The Well-Tempered Ear
Check out the 2022 classical music Grammys for trends and suggested listening
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By Jacob Stockinger
No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.
But chances are you haven’t heard much about the classical music Grammys.
That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.
But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.
You can also get a good idea of trends in classical music.
Contemporary or new music is big again this year, dominating the old standard classics.
Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.
You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.
Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.
Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.
If you want to see the nominations and winners in other categories, here is a link:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
- Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
- Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)
76. Producer Of The Year, Classical
- Blanton Alspaugh
- Steven Epstein
- David Frost
- Elaine Martone
- Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)
CLASSICAL
77. Best Orchestral Performance
- “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
- “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
- “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
- “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)
78. Best Opera Recording
- “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
- “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
- “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
- “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
- “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
79. Best Choral Performance
- “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
- “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
- “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
- “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)
80. Best Chamber Music/Small Ensemble Performance
- “Adams, John Luther: Lines Made By Walking” — JACK Quartet
- “Akiho: Seven Pillars” — Sandbox Percussion
- “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
- “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
- “Bruits” — Imani Winds
81. Best Classical Instrumental Solo
- “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
- “An American Mosaic” — Simone Dinnerstein
- “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
- “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
- “Mak Bach” — Mak Grgić
- “Of Power” — Curtis Stewart
82. Best Classical Solo Vocal Album
- Confessions — Laura Strickling; Joy Schreier, pianist
- Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
- Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
- Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
- Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
- Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
- Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)
84. Best Contemporary Classical Composition
- “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
- “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
- “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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The UW Symphony Orchestra performs a FREE online concert Thursday night and Friday night the Wisconsin Chamber Orchestra debuts its second chamber music concert. But in-person micro-concerts on Sunday by the the Willy Street Chamber Players are sold-out
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By Jacob Stockinger
The second half of the music season is well under way, with just about every major group performing online – or in one case even in person.
Here are three selections this week:
THURSDAY
Two of the most musically and technically impressive concerts The Ear heard last semester took place at the UW-Madison’s Mead Witter School of Music. They were by the UW-Madison Symphony Orchestra under the direction of conductor Oriol Sans (below).
First, Sans conducted a socially distanced and virtual all-strings concert (below).
Then, for the second concert, the conductor had the winds and brass – which spray dangerous aerosol droplets – record their parts individually. Then for the live performance, Sans donned earphones and masterfully combined all the forces into a full orchestra performance (below).
You can see similar results – with percussion joining for the strings for the last piece — this Thursday night, Feb. 25, at 7:30 p.m. on YouTube when the UW Symphony Orchestra live-streams a 90-muinute concert from the Mead Witter Foundation Concert Hall in the Hamel Music Center. No in-person attendance is allowed.
Here is the program:
I Crisantemi (Chyrsanthemums) by Italian opera composer Giacomo Puccini (1858-1924), with Michael Dolan, guest conductor
“Leyendas: An Andean Walkabout” by contemporary American composer Gabriela Lena Frank (b. 1972) Coqueteos (Flirtations)
“Carmen” Suite (after the opera by Georges Bizet) by Russian composer Rodion Shchedrin (b.1932): Introduction; Dance; Carmen’s entrance and Habanera Torero; Adagio; Fortune-telling; and Finale.
Here is a link to the live-streamed video: https://youtu.be/GSrMLKrjlVg
And here is a link to more information, including program notes and the names of members of the orchestra: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/
FRIDAY NIGHT
On Friday night at 7:30 p.m. the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) will offer the second of its Winter Chamber Series. It will run between 60 and 75 minutes.
There will be string, brass and percussion music by Mozart, Beethoven, Rossini, Steve Reich, Craig H. Russell and Thomas Siwe. Be aware that three of the works – string quartets by Mozart and Beethoven and a string sonata by Rossini — are presented in excerpts. That is not listed on the webpage.
The cost for one-time access between Friday night and Monday night is $30.
Here is a link to more information, including a link to ticket sales from the Overture Center box office and program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz): https://wcoconcerts.org/events/winter-chamber-series-no-ii
SOLD-OUT
The Micro-concerts scheduled for this coming Sunday, Feb. 28, by the esteemed Willy Street Chamber Players (below), are SOLD-OUT.
The 10-minute private concerts for two, which require masks and social distancing for all, are perhaps the most innovative move by any local music group during the coronavirus pandemic.
The Ear, who expects concert habits to change after the pandemic, thinks such micro-concerts have a very bright future even after the pandemic is under control and audiences can return safely to mass events.
The concert are pay-what-you can but a $20 donation for two was suggested.
For more information about the micro-concerts, listen to the YouTube video at the bottom and go to: http://www.willystreetchamberplayers.org/micro-concerts.html
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The Madison Bach Musicians will open its new season with a virtual online concert of Haydn and Mozart this Saturday night and Sunday afternoon
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By Jacob Stockinger
The Ear has received the following announcement, about a promising contrast-and-compare concert, from the Madison Bach Musicians:
The Madison Bach Musicians (MBM) will start its 17th season this Saturday night and Sunday afternoon, Oct. 3 and 4, with a virtual chamber music concert and livestream event featuring the irrepressibly joyous, witty and poised music of Classical-era masters Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791).
