The Well-Tempered Ear

See and hear The Cliburn piano competition for FREE via streaming. It runs through June 18

June 4, 2022
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By Jacob Stockinger

The 16th Van Cliburn International Piano Competition got under way this past Thursday, June 2, and will run through Saturday, June 18, when the winners will be announced.

2022 marks the 60th anniversary year of the competition, which the American pianist Van Cliburn founded at Texas Christian University after his 1958 Cold War victory in the Tchaikovsky International Competition in Moscow,.

You can follow it all online. The complete impressive competition is being broadcast on medici.tv and on YouTube.

But The Ear has used the competition’s own streaming website and finds the videos, sound quality, contestant biographies and background information very professional and helpful. So far, it has been a thoroughly satisfying, enjoyable and engaging experience. I highly recommendation it for students, amateur pianists and all music lovers.

For The Ear, one of the most impressive performances from yesterday was given by the 21-year-old Chinese pianist Yangrui Cai (below), heard in the YouTube video at the bottom. Such beautiful and subtly virtuosic but shaded Liszt and Brahms is not often heard.

Here is a link to the home page (below): https://cliburn.org

From there you can hear live performances, past performances and many facts , including the complete schedule, about The Cliburn, as it is now called. All times are Central Daylight.

Starting at 10 a.m. today — Saturday, June 4 — will see the final 10 performances (3 in the morning and night, four in the afternoon) of the preliminary round, which has featured 30 pianists in 40-minute solo recitals. Except for a specially commissioned “Fanfare Toccata” by Sir Stephen Hough, who is also on the jury, the choice of programs is entirely up to the individual contestants.

The road to the Cliburn is not easy.

It started with 388 applicants. That was trimmed down to 72 by preliminary judges. Out of 72, 30 were chosen by jurors to compete.

After today, it will be on to the quarter-finals with 18 contestants in 40-minute recitals with no repetition from the preliminary round; then the semi-final round with 12 contestants in a combination of 60-minute solo recital along with a Mozart piano concerto accompanied by the Fort Worth Symphony conducted by the Nicholas McGegan, who is famous for his interpretations of Baroque and Classical era music; and the final concerto round with each contestant play two concertos with Fort Worth Symphony under famed conductor Marin Alsop, who is also the head juror.

The Ear will be posting his own thoughts as he experiences the extensive competition, maybe after each round or even each day.

But The Ear also wants to hear from you.

Do you have thoughts about the various contestants?

Who are your favorites and why?

Thoughts about the programs and repertoire being played?

Other thoughts about the competition in general?

The Ear Wants to hear.

 


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Too bad the Wisconsin Union Theater didn’t book a great pianist for next season

May 21, 2022
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By Jacob Stockinger

“We are living in a Golden Age of pianists,”  famed concert pianist, Juilliard teacher and frequent Madison performer Emanuel Ax (below) has said.

He should know. But you would never guess that from the recently announced next season at the Wisconsin Union Theater (below).

The WUT has not booked a solo pianist for the 2022-23 season.

Here is a link to the lineup for the next season:

https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/

Is The Ear the only one who has noticed and is disappointed?

Who else feels bad about it?

After all, this is the same presenting organization that brought to Madison such legendary pianists as Sergei Rachmaninoff, Ignaz Jan Paderewski, Percy Grainger, Arthur Rubinstein, Vladimir Horowitz, Dame Myra Hess, Guiomar Novaes, Egon Petri, Robert Casadesus, William Kapell, Claudio Arrau, Alexander Brailowsky, Gary Graffman, Glenn Gould, Rosalyn Tureck, Byron Janis, Misha Dichter, Peter Serkin, André Watts, Lili Kraus and Garrick Ohlsson

It is the same hall (below) in which The Ear has heard Rudolf Serkin, Vladimir Ashkenazy, Angela Hewitt, Alfred Brendel, Murray Perahia, Valentina Lisitsa, Andras Schiff, Joyce Yang, Yefim Bronfman, Jeremy Denk, Ingrid Fliter, Richard Goode, Leon Fleisher, Simone Dinnerstein, Wu Han and so many other great and memorable names including, of course, Emanuel Ax.

What a history!

