The Well-Tempered Ear
Meet unique Yannick
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By Jacob Stockinger
It’s getting hard not to recognize the name of conductor Yannick Nézet-Séguin (below, conducting the Chamber Orchestra of Europe).
The 48-year-old French-Canadian is the acclaimed music director of the Metropolitan Opera, the artistic director of the Philadelphia Orchestra, and the music director and chief guest conductor of the Montreal Metropolitan Orchestra. He also heads numerous recording collaborations — many of them award-winning — for the Deutsche Grammophon label.
He also trained Bradley Cooper who portrayed Leonard Bernstein in the new movie “Maestro.” (He discusses that in the YouTube video at the bottom.)
Like the flamboyant Bernstein, the colorful Nézet-Séguin is getting to be a superstar conductor, a much-in-demand rock star of the classical world who is known by his first name — Yannick, like Lenny.
What would you like to know about him?
How he was trained?
What was his big break?
What is his private life like?
How does he juggle his super-busy schedules and commitments?
What music he listens to away from his jobs?
Here is a revealing interview that should answer a lot of your questions and spike the public’s interest in him even more.
https://macleans.ca/culture/yannick-nezet-seguin
What do you think of Yannick?
The Ear wants to hear.
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How does a blind great pianist learn music?
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By Jacob Stockinger
How does he do it?
It is amazing that Nobuyuki Tsujii (below), a 35-year-old Japanese man who has been blind since birth, learned to play the piano.
It is even more amazing that he learned to play classical music well enough to perform in public at the age of 12.
And it seems to The Ear that it is still more amazing that he plays and performs well enough to win the Gold Medal at the international and highly esteemed Van Cliburn Piano Competition in 2009 and go on to establish a global career.
You might have heard of him or even heard his playing before.
Here is a link to his biography on Wikipedia: https://en.wikipedia.org/wiki/Nobuyuki_Tsujii
But The Ear can’t recall hearing him discuss is such specific detail how he goes about learning a piece of music despite his blindness, his vision impairment and severe disability.
And we are not talking about easy music.
He plays and performs both books of Chopin etudes; played Beethoven’s mammoth, knuckle-busting “Hammerklavier” Sonata, Op. 106, during the Cliburn competition; tosses off Liszt’s fiendishly virtuosic “La Campanella” (in the YouTube video at the bottom he plays it live as an encore to a rapturous reception at a BBC Proms concert); and the Chopin Piano Concerto No. 1.
This past Sunday, Tsjuii played the Chopin concerto with the Orpheus Chamber Orchestra in a free concert at Clemson University,
Here is the revealing Q&A interview he gave to the Greenville Journal for that occasion.
The Ear finds his career an inspiring story.
What do you think?
Would you like to see and hear him play locally?
If you have attended a live concert of his, what did you think?
The Ear wants to hear.
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Should the 1812 Overture be played this Fourth of July?
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By Jacob Stockinger
The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.
The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.
For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
An asterisk says programs are subject to change.
Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud 1812 Overture, be played again this year?
It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources.
But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program.
It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.
After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).
So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?
As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)
Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture
Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).
What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?
Do you have a suggestion?
The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?
Meanwhile, as comedian Stephen Colbert likes to say: What do you think?
Should the “1812 Overture” be played on this Fourth of July?
Why?
Or why not?
The Ear wants to hear.
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Edgewood College will live-stream its FREE Spring Celebration concert this Friday night
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By Jacob Stockinger
At 8 p.m. CDT this Friday night, April 30, the music department at Edgewood College will live-stream its FREE online Spring Celebration concert.
Here is the link: music.edgewood.edu
Here is the program:
The Edgewood Chamber Orchestra (below) will perform music by the Austrian composer Johann Nepomuk Hummel, who studied with Mozart and knew Haydn, Beethoven and Schubert (see the Wikipedia bio at https://en.wikipedia.org/wiki/Johann_Nepomuk_Hummel; Krzysztof Penderecki, a Polish composer who died a year ago March; and the Argentinean “new tango” composer Astor Piazzolla, whose birth centennial was last month. Soloists include Gwyneth Ferguson on trumpet, and Malia Huntsman on oboe.
The Chamber Singers (below) will offer selections from Broadway musicals and contemporary choral arrangements, including Lord of the Rings by Enya, works from Josh Groban, and the Polish composer Henrik Gorecki.
The Guitar Ensemble will perform Haru no Umi (The Sea in Spring) by the Japanese composer Michio Miyagi (below), and a medley from the 1970s rock group Chicago: 25 or 6 to 4/Saturday in the Park, by Mark Lamm.