The performances features period instruments and historically informed performance practices.
See details near the bottom about the schedules and how to buy tickets.
Performers are violinist Kangwon Kim and cellist James Waldo (on gut-strung period instruments), fortepianist Trevor Stephenson, and soprano soloist Morgan Balfour — winner of the 2019 Handel Aria Competition. (Below top is Kangwon Kim; below middle is James Waldo; and below bottom is Morgan Balfour.)
The broadcast will begin with a 30-minute pre-concert lecture by MBM artistic director Trevor Stephenson (below, in a photo by Kent Sweitzer) illuminating the program’s repertoire, the lives of Haydn and Mozart, and the aesthetic aims of the period instruments.
While most of the pieces on the program are buoyant and full of celebration, the concert will begin with a pensive and melancholy work commensurate with our current pandemic times.
Mozart composed the Sonata in E minor for violin and fortepiano in 1778 at the age of 22 while on tour in Paris. His mother, who was with him on the tour, became suddenly ill and died unexpectedly. This sonata is the only piece of instrumental music Mozart ever composed in the key of E minor, and its blend of gravitas, sparseness and tenderness is heartbreakingly poignant.
Mozart’s Piano Trio in G major, composed in 1788, shows him at his sunniest and most affable, with one brilliant and catchy tune after another suspended effortlessly — at least in Mozart’s hands! ― within the balance of Classical form.
The program’s first half ends with five of Mozart’s songs. Mozart truly loved the soprano voice, and he lavished some of his greatest writing upon it. The set includes perhaps his best-known song, Das Veilchen (The Violet)―which is also, oddly enough, Mozart’s only setting of a text by the German poet Goethe.
The second half of the concert is devoted to the music of Mozart’s near contemporary, Joseph Haydn, who was just 24 years older than Mozart.
Though the two composers came from very different musical and socioeconomic backgrounds.
Haydn (below) was lower working class, rural, and musical but not professionally trained.
Mozart (below) was urban, solid middle class, musically trained, sophisticated, and ambitious.
Both managed to carve out successful careers in the fertile musical culture of Vienna and its environs. They certainly knew each other and even made music together on occasion, playing in string quartets — with Haydn on violin and Mozart on viola.
Haydn composed two sets of English Canzonettas (songs) during his visits to England during the early 1790s.
The Mermaid, with its flirtatious beckoning, stretches the confines of the parlor setting (where this music was most likely performed) and suggests a cabaret environment. Fidelity, on the other hand, stays within the parlor style, emphasizing how the bond of devotion can overcome physical separation. Haydn brilliantly interweaves stormy, naturalistic episodes with declarations of unbending loyalty.
The concert will close with Haydn’s mercurial Piano Trio No. 27 in C major. Also composed during his London visits in the 1790s, this trio is the first of a set of three dedicated to the London-based virtuoso pianist Therese Bartolozzi. The Presto finale―with its unbridled high spirits―is a supreme example of Classical Era cheeky, theatrically conceived wit. (You can hear the finale in the YouTube video at the bottom.)
SCHEDULE AND TICKETS
As a result of public health guidelines in response to Covid-19 that do not allow for an in-person audience, we will livestream our concert from Grace Episcopal Church, downtown on Capitol Square, on Saturday evening for at-home viewing. (Below are Trevor Stephenson and Kangwon Kim rehearsing in masks at Stephenson’s home.)
The event will begin with a pre-concert talk by Trevor Stephenson at 7:30 p.m., and after the 8 p.m. concert, the musicians will remain on stage to answer questions submitted by our audience.
On Sunday, starting at 3 p.m. we will rebroadcast the Saturday evening recording and follow that with a live question-and-answer session with our musicians from their homes.
After purchasing tickets for $15 per household, you will be sent a link to access the performance. The recorded lecture and video will be available for up to 72 hours after they take place.
To purchase tickets, go to: https://madisonbachmusicians.org/oct-3-4-haydn-mozart/ or to: https://madison-bach-musicians.square.site/product/haydn-mozart-oct-3-4-livestream/54?cs=true
For information about the Madison Bach Musicians’ full season, go to: https://madisonbachmusicians.org/season-overview/
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Classical music: The coronavirus pandemic sparks a surge in piano sales
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By Jacob Stockinger
Have you or someone in your family used the COVID-19 lockdown and staying at home to practice, play or learn the piano?
You’re not alone.
A year ago, stories in the media tracked how pianos were quickly becoming a thing of the past in American homes. People were giving pianos away for free and for the cost of moving.
But then the coronavirus pandemic arrived, along with lockdowns, online learning and sheltering at home.
