The Well-Tempered Ear

Will using first names with Beethoven and Mozart help fight racism and sexism in the concert hall?

October 28, 2020
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By Jacob Stockinger

Why do concert programs read simply Beethoven for Beethoven (below top), but Florence Price for Florence Price (below bottom)?

According to a recent controversial essay by Chris White (below), a professor of music theory at the University of Massachusetts-Amherst, it reflects and reinforces sexism and racism.

White is calling for universal “fullnaming” to put women composers and composers of color on an equal footing with the traditional canon of dead white male composers. All people may be equal, but all composers and their music are not.

You can certainly make a case for his interesting argument against using “mononyns,” as he calls them. But it still seems less than convincing to many, including The Ear. It many ways it seems downright silly and arbitrary. Isn’t it obvious that not all composers are equal in quality of their work?

It is the latest dustup in the classical music world, coming right on the heels of, and logically linked to, the idea that Beethoven is responsible for sexism and racism in the concert hall and the so-called “cancel culture” that is allied with the social and political protest movements of the past year, including Black Lives Matter.

That was treated here in a previous post: https://welltempered.wordpress.com/2020/09/19/did-beethoven-and-his-music-especially-the-iconic-fifth-symphony-foster-racism-exclusion-and-elitism-in-the-concert-hall-the-ear-thinks-that-is-pc-nonsense-what-do-you-think/

Here is a link to the complete article by White about the inclusion and absence of first names as it appeared on Slate: https://slate.com/culture/2020/10/fullname-famous-composers-racism-sexism.html

Funny, The Ear thinks of using only last names as little more than a function of: quality, importance and time; of fame and familiarity; and sometimes of promoting clarity and preventing confusion — not of race or gender.

It is why we say Bach (below) when we mean Johann Sebastian, and why we say Wilhelm Friedemann or Carl Philipp Emmanuel or Johann Christian when we mean one of his sons.

It is why we say Richard Strauss to distinguish him from Johann Strauss.

But it also why Haydn means Franz Joseph (below), not his less important brother Michael Haydn.

And why the American composer Henry Cowell is listed with his full name and not just Cowell.

Perhaps one day – if we hear enough of the music by the recently rediscovered Black female composer Florence Price often enough and like it enough – she will be known simply as Price. After all, the Japanese composer Toru Takemitsu is not usually listed as simply Takemitsu. 

Actually, the Ear prefers using full names for all composers — famous or not, male or female, white or black — especially when it is for the general public. But it seems more a matter of politeness, respect and education than of sociopolitical change and social justice.

That is not to say that those of us in classical music don’t see a need to correct the racism and sexism of the past, to foster diversity and inclusiveness. White has a point. Still, the whole idea of using both names in all cases seems more than a bit naïve, superficial and simplistic as a solution to racism and sexism.

It sounds a lot like the kind of theoretical speculation and contrarian thinking you might expect from an assistant professor trying to get noticed and make his mark on big contemporary issues so that he can get tenure and become an associate professor. A high public profile certainly helps that.

But whatever you think of White’s motives or purpose, his essay is causing a “meltdown” on Twitter: https://mybroadband.co.za/forum/threads/‘fullnaming’-mozart-and-beethoven-to-fight-sexism-and-racism-twitter-squabbles-over-slate-article.1108776/

Should you want to know more about Professor White or to leave a message of either support or disagreement, here is a link to his home website: http://www.chriswmwhite.com

What do you think about the idea of using first names for all composers as a way to combat racism and sexism in classical music?

The Ear wants to hear.


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Do these statistics about music lessons for children versus adults apply to you? Plus, the Madison Opera sets a new date for Kyle Ketelsen’s online tribute concert to Giorgio Tozzi

October 26, 2020
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ALERT: The Madison Opera has announced on Instagram that Kyle Ketelsen’s tribute concert for his teacher Giorgio Tozzi has been rescheduled for next Sunday night, Nov. 1, at 7:30 p.m CST. For more information and links about the concert and how to sign up for it, go to: https://welltempered.wordpress.com/2020/10/17/madison-opera-cancels-its-january-production-of-she-loves-me-tonight-is-the-last-virtual-concert-by-the-lunart-festival-of-music-and-art-by-black-women/

By Jacob Stockinger

It looks like children and students think of music lessons differently than adults do.

Take a look at the statistics from a study below, cited from Classic FM, and let us know if you share the findings and agree with it.