As you can see and as The Ear likes to say, the Wisconsin Union Theater is “The Carnegie Hall of Madison.” For over 100 years, it is where the great ones play.

One irony is that many of those former bookings of pianists took place when the University of Wisconsin School of Music had many more pianists on the faculty and provided a major alternative venue for piano recitals.

Another irony is that so many young people take piano lessons (below) and are apt to want to attend, probably with their parents, to hear a live professional concert piano recital. You would think the WUT would also see the advantages of having such community outreach links to the public and to music education, especially since the WUT has hosted Open Piano Day for the public. (See the YouTube video of a Channel 3000 story in February 2020 at the bottom.)

From what The Ear reads, there are lots of up-and-coming pianists, many affordable names of various winners of national and international competitions. They should be affordable as well as worthy of being introduced to the Madison public.

But that seems a mission now largely left to the Salon Piano Series.

Plus, so many of the new pianists are young Asians who have never appeared here, which should be another draw for the socially responsible and diversity-minded WUT.

But that is another story for another day.

What do you think of the WUT not presenting a solo pianist next season?

Maybe there will be a pianist booked for the 2023-24 season.

What pianists would you like see booked by the WUT student programming committee?

The Ear wants to hear.

 


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The famed International Tchaikovsky Competition has been expelled from the World Federation of International Music Competitions

April 25, 2022
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By Jacob Stockinger

One of the granddaddies of all international music competitions — probably the best known and most prestigious — has been disowned.

The International Tchaikovsky Competition — the one that catapulted the young American pianist and first winner Van Cliburn (below, during the competition) to worldwide fame during the height of the Cold War, for which he received the only ticker tape parade in New York City ever given to a musician — has been expelled from the World Federation of International Music Competitions, which was founded in 1957 and represents 110 music competitions and programs to help young musicians build a career.

The move comes in response to recent events in Ukraine — including alleged Russian war crimes during its brutal, deadly and unprovoked invasion.

The famed Tchaikovsky Competition — which started in 1958 and is now for pianists, violinists, cellists, vocalists as well as woodwind and brass players — is held in Moscow and St. Petersburg and is financed and organized by the Russian government. It has launched the careers on many great musicians.

It is co-chaired by the discredited Russian conductor Valery Gergiev  (below right, in 2014), a close friend and avid supporter of Russian President Vladimir Putin (below left) and of the conflict in Ukraine.

The expulsion came about because the Tchaikovsky Competition refused to condemn the Russian invasion, as the federation requested.

Here is a link to the story that was published on the website Classical Music, an online publication of the BBC Music Magazine. It contains background on both the competition and the current state of affairs regarding Russian musicians and the Russian conflict in Ukraine. It has a lot of noteworthy links:

https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.classical-music.com%2Fnews%2Finternational-tchaikovsky-competition-expelled-from-world-federation-of-international-music-competitions%2F&data=05%7C01%7C%7C6c24b49a0d734e9d8cba08da23b1b885%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C637861543449919994%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=RO2i3yy3HKXFxzEBotr4wTvrEONBM0%2FqUjxqt5CPhQc%3D&reserved=0

And here is the response from the organizers of the Russian competition, which takes place every four years. The 16th competition was held in 2019, and the 17th is still scheduled for 2023. (The announcement of the 2019 piano winners — by the Russian former piano winner Denis Matsuev, who has been boycotted because of Ukraine — is in the YouTube-Medici.TV video at the bottom.)

The response — which accuses the federation of “persecuting” Russian musicians and promises that it will be held as usual and remain open to contestants worldwide — is posted on the competition’s website:

https://tchaikovskycompetition.com/en/news/415.htm

It makes one wonder what the effects on the next Tchaikovsky competition will be.

Will potential jurors outside Russia boycott the competition?

Will non-Russian contestants — with the exception perhaps on Chinese and Belarusian performers — avoid participating?

And what will be the effect on the inaugural Rachmaninoff Competition for pianists, composers and conductors that is scheduled to take place this June in Moscow?

What do you think?

Is it the right call by the international federation?

Or the wrong call?

Why do you think so?

The Ear wants to hear.

 


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Check out the 2022 classical music Grammys for trends and suggested listening

April 9, 2022
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By Jacob Stockinger

No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.