National news media discovered some unexpected good news, especially since public concerts have been canceled: The pandemic has brought a renewed interest in playing the piano at home – and in buying them.
The Ear wanted to find out if that same trend holds true in Madison.
“It does,” says Tim Farley, who — with his wife Renee — owns and operates Farley’s House of Pianos on the far west side near West Towne Mall. (The top photo from the store is from the Better Business Bureau. The two owners are seen below bottom in a photo from Isthmus newspaper).
“It’s weird,” he adds. “We had to close. When we re-opened, we cut back on hours and staff. Like many others, we figured there would be an end to business for a while.”
But just the opposite happened.
“Our sales are up about 34 percent compared to a year ago,” Farley adds. “We’re happy how things are going.”
Most of the sales increase has been in digital pianos, Farley says, although a lot of excellent acoustic pianos have also been sold, including a Hamburg Steinway.
Part of what accounts for the increase, he speculates, is that teachers inspire students to want better instruments.
Farley’s sells new and restored pianos (below), and also has an extensive teaching program, with online lessons during the pandemic. (For isolation practicing ideas and advice, see the YouTube video at the bottom.)
The Ear wonders if the same trend is happening in Europe and especially Asia — particularly China, Taiwan, South Korea and Japan — where so many great young pianists are coming from and winning international competitions.
For more about the national picture in the U.S., including background history, information about prices, increases in online sales and the demographics of buyers, you should read this oustanding story by music critic Corinna da Fonseca-Wollheim in The New York Times:
Here is a link: https://www.nytimes.com/2020/06/29/arts/music/piano-sales-coronavirus.html
Have you bought a piano or another instrument during the pandemic?
Are you using the down time to return to practicing and playing a piano or another instrument?
What would you like to say about making music during the pandemic?
Has making music helped you weather this odd period of time?
The Ear wants to hear.
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Classical music: The Met just canceled its entire fall opera season. Can local groups be far behind?
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By Jacob Stockinger
The question has weighed on The Ear ever since local groups started announcing their new concert seasons.
Will audiences – especially older and more vulnerable ones — be ready to risk venturing into crowds of 500, 1,000 or 2,000 people without an effective treatment or vaccine for global pandemic of the coronavirus (below) and the growing number of deaths from COVID-19?
Now such suspicions have been supported or even confirmed by news that the world-famous Metropolitan Opera (below), at Lincoln Center in New York City, has just canceled all of its live fall productions.
It cited concerns about the safety of both the public and the performers. And its reasoning makes sense — even though it is estimated that the Met will lose up to $100 million. It is hard or impossible in concert halls and on stages (below is a photo of the Met’s stage) to use masks and maintain social distancing.
All in all, it sounds all too familiar, similar to the reasons given for cancellations this past winter and spring, and even this summer.
Here’s a link about the Met cancellation, with lots of details and quotes, in The New York Times: https://www.nytimes.com/2020/06/01/arts/music/metropolitan-opera-cancels-season-virus.html
Locally, it seemed like the show might go on when many groups – despite the public health crisis growing worse — went ahead and started announcing their fall seasons or even an event this summer, as in the case of the Wisconsin Chamber Orchestra’s Concerts on the Square, which were postponed by a month.
After all, the Madison Symphony Orchestra (below, in a photo by Greg Anderson), the Madison Opera, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Middleton Community Orchestra and the Madison Bach Musicians have all announced new seasons — as did the Chicago Symphony Orchestra and the Milwaukee Symphony Orchestra. (You can hear about the Madison Symphony Orchestra’s new “Ode to Joy” season in the YouTube video at the bottom.)
The UW-Madison – the biggest presenter of live concerts in the Madison area with some 300 events a year – has wisely not yet announced its concert season, let alone how it will hold lessons and classes.
The Ear suspects that more cancellations are in the making, especially when it comes to mass gatherings such as concerts, movies, plays and sports events.
Indeed, it seems like many of the groups even took possible cancellations into consideration when it came to planning programs; cutting back on expenses and staffing; and using local or regional guest artists, who might be less expensive and less difficult to cancel, rather than long-distance imported ones.
Even if a vaccine is perfected by Jan. 1, it will take a while to produce enough of it, then to administer it and then to have it take effect.
But perhaps those suspicions and speculations are overly cautious or too pessimistic.
What do you think will happen to the fall concert season?
Will going online and streaming new or past concerts once again be a substitution?
Has the pandemic changed your own habits — perhaps waiting to purchase single tickets rather than renew a season subscription? Or your plans for the fall season, perhaps even the entire season?
The Ear wants to hear.
