ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
By Jacob Stockinger
He played in a string quartet and a symphony orchestra before founding and directing a chamber orchestra that rose to the top ranks of the music world. Then he became a world-famous conductor of larger ensembles, including the Minnesota Orchestra.
He was Sir Neville Marriner (below, in old age), and he died at 92 on Oct. 2.
Perhaps because Marriner, who pioneered period practices on modern instruments when playing music of the Baroque and Classical eras, was famous for recording the soundtrack to the Academy Award-winning film “Amadeus,” his death was announced the same day on radio news programs – something that doesn’t happen often and speaks to his popularity and influence.
By all accounts, in the world of many egotistical maestros, Marriner remained modest. For this friendly titan, music mattered most and he was busy conducting right up until the end. Apparently, Marriner was a wonderful man to know and to work with.
Chances are good that by now you have already heard about Marriner’s death. So The Ear is offering some homages that repeat the details of his career and his passing. (Below is a photo of the young Neville Marriner.)
First are two moving testimonies from Marriner’s friend, the British critic Norman Lebrecht, published on Lebrecht’s blog Slipped Disc:
Here is the announcement of his death from the Academy of St. Martin in the Fields (heard playing the Adagio by Tomaso Albinoni in the YouTube video at the bottom), which Marriner founded and led for many years:
Here is an exhaustive obituary from The New York Times:
And here is another obituary from The Washington Post:
Here is a good overview with some audio-visual samples, from the Deceptive Cadence blog on NPR or National Public Radio:
And here is a good summary from famed radio station WQXR-FM in New York City:
Sir Neville Marriner was a prolific recording artist, with more than 500 recordings to his credit. The Ear fondly remembers an LP that had the Serenades for Strings by the Czech composer Antonin Dvorak and the “Holberg” Suite by Norwegian composer Edvard Grieg, which has been reissued as a “Legends” CD by Decca. The playing was warmly heart-felt and superb.
The Ear also loved his complete set of piano concertos by Wolfgang Amadeus Mozart, done with pianist Alfred Brendel.
What are your favorite Marriner recordings?
The Ear wants to hear.
By Jacob Stockinger
Several years ago, artistic director and conductor John DeMain (below, in a photo by Prasad) decided to use the season-opening concerts of the Madison Symphony Orchestra to spotlight the symphony and its first-chair players as soloists.
No big-name imported guest soloists were to be booked.
Such multimedia events increasingly seem to work as a way to build audiences and boost attendance by new people and young people. After all, a music director has to sell tickets and fill seats as well as wave a baton.
And it seems that, on both counts, DeMain’s strategy proved spectacularly successful.
All sections of the orchestra (below, in a photo by Greg Anderson) — strings, brass, winds, percussion — played with energy, precision and subtlety. The MSO proved a very tight ensemble. Each year, you can hear how the MSO improves and grows increasingly impressive after 23 years of DeMain’s direction.
The public seemed to agree. It came very close to filling the 2,200-seat Overture Hall for all three performances with more than 6,100 audience members, according to Peter Rodgers, the new marketing director for the MSO. Especially noteworthy, he said, was the number of children, students and young people who attended.
In fact, so many students showed up for student rush tickets on Friday night that the performance was delayed by around 10 minutes – because of long lines at the box office, NOT because of the new security measures at the Overture Center, which Rodgers said worked smoothly and quickly.
But not everything was ideal, at least not for The Ear.
On the first half, the playing largely outweighed the music.
True, the Romanian Rhapsody No. 1 by a very young George Enescu (below) received a sizzling and infectious performance. With its catchy folk tunes, dance rhythms and Gypsy harmonies, the fun work proved an irresistible opener – much like a starting with an encore, which is rather like eating a rich and tasty dessert before tackling the more nutritious but less snazzy main course.
The music itself is captivating and frequently played – although this was its surprising premiere performance by the MSO. Little wonder the Enescu got a rousing standing ovation. Still, it is hardly great music.