The Chamber Winds will perform selections from Crooner’s Serenade; Josef Rheinberger’s Evening Song (Abendlied, in the YouTube video at the bottom); and an arrangement of John Williams’ movie score for Star Wars: The Force Awakens.
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This weekend, starting Friday night, the Wisconsin Chamber Orchestra finishes up its winter season of online chamber music
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By Jacob Stockinger
This is the time of the year when music groups generally announce their next season while finishing up the current one.
But of course the pandemic continues to shroud plans for the new upcoming season in uncertainty and whether it will be online or in-person.
Meanwhile, groups are in the final stretch of finishing up this season.
This Friday night, April 16, at 7:30 p.m., the Wisconsin Chamber Orchestra (WCO, below in photo by Mike Gorski) will debut the fourth and last online chamber music concert of its curtailed and substituted winter season.
The varied program includes works, both well-known and neglected, by four composers — from Italy, Russia, France and Austria — who come from the 18th, 19th and 20th centuries.
The concert begins with the complete Concerto for Four Violins in B minor, RV 580, by Antonio Vivaldi (below). The string accompaniment will be scaled down.
Then comes the complete Septet for Winds, Strings and Piano by Russian composer Igor Stravinsky (below).
The first and third movements of the Nonet by the rediscovered 19th-century French composer Louise Ferenc come next. (Here is the Wikipedia link to Ferenc (below):
https://en.wikipedia.org/wiki/Louise_Farrenc
The final music will be the first, fourth and fifth movements – including the famous theme-and-variations – of the famously tuneful “Trout” Piano Quintet by Franz Schubert (below).
In the YouTube video at the bottom, you can hear the namesake theme-and-variations movement — based on one of Schubert’s songs — played by Itzhak Perlman, Pinchas Zukerman, Daniel Barenboim, Jacqueline du Pre and Zubin Mehta, with a graphical depiction of the score.
The concert lasts 60-75 minutes.
Tickets are $30.
Here is a link to program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz) and to purchasing a ticket through the Overture Center box office.
The ticket is good for one viewing between Friday night and Monday night, April 19, at 7:30 p.m.
https://wcoconcerts.org/events/winter-chamber-series-no-iv
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A busy weekend of online concerts features the UW Symphony, Edgewood College, Madison Opera, Wisconsin Chamber Orchestra, Bach Around the Clock and more
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By Jacob Stockinger
With only a little over a month left before the academic year ends at the University of Wisconsin-Madison, it’s not surprising that the last weekend in March is very busy with noteworthy – and competing – online concerts.
Each morning at 8 through Friday, Bach Around the Clock will release the last concerts of its 10-day online festival. You can find the programs – including the finale Friday night at 7 with Brandenburg Concerto No. 6 — and link for streaming here: https://bachclock.com/concert-schedule
The weekend starts tonight with one of The Ear’s favorite groups during the Pandemic Year: the UW-Madison Symphony Orchestra
Here is a day-by-day lineup. All times are Central Daylight Time:
TONIGHT, MARCH 25
The UW-Madison Symphony Orchestra (below) performs a FREE virtual online concert TONIGHT starting at 7:30 p.m.
The concert will be preceded by a 7 p.m. talk about Igor Stravinsky with modern musicologist and Penn State Professor Maureen Carr as well as conductor Oriol Sans and Susan Cook, UW musicologist and director of the Mead Witter School of Music.
The program is: Suite from the opera “Dido and Aeneas” by Henry Purcell, with student conductor Alison Norris; Duet for Two Violins and String Orchestra by the contemporary American composer Steve Reich; and the Neo-Classical “Apollon musagète” (Apollo, Leader of the Muses) by Stravinsky. (In the YouTube video at the bottom, you can hear an excerpt of the Stravinsky played by the Berlin Philharmonic with Simon Rattle conducting.)
Here is the link to the talk and concert. Click on more and you can also see the members of the orchestra and the two violin soloists: https://youtu.be/2rgHQ4lWTV8
For more information about the program, including notes, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra/
FRIDAY, MARCH 26
At 7:30 p.m. the Wisconsin Chamber Orchestra will post for three days the third of its four online chamber music concerts (below). There will be excerpts of music by Beethoven and Brahms as well as complete works by Jessie Montgomery and Alyssa Morris.
Tickets to the online on-demand event are $30, with some discounts available, and are good through Monday evening.
Here is a link to more about this concert, including program notes by conductor and music director Andrew Sewell, and how to purchase tickets: https://wcoconcerts.org/events/winter-chamber-series-no-iii
At 8 p.m., the music department at Edgewood College will give a FREE online Spring Celebration concert. It will be livestreamed via music.edgewood.edu
The performers include: the Chamber Orchestra, under the direction of Sergei Pavlov (below); the Guitar Ensemble, under the direction of Nathan Wysock; and the Chamber Winds, directed by Carrie Backman.
