The Well-Tempered Ear
YOU MUST HEAR THIS: No piece captures the mixed emotions of Memorial Day better than Charles Ives’ “Decoration Day”
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By Jacob Stockinger
Today is Memorial Day, 2022.
It is the annual holiday to remember those who died in military service to the country. (Below are flags placed each year at the tombstones in Arlington National Cemetery in Virginia.)
If you want to honor survivors and current service members, that would be Veterans Day on Nov. 11.
All weekend long the radio has been playing music and the television has been showing war movies.
A lot of the music is familiar and repeated every year: Sousa marches and Morton Gould suites, elegies by Gustav Mahler, Samuel Barber, Aaron Copland and Leonard Bernstein; requiems by Mozart and Fauré; a hymn by John Williams and other movie scores. This year has also seen the playlist include rediscovered works of homage by African-American composers such as William Grant Still.
But only this year did The Ear finally hear — thanks to Wisconsin Public Radio — the one piece that, to his mind, best captures Memorial Day with its blending of consonance and dissonance, its mix of major and major keys, of familiar or “found” music and original music.
It is called, simply, “Decoration Day” and it was composed in 1912 — but not published until 1989 — by the 20th-century iconoclastic and early modernist American composer Charles Ives (below, 1874-1954). It ended up as part of a work the composer called “A Symphony: New England Hollidays.”
See if you agree with The Ear.
Listen to the 8-minute performance by “The President’s Own” United States Marine Band in the YouTube video at the bottom.
Listen to the deep anguish and and sense of loss conveyed in the opening, when a solemn remembrance procession goes to a cemetery to plant flags and lay flowers and wreaths to “decorate” the graves of the fallen.
Listen carefully and you will hear a faint version of “Taps” and ringing church bells in the atmospheric music.
Then as so often happens in reality, life suddenly intrudes in the form of a celebration by a loud marching brass band as it leaves the cemetery for the celebratory marches, picnics and fireworks.
But at the end, the darkness briefly returns. The sense of loss lingers long after the actual death and long after the holiday has been celebrated.
There is no closure.
Just resignation.
Just living with loss.
Here is the background from Wikipedia about how the holiday started as Decoration Day after the Civil War and when it evolved into Memorial Day in 1970: https://en.wikipedia.org/wiki/Memorial_Day
And here is biographical background, with the actual sources and depictions of “Decoration Day” — just go down the page to compositions and click — about Charles Ives: https://en.wikipedia.org/wiki/Charles_Ives
Did you know and like Charles Ives’ music?
Does “Decoration Day” impress or move you?
What music most embodies Memorial Day for you?
The Ear wants to hear.
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Due to popular demand, Wisconsin Youth Symphony Orchestras (WYSO) opens its FREE virtual master classes to the public. Today features the violin and Monday features the bass
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By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO) welcomes back two distinguished and successful alumni this weekend to teach the fifth and sixth master classes in an ongoing series that has already wowed observers. (WYSO alumni are noted below with an asterisk.)
Each virtual event is free and open to the general public with registration required in advance.
“The series has been so fabulous that, due to popular demand, we’ve opened up the events to anyone who wants to attend,” says Susan Gardels, marketing and communications director for WYSO.
TODAY – Sunday, Jan. 10 — from 5:30-7:30 p.m. CST Derek Powell, a violinist with the National Symphony Orchestra in Washington, D.C., will coach four WYSO violin members in a two-hour master class.
This will be followed the next evening with a master class coached by Scott Pingel, Principal Bass with the San Francisco Symphony Orchestra (Monday, Jan. 11, 6:30-8:30 p.m. CST).
A master class presents a one-on-one opportunity for a student musician to learn from a guest artist with an audience invited to observe the process.
In previous master classes in this series, the audience has learned instrument performance techniques and musical interpretation tips from a wide variety of guest artists who professionally play music around the world.
With the master classes presented in an intimate Zoom setting, the audience learns along with the student— and it is amazing to see the sudden growth in a student’s musical prowess as a master class proceeds.
Derek Powell’s bio includes his experience with the New World Symphony where Powell (below) performed as concertmaster with famed conductor Michael Tilson Thomas and as a violinist with the Army Strings, as well as his current experience with the National Symphony Orchestra.
Scott Pingel (below) was a trumpet player in his WYSO days with a side love for electric bass. Pingel switched to concert bass as an undergraduate at UW-Eau Claire, continued studies at the Manhattan School of Music, and played with the New World Symphony and the Charleston Symphony before joining the San Francisco Symphony as Principal Bass in 2004. He recently created buzz by playing with Metallica in a packed house with the San Francisco Orchestra.
