By Jacob Stockinger
Each year at holiday time, The Ear offers 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.
Today is Grammy Day.
So far, The Ear has listed choices made by the BBC Music Magazine and the Telegraph newspaper:
And another roundup of book and videos as well as CDs by critics for The New York Times:
Now he adds the 58th annual Grammy nominations of 2016 that were announced this past Monday. The winners will be announced on Sunday, Feb. 15, on CBS television network. The telecast will be live and feature live performances.
The Ear likes to see if he can predict the winners. Outguessing the industry can be a fun, if frustrating, game to play.
He also notices two items of local interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison and groups at the University of Wisconsin-Madison School of Music, has been nominated for several work.
In addition, producer Judith Sherman, who has several Grammys to her credit, is nominated again. She is also the producer of the two recordings of the centennial commissions by the Pro Arte Quartet.
Here are the 58th annual Grammy nominees for Classical Music:
Ask Your Mama: 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; Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
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 Recording
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
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: 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
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: 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
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: 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
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
Filament: 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
BEST CLASSICAL INSTRUMENTAL SOLO
Dutilleux: Violin Concerto, L’Arbre Des Songes: 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
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
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: Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
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: 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. (Note: You can hear a haunting part of the work that won a Pulitzer Prize in the YouTube video below.)
By Jacob Stockinger
This is the closing weekend of this summer’s Token Creek Festival.
The closing “Buoyant Baroque” program, featuring the Lydian Quartet and others performing music by Johann Sebastian Bach, Arcangelo Corelli and Georg Frideric Handel among others, will be performed tonight at 8 p.m. and Sunday afternoon at 4 p.m. (The Ear sees that Sunday’s performance is sold out, but you should check for yourself. Sometimes spots open up form cancellations.)
Here is a link to find out more:
Harbison is a very accomplished man and musician. He has played the piano this summer for the festival, and he is also a preeminent contemporary composer who teaches at MIT. He has won a Pulitzer Prize and a MacArthur genius grant among his many honors. And at the Token Creek Festival, he is the most enlightening commentator on composers and specific works that The Ear has ever heard.
So it seemed a good time to bring to your attention a story done by NPR or National Public Radio about the Tanglewood Festival of the Boston Symphony Orchestra since it features John Harbison as a major source and interview. This summer the festival turned 75.
Harbison is, after all, the co-director – with fellow composer Michael Gandolfi — of the composing program at Tanglewood Music Center, which is where he often premieres his own new works and where he was busy working just before he came to Madison for the Token Creek Festival.
The Ear finds it interesting to hear how, ever since the festival’s beginning, the creativity of young composers and young performers has always been cultivated and encouraged, with an emphasis on creating new music and keeping the classical music world vibrant and current.
Below is a photo of this summer’s world premiere of a new work by Michael Gandolfi, with famed soprano Dawn Upshaw (on the far right in purple) working with student performers.
By Jacob Stockinger
The Ear’s friends at the Token Creek Festival write:
On this Tuesday, August 25, the Token Creek Festival shines a lens on one of Wisconsin’s most important artists: the American poet Lorine Niedecker (1903-1970), whose recognition and appreciation have been delayed until recently.
Many poets of the 20th century have worked in what is broadly known as the Imagist mode: short lines, brief phrases, elusively stated thoughts. At its most eloquent it can give us the great range and imagination of William Carlos Williams, as well as decades of other very convincingly compressed writers from Emily Dickinson through Gary Snyder.
In Lorine Niedecker we feel the pressure of what has been left out, the hard journey to final shape. We infer a “story” behind it, and we marvel at the courage and art that set it down so briefly.
We can also admire the persistence that drove her to continue to write all through her life, when she received little support or recognition. Niedecker cleaned hospital rooms, and hung barely above the poverty level throughout her life, which she led mainly in a cottage on Blackhawk Island (below) near Fort Atkinson, Wisconsin. (You can hear a reading of her poem “My Life by Water” in a YouTube video at the bottom.)
According to Ann Engelman, president of the Friends of Lorine Niedecker, she “has been called the poet of place because her imagery is so grounded in the area where she lived. Basil Bunting called her “the Emily Dickinson of this century.”