Tags: #BaroqueMusic, #BeethovenYear, #BlogPost, #BlogPosting, #ChicagoSymphonyOrchestra, #ConcertSeason, #ConcertsontheSquare, #COVID-19, #FacebookPost, #FacebookPosting, #GuestArtist, #HealthCrisis, #JacobStockinger, #LincolnCenter, #LiveConcert, #LiveMusic, #LiveStreaming, #LudwigVanBeethoven, #MadisonBachMusicians, #MadisonOpera, #MadisonSymphonyOrchestra, #MeadWitterSchoolofMusic, #MetropolitanOpera, #MiddletonCommunityOrchestra, #MilwaukeeSymphonyOrchestra, #NewYorkCity, #NewYorkTimes, #OdetoJoy, #OrchestralMusic, #PublicHealth, #SeasonSubscription, #SocialDistancing, #TheEar, #TheMet, #UniversityofWisconsin-Madison, #WisconsinChamberOrchestra, #WisconsinUnionTheater, #YouTubevideo, administer, Arts, audience, Bach, Baroque, Beethoven, Beethoven Year, blog, buy, cancel, canceled, cancellation, cancelled, cautious, Chicago, Chicago Symphony Orchestra, cite, Classical music, composer, concerns, Concert, concert season, Concerts on the Square, conductor, coronavirus, crisis, crowd, death, details, Early music, effect, estimate, expensive, Facebook, familiar, forward, global, group, guest artist, habit, hard, hear, imported, impossible, Jacob Stockinger, January, Johann Sebastian Bach, like, LIncoln Center, Lincoln Center for the Performing Arts, link, live, live music, live streaming, local, long-distance, Ludwig van Beethoven, Madison, Madison Bach Musicians, Madison Opera, Madison Symphony Orchestra, maintain, mask, Mead Witter School of Music, Metropolitan Opera, Middleton Community Orchestra, million, Milwaukee, Milwaukee Symphony Orchestra, movie, MSO, Music, new, New York City, New York Times, Ode to Joy, old, older, online, opera, Orchestra, pandemic, past, People, performers, pessimistic, plan, planning, play, presenter, produce, production, program, public, Public health, question, quote, quotes, reasoning, regional, risk, safety, sense, share, social distancing, speculation, Sports, Spring, staffing, staff\, stage, story, stream, subscription, substitution, summer, support, suspicion, symphony, tag, The Ear, the Met, theater, ticket, treatment, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Madison, vaccine, venture, vocal music, vulberanle, Website, winter, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Union Theater, YouTube
Classical music: What music is helping you get through the Coronavirus by staying home? Help create a Pandemic Playlist
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By Jacob Stockinger
Starting today, Wisconsin joins other states and countries in proclaiming a stay-at-home emergency condition to help fight the coronavirus pandemic.
That means non-essential businesses and schools are closed; restaurants can only deliver food and do pick-up; and residents must stay at home except for essential services and travel such as buying food, seeing a doctor and getting medicine.
For a couple of weeks, many of us have already been spending almost all our time hunkering down at home.
And the Internet and other mass media are full of helpful hints about how to handle the loneliness, fear and anxiety that can come with self-isolation and self-quarantining.
For many, music proves a reliable coping strategy.
Since there are no live concerts to preview or review, now seems like a good time for The Ear to ask readers: What music helps you deal with the isolation of staying at home?
Is listening to music a part of your daily schedule, structure or routine?
Maybe you are using the time to discover new music or neglected composers, works and performers.
Maybe you are using the time to revisit old favorites by Bach, Mozart and Beethoven.
Maybe you prefer darker and deeper, more introverted works such as symphonies by Mahler, Bruckner and Shostakovich?
Maybe you prefer the stories and drama of operas by Verdi and Puccini, oratorios by Handel and songs by Schubert?
Maybe, like The Ear, you find the music of Baroque Italian composers, such as the violin concertos by Vivaldi and Corelli, to be a great, upbeat way to start the day with energy and a good mood.
One more modern but neo-classical work that The Ear likes to turn to — a work that is rarely heard or performed live – is the beautiful “Eclogue” for piano and strings by the 20th-century British composer Gerald Finzi (below).
Finzi wrote it as a slow movement to a piano concerto, but then never finished the concerto. The “Eclogue” — a short pastoral poem — was never performed in his lifetime. So it continues to stand alone.
But like so much English pastoral music, the poignant Eclogue feels like sonic balm, some restorative comfort that can transport you to a calmer and quieter place, put you in a mood that you find soothing rather than agitated.
Hear it for yourself and decide by listening to it in the YouTube video at the bottom, then let The Ear know what you think.
Perhaps you have many other pieces to suggest for the same purpose.
But the series of reader suggestions is meant to be ongoing.
The idea is to build a collective “Pandemic Playlist.”
So right now and for this time, please post just ONE suggestion – with a YouTube link, if possible — in the Comment section with perhaps what you like about it and why it works for you during this time of physical, psychological and emotional distress from COVID-19.
What do you think of the idea of creating a Pandemic Playlist?
The Ear hopes that you like his choice, and that he and other readers like yours.
Be well and stay well.
Let’s get through this together.
