The Well-Tempered Ear

Songs by Black composers trace their cultural realities in a free online UW performance TONIGHT of “Verisimilitudes.” Plus, the five winners of this year’s Beethoven Competition perform Sunday.

April 24, 2021
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ALERT: This Sunday, April 25, from 3:30 to 5:30 p.m. the five winners of this year’s Beethoven Competition at the UW-Madison will perform in a winners’ concert. Included in the program are the popular and dramatic “Appassionata” Sonata, Op. 57, and the famous and innovative last piano sonata, No. 32 in C minor, Op 111. Here is a link to the YouTube video: https://www.youtube.com/watch?v=eMF0Hd1MJwMg. Click on “Show More” and you can see the full programs and biographical profiles of the winners.

By Jacob Stockinger

The concert could hardly be more timely or the subject more relevant.

Think of the events in and near Minneapolis, Chicago and elsewhere in the U.S.; of the Black Lives Matter movement and social protest; of the political fight for D.C. statehood and voting rights – all provide a perfect context for an impressive student project that will debut online TONIGHT, Saturday, April 24, at 7 p.m.

The one-hour free concert “Verisimilitudes: A Journey Through Art Song in Black, Brown and Tan” originated at the UW-Madison’s Mead Witter School of Music. It seems an ideal way for listeners to turn to music and art for social and political commentary, and to understand the racial subtexts of art.

Soprano Quanda Dawnyell Johnson (below) created, chose and performs the cycle of songs by Black composers with other Black students at the UW-Madison.

Here is a link to the YouTube video: https://youtu.be/-g5hjeuSumw

Click on “Show More” to see the complete program and more information.

Here is the artist’s statement: 

“Within the content of this concert are 17 art songs that depict the reality of the souls of a diasporic people. Most of the lyricists and all of the composers are of African descent. In large part they come from the U.S. but also extend to Great Britain, Guadeloupe by way of France, and Sierra Leone.

“They speak to the veracity of Black life and Black feeling. A diasporic African reality in a Classical mode that challenges while it embraces a Western European vernacular. It is using “culture” as an agent of resistance.

“I refer to verisimilitude in the plural. While syntactically incorrect, as it relates to the multiple veils of reality Black people must negotiate, it is very correct. 

“To be packaged in Blackness, or should I say “non-whiteness” is to ever live in a world of spiraling modalities and twirling realities. To paraphrase the great artist, Romare Bearden, in “calling and recalling” — we turn and return, then turn again to find the place that is our self.

“I welcome you to… Verisimilitudes: A Journey Through Art Song in Black, Brown, and Tan”

Here, by sections, is the complete program and a list of performers:

I. Nascence

Clear Water — Nadine Shanti

A Child’s Grace — Coleridge-Taylor Perkinson

Night — Florence Price (below)

Big Lady Moon — Samuel Coleridge-Taylor

II. Awareness

Lovely, Dark, and Lonely — Harry T. Burleigh

Grief –William Grant Still (below)

Prayer — Leslie Adams

Interlude, The Creole Love Call — Duke Ellington

III. The Sophomore

Mae’s Rent Party, We Met By Chance –Jeraldine Saunders Herbison

The Barrier — Charles Brown

IV. Maturity

Three Dream Portraits: Minstrel Man, Dream Variation; I, Too — Margaret Bonds (below)

Dreams — Lawren Brianna Ware

Song Without Words — Charles Brown

Legacy

L’autre jour à l’ombrage (The Other Day in the Shade) — Joseph Boulogne (Chevalier de Saint-Georges, below)

The Verisimilitudes Team

Quanda Dawnyell Johnson — Soprano and Project Creator

Lawren Brianna Ware – -Pianist and Music Director

Rini Tarafder — Stage Manager

Akiwele Burayidi – Dancer

Jackson Neal – Dancer

Nathaniel Schmidt – Trumpet

Matthew Rodriguez – Clarinet

Craig Peaslee – Guitar

Aden Stier –Bass

Henry Ptacek – Drums

Dave Alcorn — Videographer

Here is a link to the complete program notes with lyrics and composer bios. And a preview audio sample is in the YouTube video at the bottom: https://simplebooklet.com/verisimilitudesprogramnotes#page=1


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Classical music: How can classical music be made less white? Nine Black artists suggest changes. Which ones will work best?

