S. government.

Here is an announcement of a timely move that The Ear thinks is terrific news for budget-strapped workers who have to cut back on entertainment or discretionary expenses. It should be a model for other local groups as well as statewide, regional and national arts presenters.

The Wisconsin Chamber Orchestra (below) is offering free tickets to furloughed federal workers for the Masterworks performance on Friday, Jan. 25, featuring the young cello prodigy and sensation, Miriam K. Smith.

Fresh from performances with the Cincinnati and Louisville symphonies, Smith (below) will perform the Cello Concerto No. 1 in A minor by Camille Saint-Saëns. (You can hear her perform a violin and cello duet by George Frideric Handel and Johan Halvorsen in the YouTube video at the bottom.)

If you want to know more about Smith, go to her website: https://miriamksmith.com

A forgotten gem by Domenico Cimarosa, Overture to The Secret Marriage, will open the concert, and the performance concludes with Ludwig van Beethoven’s Symphony No. 8, the sunniest of his even-numbered symphonies.

The concert, under the baton of WCO music director Andrew Sewell, will be held at 7:30 p.m. in the Capitol Theater at the Overture Center for the Arts, 201 State St.

If you are a furloughed federal employee, you can call the Wisconsin Chamber Orchestra offices at (608) 257-0638, and mention your place of employment. Best available tickets are on a first-come, first-served basis. Tickets are limited to two per person.

Others who want to attend this concert can find information about the soloist, the program and tickets at: https://wisconsinchamberorchestra.org/performances/masterworks-i-4/

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Classical music: Wisconsin Chamber Orchestra music director and conductor Andrew Sewell launches his own website

January 13, 2019
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By Jacob Stockinger

Just two weeks before he mounts the podium on Friday, Jan. 25, for the first Masterworks Concert by the Wisconsin Chamber Orchestra this season, maestro Andrew Sewell (below) has launched his own website.

Sewell, who was born in New Zealand and became a naturalized American citizen, is the music director and conductor of the WCO, and is also now in his second season as music director and conductor of the San Luis Obispo Symphony in California. Plus, he has many guest appearances, from London to Hong Kong, and numerous awards to his credit. (You can hear an interview with Sewell in the YouTube video at the bottom.)

The homepage of his new website, which features becoming black-and-white photos of Sewell, looks deceptively simple to navigate.

But there is much more than is apparent at first to learn there.

Under BIO you can read about his life in detail and also listen and watch archival videos of him conducting the Wichita and the San Luis Obispo orchestras in major works by Haydn, Beethoven, Berlioz and Brahms, along with critical praise for his performances and programming.

Under SCHEDULE, you see concert dates and soloists but no programs — at first. But if you click on the yellow words for PURCHASE TICKETS and either MASTERWORKS or CONCERT, you will be directed to full information about all the concerts by both of the orchestras he heads.

And by clicking on GALLERY you will find a generous montage of color photos, both serious and playful, of the friendly and talented Sewell at work and at ease.

Here is a link to the website:

https://www.andrewsewell.net/?fbclid=IwAR3zaRVX5psZMfYQNBW2XKIj6AvgY5fiVMQXZw-yOALDQDmZTvBElX6U3us

The Ear finds this a useful and appealing tool to learn more about a Madison maestro whose achievements have consistently stood out for almost 20 years and have altered the landscape of local music-making for the better.

The handsome new website is a job well done, and is well worth your time to check out, bookmark and use regularly.

Bravo, maestro!


Classical music: WQXR names the best classical recording of 2018. Plus, here are other guides to help you use gift cards

January 5, 2019
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By Jacob Stockinger

Here is another gift list that The Ear just found. Even though it was compiled before the holiday, he looked for it but didn’t find it.

It’s another of the top classical recordings of 2018. But this time, the list – with plenty of sound samples — comes from WQXR, the famed classical music radio station in New York City.

It may be too late to use for holiday gift giving – unless it is for yourself. After all, there are a lot of gift cards waiting to be redeemed.