What are the implications for schools and education?

The Ear wants to hear;


Madison Opera postpones the tribute TONIGHT to Giorgio Tozzi by Kyle Ketelsen

October 24, 2020
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By Jacob Stockinger

The Ear has received word that tonight’s virtual and online tribute concert by Sun Prairie bass-baritone Kyle Ketelson to his world-renowned teacher Giorgio Tozzi (below) has been CANCELED for TONiGHT — Saturday  Oct. 24 — and POSTPONED as part of the Digital Fall series.

Here is the complete message that was posted on Instagram: 

“This weekend’s “Live From the Madison Opera Center” concert starring Kyle Ketelsen (below, in a photo by Lawrence Brownlee) has been postponed.

“We are attempting to reschedule for the following weekend and will let you know when we have details.”

For more information about this concert and $50 household subscriptions to the Madison Opera’s Digital Fall, as well as a sample of Tozzi, go to: https://welltempered.wordpress.com/2020/10/17/madison-opera-cancels-its-january-production-of-she-loves-me-tonight-is-the-last-virtual-concert-by-the-lunart-festival-of-music-and-art-by-black-women/


The Pro Arte Quartet plays the fourth installment of its FREE Beethoven string quartet cycle online TONIGHT at 7:30 CDT

October 23, 2020
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By Jacob Stockinger

The historic Pro Arte Quartet, in residence at the University of Wisconsin-Madison’s Mead Witter School of Music, will perform the fourth installment of its FREE Beethoven string quartet cycle TONIGHT — Friday, Oct. 23 — at 7:30 p.m. CDT. (It should be posted for about a day, but will not be archived due to copyright considerations.)

Because of the coronavirus pandemic, the live concert will take place online and will be live-streamed without an audience from the Mead Witter Foundation Concert Hall in the new Hamel Music Center.

You can stream it live from https://youtu.be/IhmNRNiI3RM

The whole series of concerts are part of the Pro Arte Quartet’s yearlong retrospective to celebrate the Beethoven Year. This December marks the 250th anniversary of the birth of the composer (below).

Members of the Pro Arte Quartet (below, in a photo by Rick Langer) are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

A pre-concert lecture by UW-Madison musicology Professor Charles Dill (below, in a photo by Katrin Talbot) starts at 7:30 p.m. CDT.

The program consists of one early and one late quartet: the string Quartet in C Minor, Op. 18 No. 4 (1798-1800), and you can hear the first movement played by the Dover Quartet in the YouTube video at the bottom; and the String Quartet in E-Flat Major, Op. 127 (1825).

The Pro Arte Quartet is one of the world’s most distinguished string quartets. Founded by conservatory students in Brussels in 1912, it became one of the most celebrated ensembles in Europe in the first half of the 20th century and was named Court Quartet to the Queen of Belgium.

Its world reputation blossomed in 1919 when the quartet (below, in 1928) began the first of many tours that enticed notable composers such as Bartok, Barber, Milhaud, Honegger, Martin and Casella to write new works for the ensemble.

The Pro Arte Quartet performs throughout the United States, Europe, and Asia and continues to champion both standard repertoire and new music.

Since being stranded in the U.S. when Belgium was invaded by Hitler and the Nazis in World War II, the group is an ensemble-in-residence at the Mead Witter School of Music and resident quartet of the Chazen Museum of Art.

The quartet, the longest active string quartet in the history of music, has performed at the White House and, during the centennial celebration, played for the King’s Counselor in Belgium.

Recent projects include the complete quartets of Bartok and Shostakovich and, in collaboration with the Orion and Emerson String Quartets, the complete quartets of Beethoven.

Regular chamber music collaborators that perform with Pro Arte include Samuel Rhodes and Nobuko Imai, viola; Bonnie Hampton, cello; and the late Leon Fleischer and Christopher Taylor, piano. 

Together since 1995, the quartet has recorded works of Mendelssohn, Dvorak, Rhodes, Shapey, Sessions, Fennelly, Diesendruck, Lehrdahl and the centennial commissions.

For more information and background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-iv/

For more about the challenges and modifications – including wearing masks and social distancing — of doing the Beethoven cycle for the virtual online performances and about the other dates and programs in the cycle, go to: https://welltempered.wordpress.com/2020/09/29/classical-music-uw-madisons-pro-arte-quartet-to-resume-its-free-beethoven-cycle-virtual-and-online-this-friday-night-with-two-other-programs-this-semester/

 


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University Opera’s original online video project celebrates the life and music of American composer Marc Blitzstein. It will be posted for FREE on YouTube this Friday night, Oct. 23, at 8 p.m.

