The Well-Tempered Ear

Classical music: Here is an NPR interview with British cellist sensation Sheku Kanneh-Mason and an encore presentation of his performance at the Royal Wedding last weekend

May 27, 2018
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By Jacob Stockinger

So far, at least in the United States, the 19-year-old British sensation Sheku Kanneh-Mason (below) has been more talked about than talked to.

But on Saturday afternoon, NPR interviewed him for “All Things Considered.”

Some interesting facts about him and his blossoming career and his inaugural recording for Decca Records (below) came out of the six–minute discussion and questions by host Michel Martin.

Especially impressive was how all the children in his family are accomplished classical musicians. Here is a video of them playing music by Tchaikovsky and Prokofiev together:

And in case you missed it the first around, also included is an encore presentation of the three pieces he played last Saturday at the Royal Wedding of Prince Harry and American Meghan Markle, now the Duke and Duchess of Sussex.

Here is a link to the interview and the encore performance:

https://www.npr.org/sections/deceptivecadence/2018/05/21/613025939/cello-bae-sheku-kanneh-mason-wins-worldwide-fans-after-royal-wedding

And here is a YouTube video of Sheku Kanneh-Mason playing his own cello transcription of a the song “No Woman No Cry” by reggae legend Bob Marley, who was a mentor and inspiration to the young musician:

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Classical music: Is Royal Wedding cellist Sheku Kanneh-Mason the next Yo-Yo Ma?

May 22, 2018
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By Jacob Stockinger

If you watched the Royal Wedding of Prince Harry and American Meghan Markle – who are now known as the Duke and Duchess of Sussex – you were probably impressed by many things.

Not the least of them was the performance by the young Afro-British cellist Sheku Kanneh-Mason, who performed three pieces: “After a Dream” by Gabriel Faure; “Ave Maria” by Franz Schubert; and “Sicilienne” (an ancient dance step) by Maria Theresia von Paradis.

The young player acquitted himself just fine, despite the pressure of the event, with its avid public interest in the United Kingdom and a worldwide TV viewership of 2 billion.

But that is to be expected. He is no ordinary teenage cellist. Now 19, he was named BBC Young Musician of the Year in 2016 — the first black musician of African background to be awarded the honor since it started in 1938. A native of Nottingham, even as he pursues a busy concert and recording schedule, he continues his studies at the Royal Academy of Music in London.

So it was with great anticipation that The Ear listened to “Inspiration,” Kanneh-Mason’s new recording from Decca Records, which is already a bestseller on Amazon.com and elsewhere, and has topped the U.S. pop charts. (There are also many performances by him on YouTube.)

Unfortunately, The Ear was disappointed by the mixed results.

The cellist’s playing is certainly impressive for its technique and tone. But in every piece, he is joined by the City of Birmingham Orchestra or its cello section. The collaboration works exceptionally well with the Cello Concerto No. 1 by Dmitri Shostakovich. 

However, so many of the other works seem too orchestrated and overly arranged. So much of the music becomes thick and muddy, just too stringy. The Ear wanted to hear more of the young cellist and less of the backup band.

One also has to wonder if the recording benefits from being a mixed album with a program so full of crossovers, perhaps for commercial reasons and perhaps to reach a young audience. There is a klezmer piece, “Evening of the Roses” as well as a reggae piece, “No Woman, No Cry” by Bob Marley and the famous song “Hallelujah” by Leonard Cohen.

In addition, there are the familiar “The Swan” from “The Carnival of the Animals” by Camille Saint-Saens and two pieces by the inspiring cellist referred to in the title of the recording, Pablo (or Pau in Catalan) Casals (below).

A great humanist and champion of democracy who spent most of his career in exile from dictator Franco’s Spain, Casals used the solo “The Birds” as a signature encore. Played solo, it is a poignant piece — just as Yo-Yo Ma played it as an encore at the BBC Proms, which is also on YouTube). But here it simply loses its simplicity and seems overwhelmed.

Clearly, Sheku Kanneh-Mason is a musician of great accomplishment and even greater promise who couldn’t have wished for better publicity to launch a big career than he received from the royal wedding. He handles celebrity well and seems a star in the making, possibly even the next Yo-Yo Ma, who has also done his share of film scores and pop transcriptions

But when it comes to the recording studio, a smaller scale would be better. Sometimes less is more, and this is one of those times. (Listen to his beautiful solo playing and his comments in the YouTube video at the bottom.)