Also below are several other lists so that you can cross-check and compare. The CD of Chopin ballades and nocturnes by Norwegian pianist Leif Ove Andsnes (below), for example, makes almost all the lists, which is a good sign of quality. (You can hear Andsnes play the Ballade No. 4, The Ear’s favorite, in the YouTube video at the bottom.) 

Here is the link to WQXR:

https://www.wqxr.org/story/best-classical-releases-2018/

Here is a link to the top picks by critics for The New York Times and the Top 10 for National Public Radio (NPR):

https://welltempered.wordpress.com/2018/12/22/classical-music-gift-guide-or-gift-or-both-critics-for-the-new-york-times-name-their-top-25-classical-recordings-of-2018-so-does-national-public-radio-npr/

And here are the nominations for the 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/


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Classical music: Trio Celeste makes its Madison debut this Sunday afternoon playing music by Tchaikovsky, Rachmaninoff and Piazzolla. They give a FREE master class on Saturday afternoon

January 3, 2019
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By Jacob Stockinger

This is a slow time of the year for classical music concerts, the winter intermission between fall and spring semesters. But The Ear received for the Salon Piano Series the following announcement to post:

“We caught this West Coast group on a rare Midwest tour. Trio Céleste (below) has firmly established itself as one of the most dynamic chamber music ensembles on the classical music scene today. They’ve wowed audiences worldwide with their “unfailingly stylish” (The Strad) and “flawless” (New York Concert Review) interpretations.

“The piano trio has firmly established itself as one of the most dynamic chamber music ensembles on the classical music scene today. This season’s highlights include recital debuts at the Chicago Cultural Center and New York’s Carnegie Hall, and the world premiere of Paul Dooley’s Concerto Grosso for Piano Trio and Strings.

“Winners of the prestigious Beverly Hills Auditions and the recipients of the 2017 Emerging Artist Award from Arts Orange County, the ensemble has performed hundreds of recitals worldwide.

“Their first album on the Navona label debuted at No. 5 on iTunes for “Best Seller New Release.” (You can see them recording the first album in the YouTube video at the bottom.)”

The program for Trio Celeste’s concert on this Sunday afternoon, Jan. 6, at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on the far west side of Madison near West Towne Mall, will include:

Pyotr Ilyich Tchaikovsky – Piano Trio in A minor, Op. 50 (1882)

Sergei Rachmaninoff – Trio élégiaque No. 1 in G minor (1892)

Astor Piazzolla – Four Seasons of Buenos Aires (1965-1970)
(selections) arr. for piano trio by José Bragato

For more information, about the trio, go to: http://www.trioceleste.com

MASTER CLASS

On this Saturday, Jan. 5, at 4 p.m., Trio Céleste will teach a master class at Farley’s House of Pianos, where they will instruct students from Farley’s House of Pianos and the Wisconsin Youth Symphony Orchestras (WYSO). This is a FREE event that the public is invited to observe.

The master class program will include portions of:

Joseph Haydn – String Quartet Op. 33, No. 3 “The Bird”

Klaus Badelt (arr. Larry Moore) – Theme from “Pirates of the Caribbean”

Ludwig van Beethoven – String Quartet Op. 18, No. 1

Edvard Grieg – String Quartet Op. 27, No. 1

The master classes for the 2018-19 season are supported by the law firm of Boardman & Clark LLP.

Tickets are $45 in advance (students $10) or $50 at the door. You can purchase tickets at https://www.brownpapertickets.com/event/3499176

An artist’s reception will follow the concert.

For more information, go to https://salonpianoseries.org

Service fees may apply. Tickets also for sale at Farley’s House of Pianos.
 Student tickets can only be purchased online and are not available the day of the event.


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Classical music: Wikipedia offers a comprehensive overview of classical music in 2018. Plus, the annual New Year’s Day concert by the Vienna Philharmonic airs this morning on radio and tonight on TV

January 1, 2019
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By Jacob Stockinger

Today – January 1, 2019 – brings just two items or stories to the blog.