October 21, 2020
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By Jacob Stockinger

This fall, University Opera presents its first project of 2020-21 in video format as it turns to the music of the American composer Marc Blitzstein (1905-1964).

“I Wish It So: Marc Blitzstein – the Man in His Music” will be released free of charge on the University of Wisconsin-Madison Mead Witter School of Music’s YouTube channel this Friday night, Oct. 23, at 8 p.m. CDT at the general site www.youtube.com/meadwitterschoolofmusic or the official specific link: https://youtu.be/77FXFZucrWc.

Director of University Opera David Ronis (below top) is the director of the original production and will give introductory remarks. UW-Madison graduate Thomas Kasdorf (below bottom) is the musical director. The production lasts 1 hour and 40 minutes, and features four singer-actors, a narrator and a piano.

Marc Blitzstein’s life story parallels some of the most important cultural currents in American history of the mid-20th-century.

Known for his musicals — most notably The Cradle Will Rock in 1937 (you can hear Dawn Upshaw sing the lovely song “I Wish It So” from “Juno” in the YouTube video at the bottom) — his opera Regina and his translation of Kurt Weill’s The Threepenny Opera, Blitzstein was an outspoken proponent of socially engaged art. Like many artists of his time, he joined the American Communist Party. But he also enthusiastically served in the U.S. Army during World War II (below, in 1943).

Nevertheless, in 1958, long after he had given up his Communist Party membership, Blitzstein (below) was called before the House Un-American Activities Committee (HUAC) where he “named no names.”

An extremely gifted yet underappreciated composer, he was a close friend of and mentor to Leonard Bernstein (below right, with Blitzstein on the left) and traveled in a close circle of American composers including David Diamond and Aaron Copland.

Although openly gay, he married Eva Goldbeck in 1933. Sadly, she died three years later from complications due to anorexia.

Blitzstein’s own death was likewise tragic. In 1964, while in Martinique working on an opera about the anarchists Sacco and Vanzetti, a commission from the Metropolitan Opera, he was robbed and badly beaten by three Portuguese sailors whom he had picked up at a bar. He died the next day of internal injuries. 

Although throughout his life and afterwards, Blitzstein’s work was championed by Bernstein and others, many claim that neither the composer nor his stunning music and beautiful lyrics ever received the attention they deserved. So University Opera is proud to present this show celebrating his life and his works.

“I Wish It So: Marc Blitzstein – the Man in His Music” is a unique production put together by David Ronis. A biographical pastiche, it tells the story of Blitzstein’s life by recontextualizing 23 songs and ensembles from his shows, juxtaposing them with spoken excerpts from his working notes and letters, and tying it all together with a narration.

The result is a dramatic, evocative and enjoyable portrait of Blitzstein’s life and his art, according to Ronis.

“We’ve discovered a lot of “silver linings” while working on this production,” says Ronis. “We were disappointed at not being able to do a normal staged show. But working with video has had tremendous artistic and educational value.

“Our students are learning on-camera technique, not to mention how to work with a green screen (below, with soprano Sarah Brailey), which allows for post-production editing and digital manipulation of backgrounds. They’re also working with spoken text as well as sung pieces. Mostly, we’re just very grateful to have a creative project to sink our teeth into during the pandemic. 

“And the music of Blitzstein is so fantastic, we’re very happy to be able to share it with our audience. This project is like none other I’ve ever done and we’re thinking that it’s going to be pretty cool.”

Research on the project was completed at the Wisconsin Historical Society, where Blitzstein’s archives are housed. University Opera gratefully acknowledges the help of both Mary Huelsbeck of the Wisconsin Center for Film and Television Research, and the Kurt Weill Foundation for their assistance with this project.

The cast features five UW-Madison graduate students: Sarah Brailey, Kenneth Hoversten, Justin Kroll, Lindsey Meekhof (below) and Steffen Silvis.

The video design was done by Dave Alcorn with costumes by Hyewon Park.

Others on the production staff include Will Preston, rehearsal pianist; Elisheva Pront, research assistant and assistant director; Dylan Thoren, production stage manager; Alec Hansen, assistant stage manager; Teresa Sarkela, storyboard creator; and Greg Silver, technical director.