To take the full measure of his musicianship, The Ear is anxious to hear Kanneh-Mason in solo suites by Johann Sebastian Bach and concertos by Antonio Vivaldi; in sonatas by Ludwig van Beethoven, Franz Schubert and Johannes Brahms; in concertos by Antonin Dvorak and Edward Elgar; and in much more standard repertory that allows comparison and is less gimmicky.

Did you hear Sheku Kanneh-Mason’s live performance at the royal wedding? What did you think?

And if you have heard his latest recording, what do you think of that?

Do you think Sheku Kanne-Mason is the next Yo-Yo Ma?

The Ear wants to hear.


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Classical music: Meet Isabelle Demers, who performs an unusual organ recital tonight at 7:30 in Overture Hall

April 17, 2018
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By Jacob Stockinger

The Ear has received the following announcement to post:

The Madison Symphony Orchestra (MSO) welcomes the return of organist Isabelle Demers (below) for a recital tonight, Tuesday, Apr. 17 at 7:30 p.m. in Overture Hall of the Overture Center, 201 State St.

Professor of organ and head of the organ program at Baylor University, Isabelle Demers enjoys a very active recital career with performances worldwide from London to Los Angeles and Melbourne to Madison.

Her program entitled The Three B’s includes music by Edward Bairstow, Joseph Bonnet, and Hector Berlioz with Demers’ own transcription of Berlioz’s blistering “Symphonie Fantastique.” She is renowned for her dazzling performances, dynamic style, and universal audience appeal.

Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/demers, where you can also see Demers’ complete program, or by calling (608) 258-4141, or by going to the Overture Box Office.

Student Rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.

This performance is sponsored by the Skofronick Family Charitable Trust. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ (below), which is the backdrop of all MSO concerts.

For more Overture Concert Organ information, visit madisonsymphony.org/organ.

Here is a Q&A that the MSO did with Demers, who has more than two dozen videos on YouTube, including her own transcriptions of sections from “Scheherazade” by Nikolai Rimsky-Korsakov that is at the bottom:

MSO: Tell us about growing up and how that led you to make the organ a career.

ID: I grew up in Quebec, Canada, and started piano when I was 6. Most of my family works in sciences, but my mother wanted music to be an important part of my education. I entered pre-college at the Montreal Conservatory when I was 11 and really loved it, so it was not a very hard decision to choose music as a career later on.

My mother also suggested that I learn organ when I turned 16; she thought it would be a good instrument for me, while I saw it as a way to pay for my piano lessons. I guess the moral of the story is that one should always listen to their mother.

MSO: What differentiates you from other organists?

ID: I’m much shorter and I have a lovely French-Canadian accent. Seriously, I think I have a different feel for registration because I didn’t grow up with organ music. I listened to lots of orchestral and operatic works as a teenager, and I think that it influences the way I register most works, especially transcriptions.

I also have a more extensive background as a pianist than most other organists, so virtuosic works might come slightly more easily to me. (By the time I stopped playing piano, I had learned almost all the Chopin etudes, for example.)

MSO: What excites you most about playing the organ?

ID: Definitely the wide range of sounds and dynamics at our disposal! Being able to create my own sound world on every instrument I play is a very exciting part of my job. I don’t always play the same works, but even if I did, they often sound completely different when you try them on new instruments. I also like the physical aspect of playing organ; it’s good to get all your limbs moving together, especially when they are all falling on the right keys at the right time!

MSO: What would you say to someone at their first organ concert?

ID: Let yourself be moved by the instrument. Instead of trying to understand every note, listen for the bigger gestures, for the colors, for the larger picture. The organ has the potential to be very exciting and moving, but first one must forget that it is essentially a big machine.

If you don’t like the colors or the music, then hopefully it is possible to see the organist. I always find it fascinating to watch people play, and see how they can manage all the knobs and buttons on the console.

MSO: Other than playing the organ, what are some interests of yours?