NEW YEAR’S DAY FROM VIENNA

The first item is a kind of ALERT.

One of the most popular and beloved worldwide musical traditions is the annual Great Performances broadcast by National Public Radio (NPR) of “New Year’s Day From Vienna” with the Vienna Philharmonic.

This year’s conductor is Christian Thielemann  (below top) of the Munich Philharmonic and the host is Hugh Bonneville (below bottom in a photo by Nick Briggs) of PBS’ “Downton Abbey.”

The concert is a sold-out feast of waltzes, polkas and marches (including the famous clap-along “Radetzky March,” with Herbert von Karajan conducting in 1987, in the YouTube video at the bottom).

The radio version will be broadcast on Wisconsin Public Radio from 10 a.m. to noon THIS MORNING, Tuesday, Jan. 1, 2019.

Then at 8-9:30 p.m. TONIGHT, Wisconsin Public Television will broadcast the visual version of the event, complete with ballet and wonderful landscape, interior and architectural shots in and around Vienna. There will also be encore performances: https://wptschedule.org/episodes/48242142/Great-Performances/From-Vienna-The-New-Years-Celebration-2019/

For a playlist and more background, go to: http://www.pbs.org/wnet/gperf/from-vienna-the-new-years-celebration-2019-about/9076/

2018 IN REVIEW

The first day of the new year seems like the perfect time to look back and see what happened in classical music during the past year.

And this year, The Ear found something truly comprehensive and international.

Wikipedia has put together a year-end overview that is astonishing for its amount of detail. 

You will find a global day-by-day calendar that includes links, in blue, for more details.

You will find news items and major events – including the effect of the #MeToo movement as well as deaths and obituaries, jobs and retirements.

You will find a list of new music.

You will find a list of new operas.

You will find lists for several major awards for classical recordings.

It is a terrific resource — a good long read, both informative and entertaining. Perfect for New Year’s Day.

Here is a link: https://en.wikipedia.org/wiki/2018_in_classical_music

Happy New Year!


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

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

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: Here are playlists of the best classical music for Christmas Eve and Christmas Day. What music would you choose?

December 24, 2018
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REMINDER: A well-edited one-hour excerpt of the recent Christmas concert by the Madison Symphony Orchestra will air on Wisconsin Public Television at 9:30 p.m. this Tuesday, on Christmas Night. The Ear saw the first airing of the broadcast and highly recommends it. Both the programming and the performing are top-notch. It is a perfect way to wrap up your holiday.

By Jacob Stockinger

Today is Christmas Eve and tomorrow is Christmas Day.

Some people celebrate tonight and some people celebrate tomorrow.

But no matter when you mark the holiday with gifts, gathering and special food, great music has an integral place in the celebration.

Indeed, music seems nothing less than a great gift to the entire world. As the German philosopher Friedrich Nietzsche once said, “Without music, life would be a mistake.”

To help you celebrate, here are playlists of the best classical music, from Medieval times through Baroque music up to living composers, for marking Christmas.

Here are two playlists, with a total of two hours of music, already compiled and available on YouTube. Be sure to hit SHOW MORE at the top to see the complete title, composer’s name and timing of the selections:

https://www.youtube.com/watch?v=PrFCdi7apV8&list=PLcGkkXtask_cCaCLkrmuDUfukHct9eut-

https://www.youtube.com/watch?v=voIrzsxeE6w

And perhaps best of all, here are several lists in the same place from famed classical radio station WQXR in New York City. They not only have generous sound samples, but also allow you to choose what genre of music you prefer — say, choral music or brass music or piano music to string quartet chamber music:

https://www.wqxr.org/story/essential-christmas-recordings/

What music would you choose as favorite Christmas fare?

The Ear wants to hear.

Enjoy! And Merry Christmas to all!


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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)

December 22, 2018
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By Jacob Stockinger

Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday. 

In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.

They seem to be running late this year, probably too late for many shoppers.

But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).

This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.

This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)

It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.

Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.