As an objectivist poet, the simplicity of her images helps us sense our own experiences with the elements around us.” Niedecker (below, in a photo from her later years, courtesy of the Poetry Foundation) had a strange life that included a truncated college education and long stretches of isolation as well as an extended epistolary (and, briefly, physical) friendship with fellow poet Louis Zukofsky; her existence resonates in her verse.
Three years ago the Token Creek Festival began a concerted look at the land where the festival takes place (below, in a photo by Jess Anderson), exploring intersections between art and nature. The theme continues in the multi-part Niedecker-inspired event, “Paean to Place,” on this Tuesday.
Here is a schedule:
McCullough and Fitz Gibbon’s recital on themes of nature and place and longing includes works by Henry Purcell, Kaija Saariaho, Nicholas Vines and Robert Schumann, as well as new song cycles by John Harbison — a co-founder and co-director of the Token Creek Festival — and Niccolo Athens.
Harbison’s settings of Niedecker poems, commissioned by the Boston Symphony’s Tanglewood Music Festival and premiered there this summer, “let the words speak clearly, syllable by syllable, but he adds expressive space into the texts’ phrases and expands its melodic contours, heightening the sense of the poems being mediums of internal, very personal, monolog” (from the Tanglewood program booklet, July 2015).
“Paean to Place” is presented in collaboration with the Friends of Lorine Niedecker, Fort Atkinson, Wisconsin.
Tickets are $15-$30 (students $10). Packages are available.
Tickets can be purchased by using the order form at the Token Creek website www.tokencreekfestival.org, by phone at 608-241-2525, by email at email@example.com, or by U.S. mail at P.O. Box 5201, Madison WI, 53705.
Performances take place at the Festival Barn, on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison) with ample parking available. The concert venue (below), indoors and air-conditioned, is invitingly small—early reservations are recommended.
More information about the Token Creek Festival and all events can be found at the website, http://www.tokencreekfestival.org or by calling 608-241-2525.
By Jacob Stockinger
But thanks to Project STEP in Boston, which started in 1982 and is run through the Boston Symphony Orchestra, progress is being made. STEP recruits children from kindergarten and trains them through graduation from high school. Full parental involvement is required.
In Madison, groups such as the Wisconsin Youth Symphony Orchestras (WYSO) and Madison Music Makers, as well as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, have tackled the same problem.
Perhaps the Boston program — which was recently featured on the PBS NewsHour — holds clues to a successful outcome. It certainly is inspiring to see and hear Project STEP’s success stories.
Here is a YouTube link to the story:
By Jacob Stockinger
This weekend brings more season-closers. The groups concluding their concert seasons include the First Unitarian Society of Madison’s FREE Friday Noon Musicales; the Festival Choir of Madison; the UW Chamber Orchestra; and Edgewood College.
Here is a round-up of yet another busy weekend.
On Friday afternoon, from 12:15 to 1 p.m., the last FREE Friday Noon Musicale of the season at the first Unitarian Society of Madison, 900 University Bay Drive, will feature Driftless Winds, a University of Wisconsin-Platteville Faculty Reed Trio.
Members are Laura Medisky, oboe; Corey Mackey, clarinet; and Jacqueline Wilson, bassoon.
Bring your lunch; coffee and tea are provided.
On Friday night, the Madison Chamber Choir will perform at 7:30 p.m. at Christ Presbyterian Church (http://www.madisonchamberchoir.com) . It will be directed by Adam Kluck.
On Friday night, May 2, at 7:30 p.m. in the First Congregational United Church of Christ, 1609 University Avenue, the University of Wisconsin-Stout Choirs come to Madison on a mini-tour, with a program titled “An Ode To The Bard: Shakespeare in Music.”
The concert will feature musical settings of Shakespeare’s words, popular music of his time (including tunes that are referenced in his plays), and works inspired by the legacy of William Shakespeare (below).
Performers include the Stout Symphonic Singers (an open-seat choir of about 30 singers) and the Stout Chamber Choir (an auditioned choir of 20 singers), both directed by composer-conductor Jerry Hui (below), with pianist Michaela Gifford.
Admission is free with a free-will donation welcomed.
On Saturday at 11 a.m. at Oakwood Village West, 6209 Mineral Road, on Madison’s far west side, the UW-Stout Choirs will give a second performance of their Friday night program. See directly above.