The video will be accessible for 23 hours starting at 8 p.m. this Friday, Oct. 23. Although there will be no admission price for access, donations will be gratefully accepted. A link for donations will be posted with the video. 

University Opera, a cultural service of the Mead Witter School of Music at the University of Wisconsin-Madison, provides comprehensive operatic training and performance opportunities for students and operatic programming to the community. For more information, email opera@music.wisc.edu or visit music.wisc.edu.

 


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October’s FREE virtual and online Just Bach concert is this Wednesday at noon. It lasts 30 minutes. Here are details

October 19, 2020
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By Jacob Stockinger

The Ear has received the following announcement about the month’s Just Bach virtual concert from co-founder and violist Marika Fischer Hoyt.

The online concert takes place at noon CDT this Wednesday, Oct. 21.

Please join us as Just Bach shares the timeless beauty of music by Johann Sebastian Bach (below) from our home in the nave of Luther Memorial Church (LCM), 1021 University Ave.

We are thrilled to participate in LMC’s weekly “Music at Midday” concert series.

As part of this virtual online series, Just Bach concerts (below) take place at NOON on the third Wednesday of each month: Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

The online programs last approximately 30 minutes instead of 60 minutes.

Because of the coronavirus pandemic, it is still too risky to have in-person audiences, so Music at Midday concerts are posted on the Luther Memorial website: https://www.luthermem.org/music-at-midday/

In addition, Just Bach concerts are posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel, where you can still hear the season’s opening concert in September. Links are below.

Viewing the concerts is FREE, but we ask those who are able to help us pay our musicians with a tax-deductible donation at https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

Just Bach co-founder and graduate student soprano at the UW-Madison Sarah Brailey (below) will provide the opening welcome remarks at this Wednesday’s program.

Our guest artists this month, the Madison-based baroque ensemble Sonata à Quattro (SAQ, below top in a photo by Barry Lewis) will perform the instrumental Sinfonia from Cantata 146, featuring organist Mark Brampton Smith (below bottom). You might recognize this as the first movement of the well-known Harpsichord Concerto in D Minor, BWV 1052.

Members of SAQ, who normally use period instruments and historically informed performance practices, will play modern instruments this time because of the organ pitch. SAQ members will continue the program with movements from the solo Cello Suite in G Major and the solo Violin Sonata in G Minor.

Sarah Brailey returns to lead the final chorale from Cantata 146, which uses the familiar tune from “Jesu, Joy of Man’s Desiring.” (You can hear “Jesu, Joy” in the YouTube video at the bottom.) 

We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the computer screen, as Mark Brampton Smith accompanies on the organ. 

We need this soul-centering music now more than ever. So we invite the music community to join us at noon this Wednesday, Oct. 21, for a wonderful program of music by J.S. Bach. 

OCT. 21 PROGRAM:

• Cantata 146: Opening Sinfonia

• Solo Cello Suite in G Major, BWV 1007: Menuets I and II, Courante

• Solo Violin Sonata in G Minor, BWV 1001: Adagio, Presto

• Cantata 146: Final chorale: Freu dich sehr, o meine Seele (Rejoice greatly, oh my soul)

Guest Ensemble: Sonata à Quattro, whose members are: Christine Hauptly Annin, violin; Nathan Giglierano, violin; Leanne League, violin; Marika Fischer Hoyt, viola; Charlie Rasmussen, cello; and Mark Brampton Smith, organ.

Sarah Brailey provides the welcome and leads the chorale.

Dave Parminter is the videographer.

Just Bach is also trying something new: a Zoom meeting at 12:30 p.m. to serve as a virtual Meet and Greet with performers and some of the artistic team, to answer questions and chat with interested viewers. Here is the link: 

Here, in order, are links to: the Just Bach webpage; the Just Bach Facebook page; and the Just Bach YouTube channel:

https://justbach.org

facebook.org/JustBachSeries

youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

 


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Madison Opera cancels its January production of “She Loves Me.” Will other groups follow suit? Plus, tonight is the last online concert by the LunART Festival of music by Black women

October 17, 2020
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ALERT: TONIGHT, Oct. 17, at 7 p.m. the third LunART Festival will wrap up with the second of its two FREE streamed “Human Family” concerts featuring the works of Black women (below). Due to popular demand, last week’s concert is still posted and available for viewing. This week’s concert will be followed by a virtual party. Here are links for information, programs and biographies: https://www.lunartfestival.org/2020virtualfestival and https://welltempered.wordpress.com/?s=LunART

By Jacob Stockinger

The coronavirus pandemic continues to slowly take its toll on local live productions during the current season.