Then came the Chaconne for violin and orchestra by the American composer John Corigliano (below), who based the work on his Oscar-winning film score for “The Red Violin.”
Concertmaster Naha Greenholtz (below) impressed The Ear and most others with her mastery of what appeared to be a very difficult score. The ovation was for her, not for the music.
That music also has some fine moments. But overall it seems a dull and tedious work, an exercise in virtuosity with some of the same flaws you find in certain overblown piano etudes by Franz Liszt. Once again the playing trumped the music.
Then came The Big Event: Gustav Holst’s “The Planets” coupled with clear, high-definition photos of the planets taken by NASA that were projected on a huge screen above the orchestra. Saturn’s rings, Jupiter’s and Venus’ clouds and Mars’ landscape (below) have never looked so impressive.
The orchestra again struck one with its exotic and “spacey” sound effects and with what must have been the difficulty of timing simultaneously the music and the images.
Yet ultimately Holst’s work became a sound track — music accompanying images rather than images accompanying the music. The Ear heard several listeners compare the admittedly impressive result to the movies “Fantasia” and “2001: A Space Odyssey.” That says something.
At some moments the sound and images really matched and reinforced each other, especially in the dramatic opening section, “Mars, the Bringer of War.” Holst’s score also succeeds nicely with “Jupiter, the Bringer of Jollity” and to a lesser degree with “Venus, the Bringer of Peace.”
But overall “The Planets” reminds The Ear of colorful and dramatic programmatic showpieces such as Ottorino Respighi‘s “The Pines of Rome” and “The Fountains of Rome.” (Earth, curiously, is not included in “The Planets.” Makes you wonder: What would Earth bring?) Enjoyable music, to be sure, but not profound fare.
The Ear’s extensive library of CDs has none of the three works on the program. And it will probably remain that way.
While Holst’s work does have great moments, it grows long, repetitive and finally uninteresting as it ends not with a bang but with an underwhelming whimper – which was beautifully enhanced by the atmospheric singing of the MSO Women’s Chorus. There are just too many planets!
Listen to the YouTube video at the bottom, played by James Levine conducting the Chicago Symphony Orchestra, and you will see: Mars rules!
Add it all up and despite three standing ovations, in the end The Ear found the concert less than fully satisfying. The music, however likable and appealing, was not, for the most part, great music. Moreover, it was mostly trumped first by the performances and then by the visuals.
So on a personal note, here is The Ear’s request to the MSO, which scored an undeniably brilliant success with this program: Keep the same all-orchestra and first-chair format for season-openers and use multimedia shows whenever appropriate. But please also include at least one really first-rate piece of music with more substance.
Is that asking for too much?
Is The Ear alone and unfair in his assessment?
Other critics had their own takes and some strongly disagree with The Ear.
Here is a link to three other reviews:
By John W. Barker (below) for Isthmus:
By Jessica Courtier for The Capital Times:
And by Greg Hettmansberger (below), who writes for WISC-TV Channel 3 and his Classically Speaking blog for Madison Magazine, and on his own blog, What Greg Says:
What did you think of the music, the performances and the visual show?
How well did they mix?
What did you like most and least?
The Ear wants to hear.
By Jacob Stockinger
There was so much to like about last Friday night’s concert by the Wisconsin Chamber Orchestra (below), including a fantastic performance of the sublimely beautiful Violin Concerto by the American composer Samuel Barber.
The concerto, with its soaring melodies, poignant harmonies and spiky perpetual motion finale, was played superbly by Russian-born, London-based virtuoso Alexander Sitkovetsky (below), who received a masterful accompaniment from longtime music director and conductor Andrew Sewell and the WCO. (As an encore and change of pace, Sitkovetsky played the soulful Sarabande from the Partita No. 2 in D Minor for Solo Violin by Johann Sebastian Bach.)