Highlights include the Guitar Ensemble’s performance of Wish You Were Here, by David Gilmour and Rogers Waters, and the Chamber Winds epic Star Wars: The Force Awakens. The Chamber Orchestra, which will perform live, will feature Musical moment No. 3, by Franz Schubert and Peer Gynt Suite by Edvard Grieg.
SATURDAY, MARCH 27
At noon, in Grace Episcopal Church on the Capitol Square downtown, there will be a FREE online concert. Grace Presents: “A Patient Enduring”: This early music program of medieval conductus (a musical setting of metrical Latin texts) and ballade, English lute song, and duets from the early Italian Baroque features two sopranos, Grammy-winnner Sarah Brailey (below) and Kristina Boerger, with Brandon Acker on lute and theorbo.
Here is a link: YouTube.com/GracePresentsConcerts
You can also go to this webpage for a link: https://www.music.wisc.edu/event/grace-presents-a-patient-enduring/
At 3 p.m. the Perlman Trio, a piano trio that is made up of UW-Madison graduate students, will give a FREE online concert. The program includes piano trios by Haydn, Beethoven and Schubert.
Here is a link to the YouTube video: https://youtu.be/EAjK0DfWB3A
Here is a link to the complete program plus background, names and photos of the performers as well as to the performance: https://www.music.wisc.edu/event/perlman-piano-trio/
At 7 p.m. the UW-Madison’s Wingra Wind Quntet (below) will perform a FREE pre-recorded online concert. Here is a link to the video https://www.youtube.com/watch?v=Bn7eobSnfr8
And here is a link to the page with more background information about the faculty members – including bassoonist Marc Vallon (below top) and flutist Conor Nelson (below bottom) – and to the complete program: https://www.music.wisc.edu/event/wingra-wind-quintet/
SUNDAY, MARCH 28
From 4 to 5:30 p.m., guest mezzo-soprano Julia Ubank (below) will give a free online recital with pianist Thomas Kasdorf.
The program features songs by Mahler, Debussy, deFalla, Jake Heggie and Ellen Cogen.
Here is the complete program plus a link to the recital: https://www.music.wisc.edu/event/julia-urbank-voice-recital/
From 4 to 5:30 p.m. the Madison Opera will host a Opera Up Close cocktail hour discussion with four general directors of opera companies. Here is the website’s description:
“Four opera general directors walk into a chat room…. Stepping outside the Madison Opera family, Kathryn Smith (below, in a photo by James Gill) is joined by three colleagues: Michael Egel of Des Moines Metro Opera, Ashley Magnus of Chicago Opera Theater, and Lee Anne Myslewski of Wolf Trap Opera.
“From how they got into opera, to the ups and downs of running an opera company, their favorite productions, funniest moments, and more, it will be a unique and entertaining afternoon.
Here is a link with more information including the cost of a subscription: https://www.madisonopera.org/class/general-directors/?wcs_timestamp=1616947200
At 6 p.m., Rachel Reese, a UW-Madison doctoral student in violin, will give a lecture-concert about the Violin Concerto No. 2 by the rediscovered African-American composer Florence Price (below). She will be accompanied by pianist Aubrie Jacobson.
Here is a link to the concert plus background about Rachel Reese: https://www.music.wisc.edu/event/rachel-reese-lecture-recital/
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The Wisconsin Chamber Orchestra cancels its first Masterworks concert and launches an online virtual Winter Chamber Series in January
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By Jacob Stockinger
With the surge in the coronavirus pandemic, the dominos are starting to fall again — this time for the spring series of live, in-person concerts that had been planned.
Friday night brought important news from the Wisconsin Chamber Orchestra (below, in photo by Mike Gorski).
The Wisconsin Chamber Orchestra (WCO) has canceled its first Masterworks concert, with guest cellist Amit Peled, in late January. In its place the WCO is launching its first-ever digital Winter Chamber Series.
The virtual, online series of digital concerts will feature the ensemble’s 34 players in smaller groups of four to eight, That will be safer for both players and audiences during the COVID-19 pandemic.
Four home-viewable virtual online concerts are planned: Jan. 22, Feb. 26, March 26, and April 16. Programs are not available except for the first concert.
Also included are a pre-concert talk with WCO music director and maestro Andrew Sewell (below top, in a photo by Alex Cruz) and Wisconsin Public Radio host Norman Gilliland (below bottom), and post-concert reflections with musicians of the WCO.
The ticket price for each concert, which will run 60-75 minutes, is $30 per household. A ticket entitles you to one viewing of the concert between Friday, Jan. 22, and Monday, Jan. 25. The concert will start streaming at 7:30 p.m. on Friday.