July 19, 2020
3 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

With all the attention given to and urgency of the Black Lives Matter movement — and other demonstrations and protests against personal and systemic racism as well as white privilege — it comes as no surprise that questions are being raised about the overwhelmingly white world of classical music and how to change it.

Most of the local classical music groups The Ear knows of have posted statements of solidarity.

If he recalls correctly, they include the University of Wisconsin-Madison School of Music, the Madison Symphony Orchestra, the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Wisconsin Youth Symphony Orchestras (WYSO), the Middleton Community Orchestra, the Willy Street Chamber Players and many others.

But beyond declarations of solidarity with people of color, the music groups face deeper issues that require action, not just words, and remain more difficult to solve: How to attract more Black  classical musicians? How to foster more Black composers? And how to attract more Black audiences?

Diversity and equity are long-term issues, and quite a number of possible solutions loom.

Would performing more pieces, both historical and contemporary, by Black composers (below) work?

Would hiring more Black resident musicians help?

Would booking more Black guest artists and soloists help? (Below is the young and upcoming British cellist Sheku Kanneh-Mason.)

Would changing the music curriculum in schools help? (Some important Black composers are explored in the YouTube video at the bottom.)

Would generating more support to and from the Black community help?

Last week The New York Times did a fine piece of work in addressing these issues.

The reporter and music editor asked nine different accomplished Black conductors, instrumentalists, singers, critics and administrators in classical music about how to solve the inequity. The interviews were condensed and edited into very readable statements.

Here is a link to that story: https://www.nytimes.com/2020/07/16/arts/music/black-classical-music-opera.html

Please read it.

Then let us know which suggestions you think should be attempted first and which solutions are most likely to work.

The Ear wants to hear.

 


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Classical music: The Ear listens with eyes open and finds interesting photos at concerts

August 14, 2017
1 Comment

By Jacob Stockinger

It was the famous 20th-century composer and pioneering modernist Igor Stravinsky (below) who advised us to listen to music with our eyes open.

For one, it fosters our appreciation of the sheer physicality of making music. Musicians are, as the pianist Vladimir Horowitz once observed, athletes of the small muscles.

If you listen with your eyes open you can see a lot of things.

You can see how musicians give each other cues.

You can see the expression on their faces, the joy and pleasure that making music gives them.

You can observe how different members of the audience react differently to different music.

You can appreciate the many kinds of instruments with the eye-catching shapes, sizes and colors.

And you can see patterns that make for good photographs – if taking photos is allowed.

Of course even if it is, there are rules to follow so that the musicians and other audience members are not disturbed: no flash and no shutter sound are the main ones besides the rule of intellectual property and the forbidding of taking photographs – kind of a difficult one to enforce these days, what with all the smart phones out there.

But some musicians and groups are very friendly and open to photographing, especially if the photos are strictly personal and not for commercial use to earn a profit.

At the last regular concert this summer by the Willy Street Chamber players a little over two weeks ago, The Ear found two that showed patterns for good composition.

It’s just fun. But productive fun that can capture the fascination with music and musicians, especially if you sit close to the performers.

Here they are.

First is “Three Clarinets,” a portrait of guest artist Michael Maccaferri, from the Grammy-winning chamber music group eighth blackbird, with the three clarinets he used in the Argentinian-Jewish composer Osvaldo Golijov’s “The Dreams and Prayers of Isaac the Blind.” The black verticality of the clarinets is heightened by the same quality of the music stands.

The second is “Two Cellos and One Violin,” taken during the bows after the string sextet version of Mozart’s “Sinfonia Concertante.” The shapes and shades of brown wood draw the eye.

Tell The Ear of you like this kind of photo essay and want to see more of them on the blog.

The Ear wants to hear.


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