On Saturday afternoon at 4 p.m. in Mills Hall, the All-University String Orchestra will perform a FREE concert under conductor Janet Jensen (below, in a photo by Katrin Talbot). Sorry, no word on a specific program.
On Saturday, May 3, at 7 p.m. in the St. Joseph Chapel at 1000 Edgewood College Drive, the Edgewood Concert Band and Jazz Ensemble will perform under the direction of Walter Rich and Daniel Wallach. Included will be works by Paul Dukas, Jenkins, Williams, Van der Roost and Franz von Suppe.
Admission is $7 to benefit music scholarships at the college.
On Saturday night at 7:30 p.m., the FESTIVAL CHOIR OF MADISON (below) will conclude its 40th season in the First Baptist Church, 518 North Franklin Avenue, in Madison. It will perform with the Pecatonica String Quartet and winds, and under the baton of artistic director Bryson Mortensen, who is the Director of Choral Activities at the University of Wisconsin-Rock County.
The program is entitled “Gloria” and features two Glorias: the well-known one by Antonio Vivaldi and a rarely heard one by Luigi Boccherini. A pre-concert lecture, begins at 6:30 p.m. The Ear hears there will also be an encore performance of Wolfgang Amadeus Mozart‘s “Ave Verum Corpus.”
Tickets are $18 general public, $14 for seniors and $8 for students if bought in advance – call (608) 274-7089; the day of the concert, tickets are $20, $15 and $10, respectively.
For more information, visit the link: http://festivalchoirmadison.org/index.htm
On Saturday night at 8 p.m. in Mills Hall, the UW Women’s Chorus and the University Chorus will perform a FREE concert under the direction of Anna Volodarskaya and Adam Kluck (below), respectively. Sorry, no word yet on a specific program.
On “Sunday Afternoon Live From the Chazen” Museum of Art on the campus of the University of Wisconsin-Madison, from 12:30 to 2 p.m., members of the music faculty at the University of Wisconsin-Eau Claire will perform the second-to–last concert of that series this season. As always it will be broadcast live on Wisconsin Public Radio. The concert itself is FREE in the Brittingham Gallery No. 3. Sorry, no word on a program.
On Sunday afternoon at 2 p.m., in Mills Hall, the UW Concert Band will perform a FREE concert under director Mike Leckrone (below). Sorry, no word on the program.
On Sunday, May 4, at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Chamber Singers, Men’s Choir, Women’s Choir and Campus-Community Choir.
Kathleen Otterson (below) will conduct the Women’s Choir, while Albert Pinsonneault will lead the Chamber Singers, Campus-Community Choir, and Men’s Choir.
Pinsonneault (below) will also conduct the combined choirs and the Edgewood Chamber Orchestra in a performance of Franz Joseph Haydn’s “Te Deum.”
Admission is $7 to benefit music scholarships at Edgewood.
On Sunday evening at 6:30 p.m. in Music Hall, at the foot of Bascom Hill, the Lincoln Chamber Brass of Chicago will perform a FREE concert, just a week before they compete at the prestigious Fischoff Chamber Music Competition.
All of them are members of Civic Orchestra of Chicago; at 21, the horn player already substitutes for the Chicago Symphony Orchestra. Four are students at Northwestern University, the fifth at DePaul. Four of the five, including Ansel Norris, who was born in Madison and in high school studied with UW-Madison trumpeter John Aley, will attend the Boston Symphony Orchestra’s Tanglewood Festival this summer.
Musicians of the Civic Orchestra of Chicago. The program includes Victor Ewald’s Brass Quintet No. 3; David Sampson’s “Morning Music”; Franz Biebl’s “Ave Maria” (arranged by Barker); and Giles Farnaby’s Suite of Dances.
Members (below, from left) are Ansel Norris and William Cooper, trumpets; Kevin Haseltine, horn; Joseph Peterson, trombone; and Scott Hartman, bass trombone.
For more information, visit: http://lincolnchamberbrass.wordpress.com/home/
At 7:30 in Mills Hall, the UW Chamber Orchestra (below) will perform its last concert of the season and its last concert before being either mothballed or terminated.
The performance is FREE and will be under the baton of director James Smith.