But chances are you haven’t heard much about the classical music Grammys.

That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.

But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.

You can also get a good idea of trends in classical music.

Contemporary or new music is big again this year, dominating the old standard classics.

Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.

You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.

Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.

Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.

If you want to see the nominations and winners in other categories, here is a link:

https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees

75. Best Engineered Album, Classical

  • Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
  • Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax) 
  • Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
  • Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
  • Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)

76. Producer Of The Year, Classical

  • Blanton Alspaugh 
  • Steven Epstein 
  • David Frost 
  • Elaine Martone 
  • Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)

CLASSICAL

77. Best Orchestral Performance

  • “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
  • “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
  • “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
  • “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
  • “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)

78. Best Opera Recording

  • “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
  • “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) 
  • “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)  
  • “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra) 
  • “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus) 

79. Best Choral Performance

  • “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble) 
  • “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
  • “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)  
  • “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)  
  • “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
  • “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)

80. Best Chamber Music/Small Ensemble Performance

  • “Adams, John Luther: Lines Made By Walking” — JACK Quartet
  • “Akiho: Seven Pillars” — Sandbox Percussion 
  • “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion 
  • “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
  • “Bruits” — Imani Winds
  •  

81. Best Classical Instrumental Solo

  • “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
  • “An American Mosaic” — Simone Dinnerstein
  • “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
  • “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
  • “Mak Bach” — Mak Grgić
  • “Of Power” — Curtis Stewart 

82. Best Classical Solo Vocal Album

  • Confessions — Laura Strickling; Joy Schreier, pianist
  • Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
  • Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
  • Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
  • Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz) 

83. Best Classical Compendium

  • American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
  • Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
  • Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
  • Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
  • Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers  (below)

84. Best Contemporary Classical Composition

  • “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
  • “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
  • “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
  • “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
  • “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion) 
  •  


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As the semester ends, virtual concerts allow UW students to reach many more family members, friends and listeners. Here is how the public can connect to them

April 14, 2021
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By Jacob Stockinger

Starting tonight and over the next two weeks, as the spring semester at the UW-Madison comes to a close, there will be more than two dozen student recitals to listen to. (Below is the YouTube video for the concert this Thursday night, April 15, at 6:30 p.m. of the Marvin Rabin String Quartet that is comprised of graduate students.)

Often two or more concerts a day are scheduled, often at 3:30 p.m. and 6:30 p.m. 

That much is typical.

What is not typical during the pandemic is that technology will allow the recitals to be presented live-streamed and virtual.

The downside is that the students will not experience performing before a live audience.

But there is an upside.

Going virtual also means that the recitals will be available longer to family, friends and interested listeners  here as well as around the country and — especially for international students — the world. (Below, in a photo by Bryce Richter for the UW-Madison, is the Mead Witter Foundation Concert Hall in the Hamel Music Center.)

It also means you can hear them when it is convenient for you and not at the actual scheduled times.

The Ear has heard his share of student recitals and often finds them to be exceptional events.

If you go to the Mead Witter School of Music’s website, you can see the concerts and the lineups.

You will see that there will be student recitals of vocal music, brass music, wind music, string music and piano music. There are solo recitals, chamber music and even a symphony orchestra concert. (Below, in a photo by Bryce Richter for the UW-Madison, is the Collins Recital Hall in the Hamel Music Center.)

There are too many details for each concert to list them all here individually.

But if you go to the Concerts and Events page on the music school’s outstanding website, you can hover the cursor over the event and then click on the event and get everything from the performers and programs to program notes, a performer biography and a photo with a link to the YouTube performance.

On the YouTube site, if you click on “See More” you will see more details and can even set up an alarm for when the concert starts.

Here is a link: https://www.music.wisc.edu/events/

Try it and see for yourself. Below is the YouTube link for pianist Mengwen Zhu, who performs his recital this Saturday, April 17, at 6 p.m.)

Happy listening!

Let us know what you think, especially if it is encouraging for the students.

The Ear wants to hear.


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The New York Times names the top 25 classical recordings of 2020 and includes sample tracks

December 27, 2020
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By Jacob Stockinger

What did the holidays bring you?

Did Hanukkah, Christmas or Kwanzaa bring you a gift card?