Here are two very positive reviews, written by John W. Barker for Isthmus and Greg Hettmansbeger for Madison Magazine, with which The Ear agrees:
But The Ear notes this: Perhaps the most touching moment came off-stage.
As you may have heard, last October Robin Fellows died of cancer at 66. For 26 years, he had been the principal flutist of the Wisconsin Chamber Orchestra and also taught at the University of Wisconsin-Whitewater. He also played and taught at many other places.
If you went to the indoor classical Masterworks concerts by the WCO, you heard him.
And if you went to the popular summertime Concerts on the Square, you heard him.
So it was right and fitting, as they say, for the WCO to dedicate the concert to Fellows (below). Indeed, the program seemed perfect in its homage.
We heard a new principal flutist and heard lots of prominent flute playing in works by Irish composer Joan Trumble, Swedish composer Lars-Eric Larsson and especially the Symphony No. 4 by Ludwig van Beethoven.
But the most stirring tribute happened off-stage.
That is because the family gave out a FREE memorial tribute CD of 20th-century flute music – with singers, bassoonists, clarinet, harp and piano — that was played by Fellows, recorded and released in 2002.
It includes music by Aaron Copland, Walter Piston, Albert Roussel, Ernst Toch, Daren Hagen (a UW-Madison alumnus) and Vincent Persichetti.
Out in the lobby of the Capitol Theater of the Overture Center was a table with not only the new season brochures for 2016-17, but also many stacks of FREE CDs. The audience was invited to take one by a current WCO flutist and oboist.
And as you entered and left the theater, there was a large poster with a picture of Fellows and a paragraph about his life and accomplishments.
The Ear is still sampling all the pieces on the CD.
So far, it is both enjoyable and enlightening. The Ear would include a sample, but unfortunately he doesn’t see that any tracks have been uploaded to YouTube.
Still, one cannot imagine Fellows — or any musicians, for that matter — wishing for a better tribute.
The Ear says: Kudos to the Fellows family and to the Wisconsin Chamber Orchestra for providing such memorable memorials.
By Jacob Stockinger
Each year at holiday time, The Ear offers a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.
Today is Grammy Day.
So far, The Ear has listed choices made by the BBC Music Magazine and the Telegraph newspaper:
And another roundup of book and videos as well as CDs by critics for The New York Times:
Now he adds the 58th annual Grammy nominations of 2016 that were announced this past Monday. The winners will be announced on Sunday, Feb. 15, on CBS television network. The telecast will be live and feature live performances.
The Ear likes to see if he can predict the winners. Outguessing the industry can be a fun, if frustrating, game to play.
He also notices two items of local interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison and groups at the University of Wisconsin-Madison School of Music, has been nominated for several work.
In addition, producer Judith Sherman, who has several Grammys to her credit, is nominated again. She is also the producer of the two recordings of the centennial commissions by the Pro Arte Quartet.
Here are the 58th annual Grammy nominees for Classical Music:
Ask Your Mama: Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos
Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recording
PRODUCER OF THE YEAR, CLASSICAL
Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)
Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)
Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)
Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)
Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio
BEST ORCHESTRAL PERFORMANCE
Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media
Shostakovich: Under Stalin’s Shadow – Symphony No. 10: Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon
Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone
Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos
BEST OPERA RECORDING
Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus
Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records
Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon
Ravel: L’Enfant Et Les Sortilèges; Shéhérazade: Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca
Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato
BEST CHORAL PERFORMANCE
Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik
Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro
Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi
Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings
Rachmaninoff: All-Night Vigil: Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
Filament: Eighth Blackbird. Label: Cedille Records
Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings
Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records
Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion
BEST CLASSICAL INSTRUMENTAL SOLO
Dutilleux: Violin Concerto, L’Arbre Des Songes: Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’. Label: Seattle Symphony Media
Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern). Label: Onyx Classics
Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi
Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon
Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records
BEST CLASSICAL SOLO VOCAL ALBUM
Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi
Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato
Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical
Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos
St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti). Label: Decca
BEST CLASSICAL COMPENDIUM
As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records
Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records
Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics
Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto: Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
BEST CONTEMPORARY CLASSICAL COMPOSITION
Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings
Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound
Paulus: Prayers & Remembrances: Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings
Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos
Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music. (Note: You can hear a haunting part of the work that won a Pulitzer Prize in the YouTube video below.)