Tags: #20thCentury, #AntonBruckner, #AntonioVivaldi, #ArcangeloCorelli, #BaroqueMusic, #BlogPost, #BlogPosting, #BritishComposer, #BritishMusic, #CentersforDiseaseControl, #ChoralMusic, #COVID-19, #DmitriShostakovich, #EmotionalImpact, #EnglishComposer, #FacebookPost, #FacebookPosting, #FranzSchubert, #GeorgeFridericHandel, #GeraldFinzi, #GiacomoPuccini, #GiuseppeVerdi, #GoodMood, #GustavMahler, #HandelOratorio, #HealthCare, #HolidayFavorites, #HunkerDown, #ItalianBaroque, #JacobStockinger, #JohannSebastianBach, #LiveConcert, #LivingComposer, #LudwigVanBeethoven, #MassMedia, #ModernMusic, #MusicReview, #NeglectedComposers, #NeglectedMusic, #NeglectedWorks, #NewMusic, #OperaMusic, #PandemicPlaylist, #PianoConcerto, #PianoMusic, #Self-Isolation, #shelter-at-home, #SlowMovement, #SocialDistancing, #Stayathome, #StringMusic, #TheEar, #TheInternet, #ViolinConcerto, #ViolinMusic, #VocalMusic, #WolfgangAmadeusMozart, #YouTubevideo, 20th-century, agitating, agitation, alone, Anton Bruckner, Antonio Vivaldi, anxiety, Arcangelo Corelli, Arts, audience, Bach, balm, Baroque, beautiful, Beethoven, blog, Bruckner, Business, buy, calm, Centers for Disease Control, Chamber music, choice, choral music, Classical music, classicalmusic, closed, collective, comfort, Compact Disc, composer, Concert, condition, cope, coping, Corelli, coronavirus, countries, country, COVID19, create, daily, darker, day, decide, deeper, deliver, discover, distress, Dmitri Shostakovich, doctor, drama, Early music, Eclogue, Education, emergency, emotional, energy, English, essential, Facebook, favorites, fear, fight, finish, Finzi, food, forward, Franz Schubert, George Frideric Handel, Gerald Finzi, Giacomo Puccini, Giuseppe Verdi, good, good mood, Gustav Mahler, Handel, health care, help, helpful, hints, Home, hunker down, idea, Internet, introvert, Italian, Italy, Jacob Stockinger, Johann Sebastian Bach, lifetime, like, link, live, live concert, Living composer, lockdown, loneliness, Ludwig van Beethoven, Madison, Mahler, mass media, media, medicine, modern, mood, Mozart, Music, music review, neglected, neglected composer, neo-Classical, new, New Music, non-essential, old, opera, oratorio, Orchestra, pandemic, pandemic playlist, pastoral, performer, physical, Pianist, Piano, pick-up, piece, playlist, poem, poignant, post, posting, prefer, prevention, preview, proclaim, prove, psychological, psychology, Puccini, quarantine, quiet, quieter, rare, reliable, resident, restaurants, restorative, review, revisit, routine, schedule, school, schools, Schubert, self-isolating, Self-Quarantining, services, share, shelter, short, Shostakovich, sing, Singing, Slow movement, social, social distancing, song, songs, sonic, soothing, spend, start, state, stay at home, stories, strategy, stress, strings, structure, suggest, suggestion, symphony, tag, The Ear, think, thought, time, together, transport, travel, United States, use, Verdi, Viola, Violin, virus, Vivaldi, vocal music, weeks, wisconsin public radio, Wolfgang Amadeus Mozart, YouTube
Classical music: The 7th annual Schubertiade at the UW-Madison is this Sunday afternoon and will explore the influence of Beethoven on Schubert
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By Jacob Stockinger
This coming Sunday afternoon, Jan. 26, is the seventh annual UW Schubertiade – named after the evening gatherings of friends (below) where the composer Franz Schubert performed and premiered his own music.
This year’s theme, given that 2020 is the Beethoven Year, is the immense influence that the older Beethoven (below top) 1770-1827) had on the younger Schubert (below bottom, 1797-1828).
The event will begin with a pre-concert lecture by UW-Madison Professor of Musicology Margaret Butler at 2:15 p.m. in the Rehearsal Hall at the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art.
Then at 3 p.m. in the 330-seat Collins Recital Hall in the same building, the two-hour concert will take place.
The concert will close with the usual custom. The audience and performers will join in singing “An die Musik” (To Music). (In the YouTube video at the bottom, you can hear it sung by legendary German soprano Elisabeth Schwarzkopf and legendary British accompanist Gerald Moore.)
A reception will follow the concert in the main lobby.
For more description of the event plus a complete program and list of performers – who consist of UW-Madison graduates and musicians including soprano Jamie Rose Guarrine (below top) and mezzo-soprano Alisanne Apple (below middle) as well as the Pro Arte Quartet (below bottom, in a photo by Rick Langer) – go to: https://www.music.wisc.edu/event/our-annual-schubertiade/
At the site, you will also find information about buying tickets – general admission is $20 with free student tickets on the day of the concert is space is available – and about parking.