A subscription to a streaming service?

Maybe some cash?

Or maybe you just want to hear some new music or new musicians or new interpretations of old classics?

Every year, the music critics of The New York Times list their top 25 recordings of the past year. Plus at the end of the story, the newspaper offers a sample track from each recording to give you even more guidance.

This year is no exception (below).

In fact, the listing might be even more welcome this year, given the  coronavirus pandemic with the lack of live concerts and the isolation and self-quarantine that have ensued.

The Ear hasn’t heard all of the picks or even the majority of them. But the ones he has heard are indeed outstanding. (In the YouTube video at the bottom, you can hear a sample of the outstanding Rameau-Debussy recital by the acclaimed Icelandic pianist Vikingur Olafssen, who scored major successes with recent albums of Philip Glass and Johann Sebastian Bach.)

Here is a link: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html

Of course not all critics agree.

The Ear has already listed the nominations for the Grammy Awards (a link is below), and more critics’ picks will be featured in coming days.

https://welltempered.wordpress.com/2020/11/28/for-holiday-shopping-and-gift-giving-here-are-the-classical-music-nominations-for-the-63rd-grammy-awards-in-2021/

You should also notice that a recording of Ethel Smyth’s “The Prison” — featuring soprano Sarah Brailey (below), a graduate student at the UW-Madison’s Mead Witter School of Music and a co-founder of Just Bach — is on the Times’ list as well as on the list of Grammy nominations.

What new recordings – or even old recordings — would you recommend?

The Ear wants to hear.

 


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Here are the classical music nominations for the 63rd annual Grammy Awards in 2021

November 28, 2020
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

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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The New York Times music critics pick 10 online concerts and operas to watch through the month of November

October 30, 2020
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By Jacob Stockinger

Classical music critics for The New York Times have again listed their picks of virtual and online concerts that will be streamed during the month of November, starting this Sunday, Nov. 1, and running right through Nov. 30. In September, they did the same for the month of October.

The list of 10 highlights includes chamber music, orchestral music and operas as well as lots of new music, world premieres of commissions and even the Cliburn International Piano Competition, now known simply as The Cliburn.

Most of the events are posted and available for quite a while.

Note that all times are Eastern and that on this Sunday, Nov. 1, daylight saving ends.

As the critics point out, the list may be especially helpful and enjoyable now that the weather is turning colder, people are isolating at home during the nationwide spikes in coronavirus cases, and concert halls remain closed to the public.

Well-known institutions such as The Metropolitan Opera (below) and the Los Angeles Opera are featured. (You can sample an earlier Met production of Philip Glass’ “Satyagraha” – about the early life of Gandhi — in the YouTube video at the bottom.)

So are symphony orchestras from Detroit, Seattle, San Francisco and Cincinnati. 

And pianist Igor Levit (below top), who this past year released the highly praised, award-winning complete cycle of 32 piano sonatas by Beethoven and who was named Artist of the Year by Gramophone magazine, is also featured, as is the outstanding Chicago-based violinist Jennifer Koh (below bottom, in a photo by the Los Angeles Times). 

Here is a link to the story: https://www.nytimes.com/2020/10/28/arts/music/classical-music-stream.html

What do you think of the choices?

Do you have other concerts or classical music events to add to the list?

The Ear wants to hear.

 


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Can American film director Ron Howard make a sensitive and accurate biopic of Chinese superstar pianist Lang Lang? Or is it a cultural appropriation that deserves to be condemned?

September 27, 2020
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By Jacob Stockinger

The self-appointed PC diversity police have struck again.

This is getting silly and tiresome, insulting and embarrassing.

Some advocates of cultural diversity are crying foul over the latest project of the American and Academy Award-winning Hollywood film director Ron Howard: making a biopic of the superstar Chinese classical pianist Lang Lang (below).

The script will be drawn from the pianist’s bestselling memoir “Journey of a Thousand Miles” — which has also been recast as an inspirational children’s book — and the director and scriptwriters will consult with Lang Lang.

It seems to The Ear a natural collaboration, as well as a surefire box office hit, between two high-achieving entertainers. Check out their bios:

https://en.wikipedia.org/wiki/Lang_Lang

https://en.wikipedia.org/wiki/Ron_Howard

But some people are criticizing the project in the belief that because Ron Howard  (below) is white and Western, he cannot do justice to someone who is Chinese or to Asian culture.