For more information, go to: WYSO Amazing Masterclass Series:
Here are details and links to register:
*Derek Powell, Violin Master Class
TODAY, Sunday, Jan. 10, 5:30-7:30 p.m. CST
Free and open to the public
Click here to register in advance
_______________________________
*Scott Pingel, Bass Master Class
Monday, Jan. 11, 6:30-8:30 p.m. CST
Free and open to the public
Click here to register in advance
Here are is a schedule of future WYSO alumni master classes:
Katherine Steele (below), oboe
Sunday, Jan. 17, 6-8 p.m. CST
(Principal Oboe, Milwaukee Symphony Orchestra) https://wysomusic.org/katherine-steel-masterclass/
James Shields (below), clarinet
Sunday, Jan. 24, 7-9 p.m. CST
(Principal Clarinet, Oregon Symphony Orchestra)
Read more about James Shields
*Nancy Goeres (below), bassoon
Sunday, Feb. 7, 6-8 p.m. CST
(Principal Bassoon, Pittsburgh Symphony Orchestra)
Danbi Um (below), violin
Sunday, Feb. 21, Time TBD
(Soloist, member Chamber Music Society of Lincoln Center)
Megumi Kanda (below), trombone
Sunday, Feb. 28, 5:30-7:30 p.m. CST (Principal Trombone, Milwaukee Symphony Orchestra)
David Perry (below), violin
Sunday, March 7, 6-8 p.m. CST
(First Violin, UW-Madison Pro Arte Quartet and UW-Madison Music Professor)
Naha Greenholtz (below), violin
Sunday, March 28, 6-8 p.m. CST
(Concertmaster, Madison Symphony Orchestra and Quad Cities Symphony Orchestra)
*Sharan Leventhal (below), violin
Sunday, April 11, 6-8 p.m. CST
(Boston Conservatory)
For more information, go to https://wysomusic.org or call (608) 733-6283.
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The New York Times names the top 25 classical recordings of 2020 and includes sample tracks
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By Jacob Stockinger
What did the holidays bring you?
Did Hanukkah, Christmas or Kwanzaa bring you a gift card?
A subscription to a streaming service?
Maybe some cash?
Or maybe you just want to hear some new music or new musicians or new interpretations of old classics?
Every year, the music critics of The New York Times list their top 25 recordings of the past year. Plus at the end of the story, the newspaper offers a sample track from each recording to give you even more guidance.
This year is no exception (below).
In fact, the listing might be even more welcome this year, given the coronavirus pandemic with the lack of live concerts and the isolation and self-quarantine that have ensued.
The Ear hasn’t heard all of the picks or even the majority of them. But the ones he has heard are indeed outstanding. (In the YouTube video at the bottom, you can hear a sample of the outstanding Rameau-Debussy recital by the acclaimed Icelandic pianist Vikingur Olafssen, who scored major successes with recent albums of Philip Glass and Johann Sebastian Bach.)
Here is a link: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html
Of course not all critics agree.
The Ear has already listed the nominations for the Grammy Awards (a link is below), and more critics’ picks will be featured in coming days.
You should also notice that a recording of Ethel Smyth’s “The Prison” — featuring soprano Sarah Brailey (below), a graduate student at the UW-Madison’s Mead Witter School of Music and a co-founder of Just Bach — is on the Times’ list as well as on the list of Grammy nominations.
What new recordings – or even old recordings — would you recommend?
The Ear wants to hear.
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The Well-Tempered Ear 
New York Times music critics pick 10 MUST-HEAR online virtual classical concerts to stream for October
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ALERT: Tonight’s concert by the choral group Roomful of Teeth for the Wisconsin Union Theater at the UW-Madison’s Hamel Music Center has been canceled and postponed indefinitely.
By Jacob Stockinger
Increasingly the coronavirus pandemic seems surging out of control. So it comes as no surprise that also more and more concerts of classical music are taking place virtually and online.
There are many ways to choose among local, regional, national and international concerts.
But one good guide was published this last week and featured the choice of must-hear classical concerts by critics for The New York Times.
It is an interesting and varied selection, and includes times, links and brief descriptions.
It features concerts that emphasize Black composers such as Florence Price (below top) and women composers. It covers many genres from a solo piano recital by Jeremy Denk (below bottom) – who is supposed to perform here on Dec. 11 at the Wisconsin Union Theater – to chamber music, vocal music, orchestral concerts and operas.
Curiously, there is quite bit of new music but little early music, either Renaissance or Baroque. Perhaps more will appear around the holiday times, when that music is part of the traditional holiday celebrations.
You will find contemporary composers but also lots of certified, tried-and-true classics and masterworks.
Some are one-day only events but many run from a week through a month.
Here is a link to the story. PLEASE NOTE THAT TIMES ARE ALL EASTERN: https://www.nytimes.com/2020/09/29/arts/music/classical-music-stream.html
Please let The Ear know if you like this kind of listing and find it useful.
And please feel free to leave in the comment section other guides or events that the public should know about.
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