Patrons who have already purchased season subscription tickets can apply that to the full series of four concerts.
Tickets are available online at the Overture Center box office. See below.
The program for the first Winter Chamber Concert on Jan. 22 is:
Four Canzonas by the Baroque Italian composer Giovanni Gabrieli (below):
“Tzigane” (a term for music by Hungarian gypsies or Romani) for Wind Quintet by the contemporary American composer Valerie Coleman (below):
The first movement of the famed String Quintet in C major, D. 956, by the Austrian Romantic composer Franz Schubert (below):
Four Octets by the 20th-century American composer and jazz musician Alec Wilder (below), which you can sample in the YouTube video at the bottom.
To see more background about the composers, more details about the concert and purchase tickets, go to: https://www.overture.org/events/wco-chamber-series
You can also check out the series as it progressively gets announced on the WCO home website: https://wcoconcerts.org/concerts-tickets/winter-chamber-series
The concert series sounds like a terrific substitution for the regular concerts that cannot yet take place.
But The Ear wonders if the price per concert is a bit steep, given that comparable concerts by UW-Madison Mead Witter School of Music , the Wllly Street Chamber Players and Just Bach are free – although they do ask for donations — and that the Madison Opera charged $50 for its entire fall digital series while the Wisconsin Union Theater charges between $10 and $20 per virtual concert.
The Ear likes the eclectic programming, but also thinks it is kind of teasing and unsatisfying to offer just the first movement of such an organic masterpiece and profoundly beautiful work as the Schubert Cello Quintet. Doing one movement of a chamber music work somehow seems very different from doing one movement of a symphony.
It would also be nice to see the programs for all the concerts plus a series discount as an incentive.
What do you think about the WCO’s Winter Chamber Series?
What do you think about the price and the programming?
The Ear wants to hear.
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Edgewood College’s virtual fall concert on this Sunday afternoon, Nov. 22, has been CANCELED
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By Jacob Stockinger
The free live-streamed and pre-recorded virtual Fall Concert on this Sunday afternoon, Nov. 22, at Edgewood College’s McKinley Performing Arts Center (below) has been CANCELED due to new restrictions to prevent and contain the coronavirus. The Chamber Orchestra, Guitar Ensemble and the Wind-Percussion Ensemble were scheduled to perform.
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Classical music: The Madison Area Youth Chamber Orchestra cancels this summer’s season due to the COVID-19 pandemic
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By Jacob Stockinger
The Ear has received the following announcement about the Madison Area Youth Chamber Orchestra (MAYCO, below in a photo by Steve Rankin):
“We regret that due to the coronavirus pandemic, we will be canceling the 2020 MAYCO season. Every year, we look forward to working with the talented young musicians who perform with us, and we can’t wait to see you all again next summer!”
For more information about the ensemble, including how to join it and how to support it as well as finding concert programs performed since 2011 and finding news updates about future concerts and educational events, go to: https://www.mayco.org. (In the YouTube video at the bottom, you can hear a piece MAYCO commissioned from composer Lawren Brianna Ware and premiered last year.)
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The Well-Tempered Ear 
Here are the classical music nominations for the 63rd annual Grammy Awards in 2021
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By Jacob Stockinger
It’s time again for the annual Grammy Awards (below).
Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.
After all, the coronavirus pandemic has changed our listening habits.
Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.
Perhaps you listen to Compact Discs using home stereo systems.
Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.
However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.
You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.
They can help you judge how many or how few contemporary composers and new works get performed.
Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.
Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.
The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.”
Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.
Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec.
Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.
If you notice more local connections, please leave word in the Comment section.
The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.
73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
· DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· GERSHWIN: PORGY AND BESS
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
· HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
· IVES: COMPLETE SYMPHONIES (below)
Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
· SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)
·
74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
· BLANTON ALSPAUGH
• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)
· DAVID FROST (below)
• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)
· JESSE LEWIS
• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)
· DMITRIY LIPAY
• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)
· ELAINE MARTONE
• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
· ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
· CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
· COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
· IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
· LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
· DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
· FLOYD, C.: PRINCE OF PLAYERS
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
· GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
· HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
· ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)
·
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
· CARTHAGE
Donald Nally, conductor (The Crossing)
· DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
· KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
· MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
· ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
·
78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
· CONTEMPORARY VOICES
Pacifica Quartet
· HEALING MODES
Brooklyn Rider
· HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
· HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
· THE SCHUMANN QUARTETS
Dover Quartet
·
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
· BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
· BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
· DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
· THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)
·
80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
· AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
· CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
· FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
· A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
· SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
·
81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
· ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
· SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
· SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
· THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
· WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
·
82. Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
· DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
· HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
· ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)
If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list
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