The Well-Tempered Ear

Classical music: Here are the Grammy winners for 2016 in classical music along with the nominations. Some have ties to Madison.

February 20, 2016
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By Jacob Stockinger

You might remember that at holiday time, The Ear offered a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.

One of those days was Grammy Day.

grammy award BIG

This past Monday night, the winners of the 58th annual Grammy were announced.

The Ear notes that there were a few items of special local and regional interest.

The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison, the Wisconsin Chamber Choir and groups at the University of Wisconsin-Madison School of Music, was nominated for several works. And he won in two categories.

stephen paulus

In addition,  producer Judith Sherman, who already has several Grammys to her credit, was nominated again and won again. She is also the producer to the two recordings of the six centennial commissions by the Pro Arte Quartet at the University of Wisconsin-Madison.  The last one – with the String Quartet No. 3 by Belgian composer Benoit Mernier and a Clarinet Quintet by Canadian composer Pierre Jalbert – will be released this spring.

Judith Sherman 57th Grammy 2016

In addition, violinist Augustin Hadelich (below), who has turned in outstanding and memorable performances with the Madison Symphony Orchestra, received his first Grammy for a recording of the late French composer Henri Dutilleux.

Augustin Hadelich 1

Plus, the critically acclaimed Chicago-based record company Çedille (below top), which has celebrated its 25th anniversary and which specializes in Midwest artists as well as unusual repertoire of both old and new music, had several nominations and won a Grammy for a recording of the new music group Eighth Blackbird. Two other superb artists who record for Çedille and have performed in Madison with the Wisconsin Chamber Orchestra are violinists Rachel Barton Pine and Jennifer Koh.

Cedille Records 25th anniversary logo

Here are all the winners in classical music for the 2016 Grammys. All the nominees are listed and the winners are noted with three asterisks (***):

  1. BEST ENGINEERED ALBUM, CLASSICAL

***Ask Your Mama (below): Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records

Dutilleux: Métaboles; L’Arbre Des Songes (Tree of Dreams); Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media

Monteverdi: Il Ritorno D’Ulisse In Patria: Robert Friedrich, engineer; Michael Bishop, mastering engineer (Martin Pearlman, Jennifer Rivera, Fernando Guimarães & Boston Baroque) Label: Linn Records

Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos

Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recordings

Ask Your Mama CD Cover

73. PRODUCER OF THE YEAR, CLASSICAL

Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)

Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)

Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)

Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)

***Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio)

  1. BEST ORCHESTRAL PERFORMANCE

Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings

Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media

***Shostakovich: Under Stalin’s Shadow – Symphony No. 10 (below): Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon

Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone

Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos

nelsons-shostakovich

  1. BEST OPERA RECORDING

Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus

Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records

Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon

***Ravel: L’Enfant Et Les Sortilèges; Shéhérazade (belw): Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca

Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato

ozawa ravel

  1. BEST CHORAL PERFORMANCE

Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik

Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro

Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi

Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings

***Rachmaninoff: All-Night Vigil (below): Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos

Rachmaninoff All-Night Vigil Grammy 2016

  1. BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine

***Filament (below and in a YouTube video at the bottom): Eighth Blackbird. Label: Cedille Records

Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings

Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records

Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion

Eighth Blackbird Filament cover

  1. BEST CLASSICAL INSTRUMENTAL SOLO

***Dutilleux: Violin Concerto, L’Arbre Des Songes (below): Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’ Label: Seattle Symphony Media

Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern) Label: Onyx Classics

Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi

Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon

Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records

photo

  1. BEST CLASSICAL SOLO VOCAL ALBUM

Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi

***Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato

Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical

Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos

St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti) Label: Decca

Joyce and Tony Live CD Cover

  1. BEST CLASSICAL COMPENDIUM

As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records

Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records

Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics

***Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto (below): Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos

Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings

Paulus Three place of Enlightenment

  1. BEST CONTEMPORARY CLASSICAL COMPOSITION

Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings

Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound

***Paulus: Prayers & Remembrances (below): Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings

Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos

Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music

Stephen Paulus Prayers and Remembrances

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Classical music: Early music and period-instrument pioneer Frans Bruggen dies at 79. And American media don’t care.

August 17, 2014
5 Comments

By Jacob Stockinger

He wasn’t a maestro in the usual sense.

But he surely was a master.

He was a master, even though he never seemed temperamental and never received the kind of acclaim and press that typical orchestral conductors or maestros receive -– from Arturo Toscanini through Leonard Bernstein and Herbert von Karajan to Gustavo Dudamel.

He was Frans Bruggen (below). He was Dutch and a fantastic player of the flute and the recorder. He died this past Wednesday at 79 after a long illness.

Frans Bruggen 1

But he became a pioneer conductor of early music and period instrument authenticity, adopting historically informed performance practices even from the Baroque period, the music of Johann Sebastian Bach, George Frideric HandelJean-Philippe Rameau, Georg Philipp Telemann and Antonio Vivaldi into the Classical and early Romantic periods.

As a flutist and recorder player, Bruggen was a prodigy who often performed with Dutch colleagues in the early music movement, including harpsichord master Gustav Leonhardt and cellist Anner Bylsma.

He founded the Orchestra of the 18th Century, but also went on to conduct major mainstream orchestras and to teach at Harvard University and the University of California at Berkeley,

I loved his performances of music by Wolfgang Amadeus Mozart and Franz Joseph Haydn, of Ludwig van Beethoven and Franz Schubert.