The event was founded by and continues to be directed by wife-and-husband pianists Martha Fischer and Bill Lutes (below) who also sing, accompany and play works for piano, four hands.
Lutes sent the following introductory remarks: “Ever since Martha and I presented the first of our annual Schubertiades back in January 2014, we’ve looked for ways to keep our all-Schubert birthday parties fresh and interesting for our audience.
“From time to time we contemplated introducing another composer – maybe even switching our allegiance from the immortal Franz to another of our favorites: perhaps a “Schumanniade.”
“This time, with six years of all-Schubert behind us, we thought we would do the obvious and finally unite Schubert with the composer who probably meant more to him than almost any other – Beethoven, whose 250th birthday is being celebrated this year.
“Once Beethoven moved permanently to Vienna at age 22, he soon became famous and eventually was regarded as the greatest of the city’s composers.
“Schubert, who was born in Vienna five years after Beethoven’s arrival, grew up hearing the older master’s works, often at their premieres. As his genius flowered early, Schubert was often challenged and inspired by Beethoven’s music.
“We bring together these two giants who lived in the same city, knew the same people, attended the same musical events, perhaps met or quite possibly didn’t.
“Yet Beethoven’s presence and example guided Schubert in his own road toward the Ultimate Sublime in music. Our concert of “Influences and Homages” features works where the musical, if not the personal, relationship is there for all to hear.”
Lutes also supplied a list of the song titles in English translation:
“Ich liebe dich” – I love you
“Der Atlas” – Atlas
“Auf dem Strom” – On the River
“Der Zufriedene” – The Contented Man
“Der Wachtelschlag” – The Quail’s Cry
“Wonne der Wehmut” – Joy in Melancholy
“Kennst du das Land?” – Do You Know the Land?
“An die ferne Geliebte” – To the Distant Beloved
“An die Freude” – Ode to Joy
“Gruppe aus dem Tartarus” – Scene from Hades
“Elysium”
“Nachthymne” – Hymn to the Night
“Abendlied unterm gestirnten Himmel” – Evening Song Beneath the Starry Firmament
Have you attended a past Schubertiade (below, in Mills Hall)?
What did you think?
Would you recommend it to others?
The Ear wants to hear.
Tags: #AlisanneApple, #AndieMusik, #BeethovenYear, #BillLutes, #BlogPost, #BlogPosting, #ChazenMuseumofArt, #CollaborativePianist, #CollinsRecitalHall, #ElisabethSchwarzkopf, #EnglishTranslation, #FacebookPost, #FacebookPosting, #FranzSchubert, #GeneralAdmission, #GeraldMoore, #HamelMusicCenter, #JacobStockinger, #JamieRoseGuarrine, #LudwigVanBeethoven, #MargaretButler, #MarthaFischer, #MeadWitterSchoolofMusic, #Mezzo-sopranoSinger, #MillsHall, #OdetoJoy, #PersonalRelationship, #PianoAccompanist, #Pre-concertLecture, #ProArteQuartet, #RehearsalHall, #RobertSchumann, #Schubertiadeconcert, #SopranoSinger, #Sundayafternoon, #TheEar, #UniversityofWisconsin-Madison, #UW-MadisonMusician, #UWProfessor, #UWSchubertiade, #ViennaAustria, #YouTubevideo, accompanist, accompany, Alisanne Apple, allegiance, An die Musik, annual, attend, audience, available, Beethoven, Beethoven Year, beloved, Bill Lutes, birthday, blog, building, buy, challenge, Chazen Museum of Art, city, close, Collins Recital Hall, composer, contemplate, contented, Cry, custom, distant, early, Elisabeth Schwarzkopf, English, English translation, evening, event, example, Facebook, famous, firmament, flower, forward, four-hands, Franz Schubert, freind, fresh, gathering, general admission, genius, Gerald Moore, giants, graduates, greatest, guide, Hades, Hamel Music Center, hear, homage, hymn, immortal, influence, inspire, interesting, Jacob Stockinger, Jamie Guarrine, Jamie-Rose Guarrine, join, Joy, know, land, lecture, legendary, like, link, Love, Ludwig van Beethoven, man, Margaret Butler, Martha Fischer, Master, Mead Witter School of Music, mean, meet, melancholy, Mezzo-soprano, Mills Hall, Music, Musician, musicology, night, ode, Ode to Joy, old, older, online, other, PAQ, parking, parties, party, People, performer, personal, Pianist, Piano, post, posting, pre-concert lecture, premiere, presence, Pro Arte Quartet, professor, quail, reception lobby, recommend, rehearsal hall, relationship, river, road, Robert Schumann, scene, Schubert, Schubertiade, Schumann, seat, share, sing, song, soprano, space, starry, students, sublime, subscriber, Sunday afternoon, switch, tag, The Ear, ticket, translation, ultimate, unite, University of Wisconsin-Milwaukee, UW, UW-Madison, Vienna, Website, work, young, younger, YouTube
Classical music: The Middleton Community Orchestra and violinist Naha Greenholtz perform this Wednesday night in the new Hamel Music Center at the UW-Madison. At noon, the FREE Just Bach concert celebrates Christmas
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ALERT 1: This Wednesday, Dec. 18, at noon in Luther Memorial Church, 1021 University Avenue, Just Bach wraps up its FREE one-hour period-instrument concerts for this semester. The program features “joyous selections” from the Christmas Oratorio, the Magnificat, and the Advent Cantata 36. For more information about the program and the performers, go to: https://justbach.org
ALERT 2: The Madison Symphony Orchestra, which just gave three sold-out performances of its Christmas concert, is holding its annual holiday ticket sale. It started Monday and runs through Dec. 31. You can save up to 50 percent on tickets to the remaining concerts of the season. For more information and to order, go to: https://madisonsymphony.org/holidaysale/
By Jacob Stockinger
Looking for a break from holiday music?