ID: I love traveling, reading, spending time outside when it’s cold (which unfortunately doesn’t happen much in Texas) and cooking. I like to make ice cream, which is obviously very popular with the students as well. On my last visit to Madison I was able to try sour cream ice cream, which was delicious! I’ve tried to reproduce the recipe at home, but I think I’ll need some more practice.


Classical music: What we learn when we learn music. To prepare for two events next Saturday featuring students and amateurs, here is an insightful and informative PBS video

March 3, 2018
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By Jacob Stockinger

One week from today, two big events will take place.

One is the new and improved Bach Around the Clock 5 celebration. The FREE and PUBLIC event takes place at St. Andrew’s Episcopalian Church, 1833 Regent Street, and runs from 10 a.m. to 10 p.m.

It features all kinds of music by Johann Sebastian Bach performed by not only professionals, but also by students and amateurs of many ages, from young children to adults. The idea is to mark his 333rd birthday.

For more information about BATC 5, which will be covered in more detail next week, go to this website, which also features a complete schedule of performers and repertoire.

https://bacharoundtheclock.wordpress.com/concert-schedule/

The other big event is the day-long series of Winterfest Concerts by the Wisconsin Youth Symphony Orchestras (WYSO). It starts at 11:30 a.m. and runs through the evening. It features hundreds of students from dozens of middle schools and high schools in the larger area.

Here is a link to the information about the series of concerts, which will also be treated more at length this coming week:

https://www.wysomusic.org/events/concerts-recitals/

In both cases, the larger importance of music education will be in the spotlight.

That’s all the more reason to spend three minutes listening to this week’s “Brief But Spectacular” segment from the PBS Newshour in which an accomplished musician discuss the benefits of music education beyond having a career as a musician.

It may also whet your appetite to take in one or both of the events next Saturday.

Here is a link to the YouTube video of that impressive segment:

 


Classical music: Grammy-winning Eighth Blackbird performs Saturday night at the Wisconsin Union Theater. Go early and don’t miss the half-hour student “warm-up” show

February 28, 2018
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By Jacob Stockinger

Of course the main event at the Wisconsin Union Theater this Saturday night at 7:30 p.m. is the performance by the four-time Grammy-winning group Eighth Blackbird (below), which specializes in performing contemporary composers and new music.

Here is a link with more information –  videos, sound samples, reviews, the program and tickets — about the concert by Eighth Blackbird, which you can hear giving a Tiny Desk Concert for National Public Radio (NPR) in the YouTube video at the bottom.

https://union.wisc.edu/events-and-activities/event-calendar/event/eighth-blackbird/

But if you can, go to the concert early.

That’s because The Ear wants to give a loud shout-out to the Wisconsin Union Theater for offering a pre-concert concert of student players at 7 p.m. (There is also a free pre-concert lecture by conductor Randal Swiggum at 6 p.m.)

The students play Bach, Vivaldi, folk music and more. They set the mood and get you ready, kind of like the warm-up band at a rock concert. They also restore your faith in the future of classical music.

This time the young performers will be the Suzuki Sonora Strings of Madison.

They are fun, impressive and inspiring. The Ear remembers hearing violin virtuoso Hilary Hahn praise the Suzuki Sonora Strings and the Suzuki method for starting her on her own career. (Hahn, far right in the front, is seen below with the students.)

And below is a statement provided by Esty Dinur,  the director of marketing for the Wisconsin Union Theater, about why they feature the students — an idea that The Ear praises highly because he thinks it expands and rewards the audience as well as the students.

Music education needs more of this kind of public visibility that doesn’t isolate the young learners and performers but instead integrates them into the mainstream classical music scene.

Here is the statement by Dinur:

“We have so far hosted two groups of young musicians, the Suzuki Sonora Strings and the group known previously as Madison Music Makers and currently as the Wisconsin Youth Symphony Orchestras (WYSO) Music Makers.

“The Sonora Strings (below, seen from the balcony) performed before the concerts by Hilary Hahn in the 2015-2016 season and Joshua Bell in the 2016-2017 season. They will be performing again this Saturday ahead of the concert by Eighth Blackbird.

“WYSO Music Makers (below) performed before last season’s Los Angeles Guitar Quartet (and I learned that one of the LAGQ musicians played with them—from behind the shell!). We may add other young musicians in the future.