Even as I write this, I am playing Haydn’s “Farewell” Symphony from Bruggen’s set of Haydn’s minor-key, proto-Romantic “Storm-and-Stress” symphonies.

What I especially liked was the expressiveness he often brought to an early music movement that sometimes seemed mechanical or robotic in its early days. Bruggen brought subtlety and emotional connection.

In Brugen’s hands, early music sounded natural, never forced into iconoclastic phrasing or rushed tempi, as it can with Reinhold Goebel and Concerto Koln or Nikolaus Harnoncourt. Bruggen’s performances never sounded deliberately goofy or self-serving. (Below is Frans Bruggen conducting.)

PX*6559535

Bruggen must have made his case persuasively. Nowadays, most early music groups also sound more expressive and subjective, not so doctrinaire, dogmatic or orthodox in their approaches.

Bruggen seemed a low-key and modest man and musician, qualities that The Ear identifies with the Dutch, including Bruggen’s own more famous conducting colleague Bernard Haitink.

The Ear hopes that Bruggen’s death brings about many reissues of his prolific discography with more high-profile publicity. His Haydn, Schubert and Beethoven symphonies are, unfortunately, largely now out of print.

Here are some links to obituaries that tell his story:

Here is a link to The Guardian, which also lists Bruggen’s five greatest contributions to early music:

http://www.theguardian.com/music/2014/aug/14/frans-bruggen-dutch-conductor-orchestra-of-the-18th-century

http://www.theguardian.com/music/tomserviceblog/2014/aug/14/frans-bruggen-five-greatest-greatest-recordings

Here is a story from the BBC Music Magazine:

http://www.classical-music.com/news/frans-brüggen-1934-2014

Here is a great piece from The Telegraph, also in the United Kingdom:

http://www.telegraph.co.uk/news/obituaries/11034321/Frans-Bruggen-obituary.html

Curiously, it probably says something about Bruggen that I could find many obituaries from Europe and the UK, but none from the U.S., not even at The New York Times or The Wall Street Journal or NPR (National Public Radio).

Here is a YouTube video of Frans Bruggen, who served both composers and audiences so well, in action, playing a solo fantasy for recorder by Georg Philipp Telemann. In every way it seems a fitting tribute or homage on the occasion of his death:

 

 


Classical music: Georg Solti conducted an orchestra the way Arthur Rubinstein played the piano: In a straight-forward, muscular and non-neurotic way while the recording industry was its peak.

October 26, 2012
11 Comments

By Jacob Stockinger

Last Friday marked the 100th birthday of famed conductor Sir Georg Solti. Decca will be issuing nine special multi-CD releases (including a deluxe edition of Wagner’s “Ring”) plus a special 2- CD set with previously unreleased recordings to celebrate the centennial event. And justly so. Solti (below, with a Grammy) won 32 Grammy awards – more than any other musician who was classical, pop, folk, rock, jazz, blues, whatever.

An import from Europe, where he was a refugee from Hitler and spent World War II exiled and jobless in Switzerland, the Hungarian-born Solti, who studied with Bartok, restored the Chicago Symphony Orchestra to world-class preeminence during his 22 years leading the ensemble.

And Solti’s career, which spanned more than 60 years, was aptly described and analyzed in a terrific story last Friday morning on NPR’s “Morning Edition” by musician and music critic Miles Hoffman. His main thesis was that Solti was as his height just as the recording industry was also at its height. The needed each other and complemented each other.

That made Solti’s complete recording of Wagner’s “Ring” cycle — which took several years and was the first in history — as well as of the complete symphonies and concertos by Beethoven (below), Brahms and Mahler something special, not just another addition or alternative. The same goes for his many opera recordings. He was the complete musician.

I would add only one more observation: The secret to Solti’s artistic and commercial success was that he allowed us as listeners to hear the music rather than himself.

That was why he could succeed in almost any period or composer or work, from the Baroque era through the Classical and Romantic periods and then into the 20th century,  and why soloists of so many different temperaments and styles liked to work with him. Solti was not a specialist, but a musical chameleon in the best sense.

An affable and dashing, cosmopolitan and compassionate figure who liked to socialize and who played tennis until well into his 80s, Solti seemed the epitome of the healthy musician. His style was marked by a certain naturalness and muscularity, though not by unbalanced brute force. His tempi never seemed exaggerated in either the fast or slow direction, and his use of flexible rubato always seemed judicious and never self-indulgent.

Moreover, he always made music exude both sense and beauty, qualities too rarely exhibited in some contemporary music and performances. As a result, he was not an unmistakable interpreter or egotistical stylist like, say, Vladimir Horowitz or Wilhelm Furtwangler. His performances never seemed fussy, precious or pretentious. Instead they just seemed, well … normal, the way that the music must have been meant to sound. In short, he was always both reliable and, with rare exception, exciting. I would put him in the company of someone like Bernard Haitink.

Let me put it this way: George Solti conducted the orchestra the way Arthur Rubinstein played the piano. You always felt secure and refreshed in the presence of the music’s greatness, not the player’s personality. The beauty he made just seemed so normal and such an integral part of life that it became part of the so-called “natural world.” And that is the way great art should be: inevitable and a force of nature.

Maybe you will agree with me, and maybe not. But in any case, you should read the story.

Here is a link to that NPR story about Georg Solti:

http://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday

Did you ever hear Solti live? What did you like or dislike?

What is your favorite recording with Solti conducting (he also played the piano)?

What do you think made Georg Solti a great conductor?

Leave your thoughts in the COMMENT section.

The Ear wants to hear.


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