By Jacob Stockinger
The big non-local news item this week was the announcement that the famed conductor Simon Rattle (below) will leave the prestigious Berlin Philharmonic and return to his native England to lead the London Symphony Orchestra starting in 2017.
On weekdays, The Ear generally puts the priority on local events – with previews taking precedence over reviews.
So the weekend provides a chance to catch up.
The 60-year-old Rattle, whose international career started in Birmingham, England, seems a musician for all seasons. He is known for championing contemporary composers. (You can listen to Simon Rattle talking about his new appointment at the bottom in a new YouTube video.)
But his prolific and eclectic discography also includes CD and DVD recordings of the great standards, the symphonies and concertos and other works by Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert and Johannes Brahms, Antonin Dvorak, Gustav Mahler, Jean Sibelius, Peter Ilyich Tchaikovsky, Arnold Schoenberg, Maurice Ravel, Igor Stravinsky, Sergei Rachmaninoff, Benjamin Britten, Sergei Prokofiev, Benjamin Britten and John Adams among many others.
And by all accounts, he is a generous mentor and masterful teacher — even though I have never heard anyone name Simon Rattle as their favorite conductor. Among his students are Andrew Sewell (below), the longtime music director and conductor of the Wisconsin Chamber Orchestra. The Ear thinks it would be interesting to know what Sewell has to say about Rattle.
Here then, are some links to various aspects of the Simon Rattle story. Read one or a few or all of them. There is a lot to think and speculate about – a new concert hall, more contemporary programming and a higher status or respect for the London Symphony Orchestra are chief among them — as we wait and see what develops:
From the BBC news magazine:
From the website of the famed Gramophone magazine:
From The Guardian newspaper:
From The New York Times, with an analysis:
Here is an opinion piece from The Guardian about how the move could be good for the British music scene:
And could Rattle’s move spark a rejuvenation of British classical music? That is the question in this post:
And finally, despite all the hoopla and cheerleading, a note of skepticism has been sounded by The Arts Desk with some specific criticisms:
By Jacob Stockinger
Our good friend and fine musician Trevor Stephenson, the ever-busy founder and director of the Madison Bach Musicians, which twice performed cantatas and concertos this past weekend, writes:
“The acoustics are simply amazing and the ambiance is, well, take a look at these photos that Kent Sweitzer took there Tuesday morning.
“The concert is TONIGHT, THURSDAY EVENING, OCT. 9, AT 7 P.M.
“Sauk City is only 20 minutes from Madison’s west side—closer than American Players Theatre in Spring Green.
Here are directions: “To get to Park Hall at 307 Polk Street: Just take Highway 12 west to Sauk City; cross the Wisconsin River; then turn right on John Adams Street, go two blocks and turn left on Polk Street, and you’re there. There is plenty of parking!
“All tickets are $25. You can purchase them in advance from MBM ticket outlets or at the door.”
Adds The Ear: At bottom is a YouTube video of the legendary baritone Dietrich Fischer-Dieskau and pianist Murray Perahia performing “Gute Nacht” (Good Night), the opening song of the “Winterreise” cycle that in the first two lines announces the whole cycle’s motif: “A stranger I arrive, and a stranger I depart.”
No wonder the cycle was a favorite of the absurdist Irish playwright and writer Samuel Beckett.
By Jacob Stockinger
Not a lot of words today.
I feel like hearing music, not talking or writing.