“We view them as the artists, teachers, audience members and advocates of the future, the people who will continue loving and spreading the love of classical and other music.

“As such, we’re excited to have the ability to provide them with experiences by world-class musicians in a world-class venue.

“It is always wonderful to see them working so hard on stage, being serious and intent and excited. It is also wonderful to see their parents and families derive such pleasure and justified pride for the accomplishments of their kids.

“We are also delighted to be able to present groups that are more diverse than the usual classical music crowd. The future promises to be significantly more diverse than the present. It’s nice to be able to bring that future onto our stage and our audience right now.

“Reactions from all quarters have been great. The kids, their teachers and their families are all very appreciative of the opportunity. So far, I’ve heard nothing but good feedback from the audience which seems to enjoy both watching and listening to the youngsters and to appreciate the intent behind their performances.

“Finally, these shows may be taxing at times for our staff but they’re happy to shoulder the challenges in order to participate in this important work.”


Classical music: The fifth annual Schubertiade is this Sunday afternoon at the UW-Madison and will chronicle Franz Schubert’s short but prolific career year by year

January 23, 2018
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CORRECTION: The concert by the Wisconsin Chamber Orchestra this Friday night in the Capitol Theater of the Overture Center starts at 7:30 p.m. — NOT at 7 as was incorrectly stated in an early version of yesterday’s posting and on Wisconsin Public Radio.

By Jacob Stockinger

On this Sunday afternoon at 3 p.m., the fifth annual Schubertiade — celebrating the music of Franz Schubert (1797-1828, below) will take place in Mills Hall on the UW-Madison campus.

The informal and congenial mix of songs and chamber music in a relaxed on-stage setting and with fine performers is always an informative delight. And this year promises to be a special one. (Performance photos are from previous Schubertiades.)

Tickets are $15 for the general public, and $5 for students. Students, faculty and staff at the UW-Madison’s Mead Witter School of Music get in for free.

A reception at the nearby University Club will follow the performance.

For more information about the event and about obtaining tickets, go to:

http://www.music.wisc.edu/event/schubertiade-with-martha-fischer-bill-lutes/

Pianist and singer Bill Lutes (below, in a photo by Katrin Talbot), who plans the event with his pianist-wife and UW-Madison professor Martha Fischer, explained the program and the reasoning behind it:

“This year’s Schubertiade is a program that could never have actually occurred during the composer’s lifetime. It is in fact a year-by-year sampling of Schubert’s music, spanning the full range of his all-too-brief career.

“As with our previous programs, we still focus on those genres which were most associated with the original Schubertiades (below, in a painting) – those informal social gatherings in the homes of Schubert’s friends and patrons, often with Schubert himself presiding at the piano, where performances of the composer’s lieder, piano music, especially piano duets, and vocal chamber music intermingled with poetry readings, dancing, games and general carousing.

“Our hope on this occasion is to present the development of Schubert’s unique art in much the same way we might view a special museum exhibition that displays the lifetime achievements of a great visual artist.

“Thus we will follow Schubert from his earliest work, heavily influenced by Haydn and Mozart, and his studies with Antonio Salieri, to the amazing “breakthrough” settings of Goethe’s poems in 1814 and 1815, and on to the rich procession of songs and chamber music from his final decade. (Below is a pencil drawing by Leopold Kupelwieser of Schubert at 14.)

As always we have chosen a number of Schubert’s best-known and loved favorites, along side of lesser-known, but equally beautiful gems.

We are also particularly delighted to work with a large number of School of Music students and faculty, as well as our featured guest, mezzo-soprano Rachel Wood (below), who teaches at the UW-Whitewater.

(D. numbers refer to the chronological catalogue of Schubert’s work by Otto Erich Deutsch, first published in 1951, and revised in 1978.)