This Wednesday night, Dec. 18, the mostly amateur but critically acclaimed Middleton Community Orchestra (below) will perform in the Mead Witter Foundation Concert Hall of the new Hamel Music Center at the UW-Madison – NOT at its usual venue, the Middleton Performing Arts Center that is attached to Middleton High School.
The appealing program under guest conductor Kyle Knox starts at 7:30 p.m. It features the dramatic Overture to “Die Meistersinger” (The Master Singers) by Richard Wagner (you can hear the Overture in the YouTube video at the bottom); the popular and virtuosic Symphonie Espagnole (Spanish Symphony) by French composer Edouard Lalo, with violin soloist Naha Greenholtz; and the lovely Suite from the opera “Der Rosenkavalier” by Richard Strauss.
There will be a post-concert reception in the lobby.
Admission is $15; free for students. Tickets are available at the door – student tickets are available at the door only — and at the Willy Street Coop West. The hall is at 740 University Avenue with parking in the nearby Lake Street Ramp. The box office opens at 6:30 p.m. and doors to the hall open at 7 p.m.
The Ear asked the co-founders and co-directors of the group – Mindy Taranto and Larry Bevic — why they chose to play in the Hamel Music Center this time. He recieved the following reply:
“We decided to rent the Mead Witter Foundation Concert Hall (below top, in photo by Bryce Richter for University Communications) in the Hamel Music Center (below bottom) for several reasons.
“This is our 10th anniversary season and we wanted to give our musicians a really special experience. Many of us are curious about the new hall and are really excited to be playing there.
“Also, Kyle Knox (below) – a UW-Madison graduate and the music director of the Wisconsin Youth Symphony Orchestras — is a phenomenal conductor and this program is exceptionally difficult and beautiful.
“It is an honor to get to perform at the UW-Madison with Kyle conducting such a beautiful program. He has brought this orchestra along so far, and for that we are incredibly grateful. He is a brilliant musician and our work with him has improved the orchestra so remarkably over the eight years he has been regularly working with us.
“We also thought that so many of our patrons enjoy our concerts when violinist Naha Greenholtz (below, in a photo by Chris Hynes) – the concertmaster of the Madison Symphony Orchestra — is our soloist, and with the MSO connection, holding the concert at Hamel will hopefully boost attendance at the concert.
Naha sounds amazing and if you could see how much our musicians enjoy her annual appearance with MCO, you’d know why we want to play with her every year.
“As we conclude the first half of our 10th season, we are grateful to the musicians in MCO and to the community that supports us.
“We are probably one of the few organizations on the Madison arts scene that puts literally every dollar into music. As the two co-founders, we run the organization on a volunteer basis and we don’t spend any money on advertising.
“All of our resources go to hiring astonishing local musicians, renting performance space, and buying music to provide meaningful musical experiences for our musicians and our patrons.”
For information about how to join the orchestra, how to support it and what its remaining concerts are this season, go online to: http://middletoncommunityorchestra.org or call 608-212-8690.
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Classical music: Cellist Amit Peled and pianist Daniel del Pino open the Salon Piano Series this Friday and Saturday nights. TODAY the Edgewood College Chamber Orchestra opens its new season in a new hall
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ALERT: The Edgewood Chamber Orchestra opens its new season TODAY at 2:30 p.m. in the new McKinley Performing Arts Center at Edgewood High School, 2219 Monroe Street. Blake Walter will conduct the program that features Beethoven’s “King Stephen” Overture, composed to celebrate the opening of a new theater ; Handel’s “Water Music”; and Mozart’s Symphony No. 36 in C Major “Linz,” K. 425. Admission is $5 for the general public, FREE with an ID for Edgewood College or Edgewood High School.