Maybe I feel like hearing soulful and quiet music because of the sad news about the deaths of comedian Robin Williams (below top) and actress Lauren Bacall (below bottom), two losses — the first a suicide, the second natural — that make my world smaller, less beautiful and less fun.
So here, in a popular YouTube video at the bottom, is the French pianist Alexander Tharaud (below, in a photo by Marco Borggreve) – an artist I really like, especially in Baroque repertoire like the Johann Sebastian Bach, Jean-Philippe Rameau, Francois Couperin and Domenico Scarlatti works that he has recorded.
Here he is playing the transcription that Johann Sebastian Bach made of the profoundly beautiful slow movement from the Baroque oboe concerto by Alessandro Marcello. He has also recorded it on CD for Harmonia Mundi. Such beautiful music, and not so hard to play, at least technically.
Mr. Bach (below) knew a good thing when he heard it and wasn’t afraid to transcribe this wind and orchestra work to the keyboard, which was his forte. Bach was no purist.
So enjoy as you will.
And leave your own suggestions, with a link if you can.
By Jacob Stockinger
Instead, on the day before Labor Day, friends, students and family members will gather to celebrate the life of professor, pianist and musical patriarch Howard Karp (below, playing with his son, fellow UW-Madison School of Music professor and Pro Arte Quartet cellist Parry Karp), who taught and performed for many decades at the University of Wisconsin-Madison School of Music, in a memorial event.
The memorial is set for Sunday, August 31, at 3 p.m. in Mills Hall. Initial plans call for playing recorded live performances by Howard Karp; for selected speakers; and perhaps for some live music performances. As details develop, this blog will pass them along.
On June 30, in Colorado. Howard Karp died at 84 of cardiac arrest. He was so loved and so respected that news of his death brought this blog a record number of comments and remarks (more than 70 so far), and close to a record number of “hits” or views:
Here is a link to the post, which has a lot of photos provided by the family, that broke the news:
Here is a link to the obituary that appeared two Sundays ago in The Wisconsin State Journal (below, Howard Karp is seen performing at a recent Labor Day Concert with his wife Frances Karp and his two of his four grandchildren, actors Isabel and Ariana Karp):
Two stories have also celebrated Howard Karp as the patriarch of Madison’s First Family of Music (below in a past photo by Mike DeVries of The Capital Times, are, from left, violinist-pianist and doctor son Christopher Karp, who works for the Bill and Melinda Gates Foundation; daughter-in-law biologist and violist Katrin Talbot; Howard Karp; cellist son Parry Karp; and pianist wife Frances Karp):
One is from Isthmus by Sandy Tabachnick, who got statements from fellow pianists and teachers Christopher Taylor, Bill Lutes, Martha Fischer and Jessica Johnson:
Another memorable story about Howard Karp (below with his wife of 63 years Frances, who survives him) was filed by Susannah Brooks, who also spoke with UW-Madison School of Music head Susan Cook (below bottom), for the University of Wisconsin-Madison News Service:
And here is a wonderful appreciation of Howard Karp and the new 6-CD set of Karp’s live recordings by UW-Madison and WYSO alumnus Kenneth Woods (below). Woods is a composer, professional cellist and now the conductor of the English Symphony Orchestra, who is also an acclaimed blogger (“A View From the Podium”) and an honored recording artist whose releases include world premiere recordings of music by Hans Gal.
And, finally, here is a small excerpt from that new 6-CD set on Albany Records. It is a triumphant recording of the first movement of the epic Fantasy in C Major, Op 17, by the Romantic composer Robert Schumann, which was written to raise money for a memorial statue to Ludwig van Beethoven.
In mood and meaning, the masterpiece is a fitting tribute to Howard Karp and to the art, generosity and devotion to both beauty and love with which he lived his life. As a teacher, a friend, a family man and a performer, Howard Karp lived his long, rich life in the service of bringing and sharing whatever beauty he could to other people.