SCHUBERTIADE 2018 – Schubert Year by Year: Lieder, Chamber Music and Piano Duets by Franz Schubert (1797-1828)

PERFORMERS

Rachel Wood (RW)

Katie Anderson (KA), Matthew Chastain (MC), James Doing (JD), Wesley Dunnagan (WD), Talia Engstrom (TE), Mimmi Fulmer (MFulmer), Benjamin Liupiaogo (BL), Claire Powling (CP), Cheryl Rowe (CR), Paul Rowe (PF), singers

The Hunt Quartet, Chang-En Lu, Vincius Sant Ana, Blakeley Menghini, Kyle Price (HQ)

Parry Karp, cello (PK)

Bill Lutes (BL) and Martha Fischer (MF), pianists (below)

PROGRAM

1811   Fantasie in G minor, D. 9 (MF, BL)

1812   Klaglied, D. 23 (Lament )– Johann Friedrich Rochlitz (MF, BL)

            Die Advokaten, D. 37 (The Lawyers, comic trio) after Anton Fischer)     (PR,BL, WD, MF)

1813   Verklärung, D. 59 Transfiguration – Alexander Pope (RW, BL)

1814   Adelaide, D. 95Friedrich von Matthisson (WD, MF)

            Der Geistertanz, D. 116 The Ghost Dance – Matthisson (MC, BL)

            Gretchen am Spinnrade, D. 118 Gretchen at the Spinning Wheel –         Goethe (CP, MF)

1815   Wanderers Nachtlied I, D. 224 Wanderer’s Nightsong – Goethe (MF, BL)

            Erlkönig, D. 328 The Erl-king – Goethe (TE, MC, WD, CP, MF, BL)

1816  Sonata for violin and piano in D Major, D. 384 (PK, below, BL)

           Allegro, Andante, Allegro vivace

1817   Der Tod und das Mädchen, D. 531 Death and the Maiden – Matthias   Claudius (RW, MF)

            Erlafsee, D. 586 Lake Erlaff – Johann Mayrhofer (CR, BL)

            Der Strom, D. 565 The River – anon. (PR, MF)

1818   Deutscher with 2 Trios in G (MF, BL)

            Singübungen, D. 619 Singing Exercises (CP, TE, BL)

Intermission

1819   Die Gebüsche, D. 646 The Thicket – Friedrich von Schlegel (RW, BL)

1820   String Quartet #12 in C Minor “Quartetsatz” (HQ)

1821   Geheimes, D. 719 A Secret – Goethe (TE, MF)

1822   Des Tages Weihe, D. 763 Consecration of the Day (KA, MF, WD, MC,BL)

1823   Drang in die Ferne, D. 770 The Urge to Roam – K.G. von Leitner (MC,BL)

             from Die Schöne Müllerin, Mein, D. 795 Mine – W. Müller (WD, MF)

1824   Grand March No. 6 in E major, D. 819 (MF, BL)

1825   Im Abendrot, D. 799 Sunset Glow – Karl Lappe (RW, MF)

             An mein Herz, D. 860 To my Heart- Ernst Schulze (BenL, MF)

1826   Am Fenster, D. 878 At the Window – J. G. Seidl (MFulmer, below, BL)

1827   from Winterreise Frühlingstraum, D. 911 Dream of Spring – Muller(RW,MF)

1828   Die Sterne, D. 939 The Stars – Leitner (KA, BL)

          from Schwanengesang (Swansong), D. 957

          Ständchen (JD, MF) –Serenade – Ludwig Rellstab

          Die Taubenpost (PR, MF)The Pigeon Post – J.G. Seidl

An die Musik, D. 547 To Music (below) – Franz von Schober

Everyone is invited to sing along. You can find the words in your texts and translations.


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Classical music: Charismatic Russian baritone Dmitri Hvorostovsky is dead at 55

November 24, 2017
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By Jacob Stockinger

The charismatic Russian baritone Dmitri Hvorostovsky (below, in a 2006 photo by Richard Termine of The New York Times) had it all.

Most importantly, the great opera singer, concert singer and recitalist possessed a superb voice with wonderful tone and breath control that allowed him to even beat out Bryn Terfel to win Singer of the World at a competition in Cardiff, Wales.

But he also had handsome face and fit beefcake body that made him a believable actor in so many roles and proved a pleasure to watch on stage.

And what about that fabulous mane of prematurely white hair that became his signature?

But on Wednesday, the acclaimed Siberian singer Dmitri Hvorostovsky — who was well on his way to becoming a superstar — lost a two-year bout with brain cancer.

He died at 55 – but not after winning plaudits for unexpected appearances at the Metropolitan Opera (below) and Carnegie Hall even while he was ill.