The program includes: Jacques Ibert’s “Hommage to Mozart”; Richard Strauss’ “Dance Suite After Francois Couperin”; and Mozart’s Symphony No. 39 in E Fat Major. (In a YouTube video at the bottom, you can hear the first movement performed by the legendary conductor Karl Bohm and the Vienna Philharmonic.)
For more about the news significance of the event, here is a link to yesterday’s blog post:
By Jacob Stockinger
It was a momentous event in so many ways for the country. And like many of you, I remember exactly where I was and what I was doing when I heard the news flash of his shocking death.
One of JFK’s legacy, one deeply encouraged and acted on by his First Lady Jacqueline Bouvier Kennedy, was to revitalize the American art scene and enhance it with involvement and help from the government.
That so now irks the conservative philistines who want to zero out the budgets for NPR, PBS, the NEA and the NEH, who want an ignorant citizenry that will buy into their distorted lies and mean-spirited stupidities.
But how fitting for the New Frontier was that quiet cultural revolution promoted by JFK during his short tenure in The White House.
Artists responded enthusiastically to JFK and his death. How I recall the music that was put together quickly and performed on the then relatively new medium of television. I think the requiems by Wolfgang Amadeus Mozart and Giuseppe Verdi were performed and broadcast, as was Samuel Barber’s “Adagio for Strings” – a favorite of JFK and a work that was given its world premiere by the UW-Madison’s Pro Arte String Quartet in 1936. Gustav Mahler‘s Symphony No. 2 “Resurrection” and Ludwig van Beethoven’s Symphony No. 3 “Eroica” were also performed.
I remember the specific works that for me struck the right chords, so to speak, about the murderous death of the President.
One was the Requiem by Gabriel Faure (below). The whole work is so beautiful and gentle, peaceful and calm – and how we all needed beauty and gentleness, peace and calm, that awful weekend — and it was completely unknown to me.
I liked all the movements. “In Paradiso” was one. But I also liked the “Pie Jesu” and the “Libera me.” But what stuck me most and keeps resonating is the “Sanctus.” Here it is in a YouTube video, and be sure to read the comments from other listeners:
The other work I remember from those events is the “German” Requiem by Johannes Brahms (below). I had known it before. But this was when it took on real meaning.
I remember hearing and loving the movement “How Lovely Is Thy Dwelling Place.” But the part that really got me choked up was not that one or the Funeral March or even the fabulous “Here on Earth We Have No Abiding City,” with its fabulous fugue “Death, Where Is Thy Sting; Grave, Where Is Thy Victory?.”
It was the final movement, “Blessed Are The Dead for Their Works Live on After Them.” I loved the secular, but respectful and even loving quality of the text and of course the music. That allowed it to appeal to the entire nation and to all people everywhere around the world, regardless of their faith or beliefs.
It seemed so fitting and so true, then; and it still does now.
Here it is:
What works of classical music come to mind for you when you think of that awful day in Dallas and terrible weekend in Washington, D.C., 50 years ago?
The Ear wants to hear.
By Jacob Stockinger
And the two teams — the Boston Red Sox and the St. Louis Cardinals — that are vying for the world championship trophy (below) both come from cultured cities that boast world-class orchestras: The Saint Louis Symphony Orchestra and the Boston Symphony Orchestra.
I am not really a fan of any baseball team — or of team sports in general — but I do think baseball appeals to a lot of musicians. I know from personal experience that the superstar violinist Itzhak Perlman (below) is a big fan who once announced the updated scores of a world series games with the New York Yankees between pieces and from the stage of the old Madison Civic Center.
I wonder what the appeal of baseball to musicians is.
Maybe it has to do with the rhythm of the game.
For the member of a symphony orchestra or chamber music ensemble, maybe it is the team aspect.
For individuals, maybe what matters is the same kind of hand-eye coordination on which so much music-making on instruments depends – as does pocket pool, archery and target shooting, all of which I also like.
In fact, avid pianist that I am, I love watching baseball pitchers – like the great retired New York Yankees closer Mariano Rivera (below) — but only at home on TV where I can see the pitches relatively close up and also check how the speed is measured and the contortions that batters have to go through to hit the ball.
Throw the ball. Catch the ball. Hit the ball.
Easy game, right?
Anyway here, at the bottom, is the World Series Symphony Smack Down is a link to a story — with some surprises — on The New York Times music blog and to the video (which has overtones of the gang warfare in Leonard Bernstein‘s “West Side Story”) on YouTube.