So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:

Here is a link:

https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html

Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/

And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:

https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018

What recordings would you suggest? 

The Ear wants to hear.


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Classical music: Combining a ticket to a live music performance with a book or recording that is tied to the concert’s program makes a great holiday gift

December 20, 2018
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By Jacob Stockinger

The holidays seem to arrive earlier each year.

The Ear isn’t sure why that is.

Whatever the reason, a lot of holiday gift shopping can by now seem last-minute and somewhat frantic.

But if you are shopping for a classical music fan, you are in luck if you go local.

The best way to please the recipient and also to support the local arts is to give a ticket to a live concert – always the most powerful and exciting musical experience — perhaps coupled to a related book or recording. (Below is UW-Madison pianist Christopher Taylor in a photo by Michael R. Anderson).

This blog doesn’t have room to list separately all the many musical groups in the area. But here are some samples that might interest you.

Through Monday, Dec. 24, the Madison Symphony Orchestra (below, in a photo by Greg Anderson) is once again offering a special deal for the remainder of the season. Tickets to both the “Beyond the Score” program and the remaining four season concerts, including Mahler’s mammoth “Symphony of a Thousand,” have been reduced to two price ranges: $10 and $25 for the former; $25 and $50 for the latter.

For more information, go to: https://madisonsymphony.org/concerts-events/buy-tickets/offers-discounts/holiday-tickets-sale/

If you want to see what other performers and presenters are offering – say, the Wisconsin Chamber Orchestra (below), the Oakwood Chamber Players, the Madison Bach Musicians, the Middleton Community Orchestra, the Wisconsin Baroque Ensemble, the Bach Dancing and Dynamite Society, the Willy Street Chamber Players, the Wisconsin Union Theater, the Overture Center and the Madison Opera, to name just a few of the more prominent names – just go to Google and type in their name to search and go to their home page on the web.

Many of them have all sorts of other discounts for students, seniors, subscribers, groups and others.

Don’t forget that Madison features many FREE concerts, especially at the University of Wisconsin-Madison.

True, a few of the most attractive and gift-worthy UW concerts are ticketed ($17 for adults, $7 for UW students) – including the annual Schubertiade, the yearly recital by pianist Christopher Taylor and the world premiere of the new Viola Sonata by John Harbison (below). But you could offer to take someone to a free chamber music or orchestral concert and provide companionship, transportation and maybe even dinner.

Here is a link to the very busy lineup and informative previews at the UW-Madison’s Mead Witter School of Music: https://www.music.wisc.edu

To top it off, you could add one of two outstanding local books The Ear puts at the top of the holiday gift guide.

The first is John Harbison’s “What Do We Make of Bach” (below top) which is short, very readable, thoroughly engaging and wonderfully informative in an autobiographical way that helps us celebrate both the 80th birthday of Harbison and the upcoming 334th birthday of Johann Sebastian Bach.

The second book, now in its second printing, is a comprehensive history of the Pro Arte Quartet (below) done by John W. Barker, who often writes for this blog as well as Isthmus.

Of course, a CD with one of the composers or works on a program also makes a fine complement, whether it is a Mahler symphony, a Bach suite or Schubert’s “Swan Songs” from his final year.

Finally, The Ear wants to know: What are your suggestions for a for holiday gift of classical music?

It could be a live concert or a recording, either something new or an old favorite.

It could be a particularly informative and enjoyable or entertaining book, including biographies of Leonard Bernstein (including one by his daughter Jamie Bernstein, below), whose centennial has been celebrated this season.

Over the next few days, The Ear will post suggestions  and Top 10 lists by professional critics. But in the end, it is the audience, the ordinary public, that many people want to hear from.

So perhaps you will leave your ideas in the COMMENT section.

Thank you! And have Happy Holidays — a Merry Christmas, a joyous Kwanzaa and a Happy New Year.


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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. Best Classical Solo Vocal Album 

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. Best Classical Compendium 

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. Best Contemporary Classical Composition 

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


Posted in Classical music
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