By Jacob Stockinger
The Salon Piano Series will open its new and expanded season with a recital by cellist Amit Peled (below top, in a photo by Lisa Mazzucco) and pianist Daniel del Pino (below bottom) on this coming Friday and Saturday nights, Oct. 4 and 5, at 7:30 p.m.
The concerts, which are being dedicated to retired critic John W. Barker, will be held at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.
Each artist has performed individually at Farley’s before, but this will be their first joint recital in Madison.
The program is:
John Eccles – Sonata in G Minor (1720)
Ludwig van Beethoven – Sonata No. 2 in G Minor, Op. 5, No. 2 (1796)
Gaspar Cassadó – Sonata in Old Spanish Style, G Minor, (1925)
Richard Strauss – Sonata in F Major, Op. 6 (1883)
A reception will follow the performances.
Tickets are $45 in advance and $50 at the door. Student tickets are $10 and can only be purchased online and are not available the day of the event.
You can buy tickets online, where service fees may apply, at: https://www.brownpapertickets.com/producer/706809
You can also call Farley’s at (608) 271-2626 to purchase tickets.
After hearing the Israeli-American Peled, The New York Times reported that he has “a glowing tone, a seductive timbre and an emotionally pointed approach to phrasing that made you want to hear him again.”
Daniel del Pino is a leading Spanish concert pianist on the international scene. He has performed in prestigious venues on five continents.
In the YouTube video at the bottom, you can watch a special concert preview and an enthusiastic message about specifically performing in Madison from Amit Peled.
You can also hear and see past performances from Peled and del Pino at the Salon Piano Series on YouTube:
From February 2016, Amit Peled performs on Pablo Casals’ cello: https://www.youtube.com/watch?v=3Yb-SE80eDg
From November 2015, Daniel del Pino performs Chopin: https://www.youtube.com/watch?v=-tnvbk_v2Xk
For more information about this concert and the full season of six concerts, including subscription tickets, go to: https://salonpianoseries.org
This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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Classical music: The Madison Symphony Orchestra is offering an unlimited, season-starting single ticket sale with 20 percent off, through this Saturday
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By Jacob Stockinger
For the first time ever, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) is offering a sale on tickets to the first three concerts this season.
You will get 20 percent off if you buy tickets through the Overture Center box office in person, by phone (608 258-4141) or online at https://www.overture.org/events
The discount code to say or use is FIRST3SYMPHONY.
Be forewarned: You will NOT find the ticket sale on the MSO website.
There is no limit of how many tickets you can buy, says MSO marketing director Peter Rodgers who also said the traditional holiday ticket sale, with two-tiered discount pricing, will take place as usual from Dec. 16 through Dec. 31.
The season-starting sale runs through this coming Saturday, Aug. 31. You can get discounted single tickets to the concerts on Sept. 27-29, Oct. 18-20 and Nov. 8-10 with performances on Fridays at 7:30 p.m., Saturday at 8 p.m. and Sunday afternoons at 2:30 p.m.
Ticket prices range from $19-$95, up about 2 percent from last year to keep up with inflation, Rodgers added.
Why isn’t the sale on the MSO website?
“We did it digitally and in a printed brochure that we mailed out just to try and reach out to either season subscribers or people who have already bought single tickets before and have already been to the symphony,” says Rodgers. “We just wanted to give some people a little nudge. But anyone can take advantage of the sale.”
Rodgers also said that the inaugural sale is not being held because ticket sales are slow. “Ticket sales for this season are competitive with last season’s,” he said, adding that some buyers might use the sale to get tickets as birthday gifts or for other special occasions.
Although there is no limit to the number of single tickets an individual can buy, Rodgers said that once you get to 10, you are better off going with the usual 25 percent off group rate.
MSO music director John DeMain (below, in a photo by Greg Anderson) will conduct all performances of the first three concerts.
The September concerts open the season with MSO organ soloist Greg Zelek (below) and features the Overture to the opera “Tannhauser” by Richard Wagner; the “Toccata Festiva” by Samuel Barber; the tone poem “Prelude to the Afternoon of a Faun” by Claude Debussy; and the Symphony No. 7 by Antonin Dvorak.
The October concerts feature guest violinist Rachel Barton Pine. The all-Russian and all-20th century program includes the Violin Concerto by Aram Khachaturian; the Symphony No. 9 by Dmitri Shostakovich; and the Suite from “Lieutenant Kije,” for trumpet and orchestra, by Sergei Prokofiev.
The November concerts feature guest pianist Joyce Yang. The program is the Symphony No. 2 by Robert Schumann; the Piano Concerto No. 3 by Sergei Prokofiev; and “Newly Drawn Sky” by the Pulitzer Prize-winning and Grammy Award-winning contemporary American composer Aaron Jay Kernis, who teaches at the Yale University School of Music. (You can hear “Newly Drawn Sky” in the YouTube video at the bottom.)
For more details about the three opening concerts and the entire 2019-20 season, including complete programs, go to: https://madisonsymphony.org/concerts-events/2019-2020-symphony-season-concerts/
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