Here are two obituaries.

The first comes from the Deceptive Cadence blog of National Public Radio (NPR) and features three samples of his singing as well as some memorable interview quotes, including the renowned singer’s unapologetic take on his own sex appeal (below) that landed him in People magazine:

https://www.npr.org/sections/deceptivecadence/2017/11/22/565450465/dmitri-hvorostovsky-renowned-baritone-dies-at-55

And here is a longer obituary, also with samples, from The New York Times. It includes a lot of background about the singer’s early life and career:

https://www.nytimes.com/2017/11/22/arts/music/dmitri-hvorostovsky-dead.html

Did you ever see or hear Dmitri Hvorostovsky in person or perhaps in “Live From the Met in HD” broadcasts? (He sings two folk songs in the YouTube memorial video at the bottom.)

And for those of you can judge singers better than The Ear can, what was your opinion of the Russian baritone?

Did you have a favorite role or aria you liked him in?

The Ear wants to know.


Classical music: Violinist and concertmaster David Kim will discuss becoming a professional musician and will give two public master classes plus a student performance of string music by Vivaldi, Massenet and Brahms

October 16, 2017
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By Jacob Stockinger

The Ear has received the following announcement from the Mead Witter School of Music at the University of Wisconsin-Madison about upcoming events:

“From oboist to organist, whether one performs pop or Prokofiev, every musician has a story of an intricate and sometimes unsettling pathway to a professional career.

“Violinist David Kim, (below) who will visit the School of Music TODAY and Tuesday, Oct. 16 and 17, is no different. Since 1999, Kim has been the concertmaster of the Philadelphia Orchestra.

“On Tuesday at 7: 30 p.m. in Mills Hall, Kim will offer a talk, “From Prodigy to Professionalism – A Life in Music.” (Editor’s note: You can sample Kim’s terrific conversational style and accessible analysis in the interview with him about his violin in the YouTube video at the bottom.)

“He’ll describe his experiences and struggles to reach the pinnacle of his career, interspersed with performances of some of Mr. Kim’s favorite works. It will be a humorous, sometimes jarring, and often poignant story not to be missed.

“Kim’s talk will be followed by a concert with UW-Madison strings and pianist Thomas Kasdorf. The program will include “Sonatensatz” (Sonata Movement) by Johannes Brahms (1833-1897); “Banjo and Fiddle” by William Kroll (1901-1980); “Meditation” from the opera “Thais” by Jules Massenet (1842-1912); and “The Four Seasons” by Antonio Vivaldi (1678-1741).

“I’ve always shared anecdotes about my crazy upbringing,” Kim wrote in an email. “From the beginning, my story seemed to resonate, especially with parents. After all, who doesn’t have a story of an overzealous parent from some stage of life!

“Now I share my story numerous times each season and have been urged by many to write a book – a la the widely read book, ‘Battle Hymn of the Tiger Mom.’

“But that will probably never happen as I prefer speaking during my concerts and love seeing the audience react in person.”

“Join us for our “Conversation & Concert” with David Kim, our strings players and pianist Thomas Kasdorf (below), a UW-Madison alumnus and graduate student. Tickets are $15 for adults, $5 for students, except Mead Witter music majors, who receive free admission. Buy tickets here. They will also be sold at the door, starting at 6:30 p.m.

“Additional Events: 
Violin Master Class is TODAY, Monday, Oct. 16, at 7 p.m. in Morphy Hall;
 Strings Orchestral Excerpts Master Class is on Tuesday, Oct. 17, at 11 a.m. in Morphy Hall. Both classes are free and open to the public.

“Learn more here: http://www.music.wisc.edu/event/david-kim-vivaldis-four-seasons/


Classical music: Get the new UW-Madison brochure for the School of Music concerts, faculty and students. It’s a MUST-HAVE and a MUST-READ, and it is FREE to anyone

September 6, 2017
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By Jacob Stockinger

Although the UW-Madison officially opened yesterday, today is the first day of instruction. And this weekend will see the beginning of the new concert season at the Mead Witter School of Music.

On Sunday afternoon at 1:30 p.m. in Morphy Hall, faculty soprano Mimmi Fulmer and alumnus pianist Thomas Kasdorf will kick off the season with a FREE concert of music and songs celebrating the 100th anniversary of the independence of Finland.