Listen and tell me in the comments section why your think so many classical musicians like baseball?
And which city has the better symphony as well as baseball team? In other words, no matter who wins the series, I want to know who you think wins the Symphony Smack Down
The Ear wants to hear.
By Jacob Stockinger
Outdoor classical music festivals were not always as popular and commonplace as they are today.
In fact, the granddaddy of them all is Tanglewood — named after writer Nathaniel Hawthorne‘s nearby cottage — that is held in Massachusetts in the Berkshire Mountains by the venerable Boston Symphony Orchestra. BSO conductor Serge Koussevitsky started it with an all-Beethoven program, which included the beloved and appropriate Symphony No. 6 “Pastorale,” in 1937.
How fitting, then, was it for conductor Christoph von Dohnanyi (below, in a photo by Hilary Scott for the Boston Symphony) on July 6 to re-create that inaugural all-Beethoven program for the opening on July 6 of Tanglewood’s 75th anniversary season. (You can hear it via streaming from a link of the NPR blog listed below.)
Another gala concert, performed last night, July 14, to mark the 75th anniversary of Tanglewood — with three orchestras, five conductors and five guest soloists including cellist Yo-Yo Ma, violinist Anne-Sophie Mutter and pianist Emanuel Ax — was videotaped for later broadcast on PBS as part of its “Great Performances” series.
(The all-Beethoven concert was NOT taped for TV broadcast, contrary to what it first said here. I apologize for the error.) The gala concert is slated to air at 8 p.m. EDT on Friday, August 10, though you should check your local PBS listings and schedules. (In Wisconsin, the CDT time is 11 p.m. to 1 a.m. — a terrible time that guarantees almost no audience! So much for Wisconsin Public Television‘s much-hyped “Summer of the Arts” programming.) You will also be able to also stream both the July 6 all-Beethoven concert and the July 14 gala concert via Wisconsin Public Radio or via WGBH in Boston, below:
All of WGBH’ Boston Symphony on-demand content can be found at:
Here is a link to the story about Tanglewood’s great history and great music now located on NPR’s “Deceptive Cadence” blog. Enjoy!
Also be sure to check out some extra links, including a photo essay of 75 years at Tanglewood, at the bottom of the story.
By Jacob Stockinger
To many Madison-area residents and local classical music fans, John Harbison may be best known as the co-director of the Token Creek Chamber Music Festival each summer during which he gives excellent talks, plays jazz and serves as a violist.
Yet John Harbison (below) is far better known throughout the rest of the world as a composer—and a very fine, respected and yes, frequently performed, composer. Many people forget that he has won both a Pulitzer Prize and a prestigious MacArthur Foundation “genius grant,” and that he remains a favorite of Metropolitan Opera maestro James Levine, who commissioned Harbison’s opera “The Great Gatsby” to kick off the millennium in 2000.
He continues to teach at MIT and concertizes, especially with the music of Bach, but Harbison is busier than ever with composing new commissions.
This last week saw the world premiere of his Symphony No. 6 by the Boston Symphony Orchestra, which, under Levine’s direction, started last season to hold a complete retrospective of Harbison’s symphonies.
For health reasons, Levine has left the Boston post, as well as the Met post for next season. But the reviews for the performance under conductor David Zinman and with mezzo-soprano Paula Murrihy, are in and they are by and large very positive and agree that Harbison is not a composer to rest on his laurels or repeat himself.
Some critics even called the work, which used both an orchestra and a mezzo-soprano, a “masterpiece” and described it as “powerful.” Below is John Harbison coaching during a rehearsal.
You can read some of the reviews for yourself:
Here is also a good set-up or background piece with Harbison talking about his own new symphony (below he takes a bow with the conductor and singer who performed the world premiere of his Symphony No. 6):
And the world premiere for John Harbison aren’t over by any means. On Saturday, April 21, at 8 p.m. in Mills Hall, in a FREE and PUBLIC concert, Habison’s 10-movement String Quartet No. 5 will receive its world premiere from the University of Wisconsin-Madison’s Pro Arte String Quartet (below, in a photo by Rick Langer). The Pro Arte Quartet commissioned the work to celebrate its centennial this season.
For details of that FREE and public performance and other centennial events, visit: www.proartequartet.org