The Madison Opera has now canceled its second production of the season, the Broadway musical “She Loves Me” by Jerry Bock and Sheldon Harnick, which was scheduled for late January in the Capitol Theater of the Overture Center.

Here are details from Madison Opera: “We will replace She Loves Me with a Digital Winter season that lasts from January to March. Details will be announced in December. (She Loves Me will be part of our 2021/22 season, so it’s only a delay!)”

For more about Madison Opera’s digital fall season – which costs $50 per household to subscribe to – go to: https://www.madisonopera.org/Fall2020

The next digital event is at 7:30 p.m. next Saturday, Oct. 24, by Sun Prairie bass-baritone Kyle Ketelsen (below, in a photo by Lawrence Brownlee), who has performed around the world, including at the Metropolitan Opera.

He will perform a live-streamed concert from the Madison Opera Center that will be a tribute to the American bass Giorgio Tozzi (below), who was Ketelsen’s teacher at Indiana University. (In the YouTube video at the bottom, you can hear Tozzi sing “This Nearly Was Mine” from “South Pacific” by Rodgers and Hammerstein.)

Here is Tozzi’s biography from Wikipedia: https://en.wikipedia.org/wiki/Giorgio_Tozzi

Soprano Emily Secor (below top) and pianist Scott Gendel (below bottom) will perform with Ketelsen.

Here is a link to details of Kyle Ketelsen’s recital: https://www.madisonopera.org/class/liveketelsen/?wcs_timestamp=1603567800

___________________________________________________________________________

The cancellation makes The Ear wonder: Are local groups and presenters being too timid or too hopeful when it comes to future plans for the current season?

After all, this past week we learned that both the Metropolitan Opera and the New York Philharmonic have canceled the rest of the current season due to public health concerns about the COVID-19 pandemic. And all indications are that it will be a very rough, unsafe winter and spring in Wisconsin and Madison.

That’s why The Ear suspects that, unfortunately, the rest of the season will either be canceled or be virtual and moved online. It even seems more than plausible that there will be no live performances until the winter or spring of 2022.

So you can probably expect further word pretty soon of more cancellations, postponements and virtual online performances from the Madison Symphony Orchestra, the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the UW-Madison Mead Witter School of Music, the University Opera and others.

What do you think? 

Will there be operas, orchestral performances and live chamber music sometime yet this season?

When do you think it will be safe to perform and attend live concerts?

The Ear wants to hear.

 


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Salon Piano Series offers a free video of pianist Maxim Lando playing quiet Beethoven to ease the burden of the pandemic

October 15, 2020
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By Jacob Stockinger

The Ear has received the following note from the Salon Piano Series to post:

During these uncertain times, we appreciate remembering time spent together enjoying music.

Please take a break from your day to see and hear the young, prize-winning pianist Maxim Lando (below) perform the theme-and-variations third movement of Beethoven’s Sonata No. 30 in E Major, Op. 109, “Andante molto cantabile ed espressivo” (Slowly, very singing and expressive).

The 15-minute video – posted and viewable now- — was recorded live at Farley’s House of Pianos, as part of the Salon Piano Series, on Nov. 17, 2019.

Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.

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

Here is the Lando video: 

Editor’s note: Here is a Wikipedia entry with more impressive information about Maxim Lando’s biography and many concert performances around the world including China and Russia as well as the U.S.: https://maximlando.com

If you want to hear the entire Beethoven Sonata, you can hear a performance by Richard Goode in the YouTube video below.


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Should you keep practicing at 90? Ask famed cellist Pablo Casals

October 11, 2020
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By Jacob Stockinger

Do you ever get old enough and accomplished enough to stop practicing?

Just ask the legendary Catalan cellist Pau (Pablo) Casals (below).

That’s the same Pablo Casals (1876-1973) who spent his entire life learning and performing, as you can read in his Wikipedia biography: https://en.wikipedia.org/wiki/Pablo_Casals.

That’s also the same pioneering Pablo Casals who also first discovered, recorded and popularized the solo cello suites by Johann Sebastian Bach, which you can sample in the YouTube video at the bottom. It was recorded in 1954 when Casals was 77.

What do you think about his remark?

Do you agree with Casals?

Would you still practice at 90?

The Ear wants to hear.


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