But that’s just the beginning to an event-filled school year that includes mostly free solo recitals, chamber music, orchestral music, opera, choral music and more.

And this year, there is a new guide to the concert season and the School of Music itself.

The short and usual glossy brochure of listings has given way to a booklet guide. It is 8-1/2 by 11 inches big and has 24 well-filled pages. It is printed on regular paper and has much more information about the events and the people who make them happen. It takes you behind the scenes as well as in the hall and on the stage.

It is less showy, to be sure, but so much more readable and informative. And it feels great in your hands.

On the right hand margin, you’ll find concerts with performers and programs. To the left and in the center, you will find news, biographies and other information about musicians, donors and an update about the new concert hall building.

The new guide, which you can get for FREE, is the brainchild of Kathy Esposito (below), the music school‘s publicist and concert manager.

Here is what Esposito has to say:

“Our School of Music website, which debuted in 2014, required resources that previously had been devoted to multiple print publications.

“So we dropped back to only one, a printed events calendar.

“I’m happy to say that for the 2017-18 academic year, we finally found time to enlarge the printed concert calendar into a true newsletter as well.

“We certainly have enough news to share. Much of what’s in there had not been, or still is not, placed on the website at http://www.music.wisc.edu.

“My personal favorites are the stories from students, both undergrad and grad. As a mom of two young musicians, I can, to some degree, understand both the challenges and the thrills of their careers. Learning about their lives is the best part of my job. Occasionally I can help them, too.

“A couple of other things to give credit where credit is due.

“My assistant, Brianna Ware, who is a graduate student in piano, caught and corrected many errors.

“The brochure was designed by Bob Marshall of Marshall Design in Middleton. He did a masterful job. Bravo!

“Printing was coordinated by the fabulous Sue Lind at DoIT (Division of Information Technology) Printing and Publishing, who helped me to choose a new paper stock, a lightweight matte.

“Lastly, upon request from our older readers, we increased the font size slightly.

“We mailed the brochure to all alumni, national and international. That also was new. And our feedback has been quite positive.

“I’m happy to send readers a FREE copy of this fall’s brochure – with the somewhat humdrum title “Concerts, News and Events” – to those who email their postal addresses to me. I’ll place you on the list for next year, too. Send your name and postal address to kesposito@wisc.edu

About twice a month, we also publish an e-newsletter in the form of a blog, which I also paste into an email for those on a Wisclist, who don’t get the blog. It is the same information, but I think the blog is prettier.

That’s available via this link: https://uwmadisonschoolofmusic.wordpress.com/


Classical music: Famed pianist Byron Janis reached out for Chopin. Did Chopin return the favor from beyond the grave?

August 28, 2017
3 Comments

By Jacob Stockinger

Recently, The Ear posted a story by pianist Jeremy Denk that, to his mind, did the best job ever of explaining why the music of Frederic Chopin appeals so universally.

Here is a link:

https://welltempered.wordpress.com/2017/08/12/classical-music-pianist-jeremy-denk-explains-why-we-love-the-music-of-chopin/

Then more recently The Ear heard another story that involved the famed pianist Byron Janis (below), who studied with Vladimir Horowitz when he was a teenager.

He then went on to a spectacular virtuosic career before his hands were partially crippled by severe psoriatic arthritis. (You can hear him play less virtuosic music very poetically in the YouTube video at the bottom.)

Through his piano playing and his library searches, Janis has reached out to Chopin, with some impressive results, including discovering lost manuscripts of famous waltzes.

But more surprising is Janis’ claim that, through a death mask, Chopin has returned the favor from beyond the grave and reached out to him in a paranormal or supernatural way.

The story was broadcast on National Public Radio (NPR). It aired on the Saturday version of Weekend Edition with Scott Simon, and then was posted on the blog Deceptive Cadence.

Here is a link:

http://www.npr.org/sections/deceptivecadence/2017/08/05/541575050/chopin-in-the-shadows-the-supernatural-adventures-of-byron-janis

What do you think?

Do you believe Byron Janis’ story and explanation?

What do you think of his Chopin playing?

The Ear wants to hear.


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