Here is an essay, found on the website of Classic FM, by one objector. She is Chinese film director Lulu Wang (below), who says she has no interest in doing the project herself: https://www.classicfm.com/artists/lang-lang/pianist-biopic-ron-howard-faces-criticism-lulu-wang/

Talk about misplaced alarm over “cultural appropriation.”

Don’t you think that Lang Lang will have a lot to say about how he is depicted?

Do you wonder if Wang thinks cultural appropriation works in reverse?

Should we dismiss Lang Lang’s interpretations of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Tchaikovsky, Rachmaninoff, Prokofiev and Bartok simply because he is non-Western and Chinese rather than German, French or Russian?

Of course not. They should be taken on their own merits, just as the interpretations of any other Asian classical musician, and artists in general including Ai Weiwei, should be.

But however unfairly, cultural appropriation just doesn’t seem to work in reverse.

Mind you, The Ear thinks that cultural appropriation is a valid concept and can indeed sometimes be useful in discussing cross-cultural influences.

But it sure seems that the concept is being applied in an overly broad and even misdirected or ridiculous way, kind of the way that the idea of “micro-aggressions” can be so generously applied that it loses its ability to be truthful and useful.

Take the example of the heterosexual Taiwanese movie director Ang Lee. He certainly proved himself able to depict American culture in “The Ice Storm” and the gay world in “Brokeback Mountain.”

Let’s be clear. The Ear is a piano fan.

But if he objects to the project, it is because he doesn’t like Lang Lang’s flamboyant playing, his Liberace-like performance manners and showmanship, and his exaggerated facial expressions.

Yet there is no denying the human appeal of his story. He rose from a young and suicidal piano student (below) who was emotionally abused by his ambitious father – shades of the lives of young Mozart and Beethoven and probably many other prodigies – to become the best known, most frequently booked and highest paid classical pianist in the world. 

Yet not for nothing did some critics baptize him with the nickname Bang Bang.

Still, the Curtis Institute graduate does all he can to foster music education, especially among the young and the poor.

And there is simply no denying his virtuosity. (See Lang Lang playing Liszt’s Paganini etude “La Campanella” in the YouTube video at the bottom.)

So there is plenty to object to about Lang Lang the Piano Star besides the ethnicity of Ron Howard, who also did a biopic of opera superstar Luciano Pavarotti, in telling his story.

What do you think?

Is it culturally all right for Ron Howard to direct a film about Lang Lang?

Do you look forward to the movie and seeing it?

What do you think of Lang Lang as a pianist and a celebrity?

The Ear wants to hear.

 


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Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison

August 13, 2020
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By Jacob Stockinger

The UW-Madison’s Mead Witter School of Music has a new flute professor who follows Timothy Hagen in taking the place of retired longtime predecessor Stephanie Jutt, who continues to perform locally with the Madison Symphony Orchestra and the Bach Dancing and Dynamite Society..

He is Conor Nelson (below) and he starts later this month at the UW-Madison’s Mead Witter School of Music.

Here is the biography — impressive for both his performing and his teaching –that the university released: 

“Praised for his “long-breathed phrases and luscious tone” by the Minneapolis Star Tribune, Canadian flutist Conor Nelson is established as a leading flutist and pedagogue of his generation.

“Since his New York recital debut at Carnegie Hall’s Weill Recital Hall, he has frequently appeared as soloist and recitalist throughout the United States and abroad.

“Solo engagements include concertos with the Minnesota Orchestra, the Toronto Symphony Orchestra, the Flint Symphony, and numerous other orchestras.

“In addition to being the only wind player to win the Grand Prize at the WAMSO (Minnesota Orchestra) Young Artist Competition, he won first prize at the William C. Byrd Young Artist Competition. He also received top prizes at the New York Flute Club Young Artist Competition, the Haynes International Flute Competition as well as the Fischoff, Coleman and Yellow Springs chamber music competitions. (Editor’s note: In the YouTube video at the bottom, you can hear Conor Nelson perform the second and third movements of the Flute Sonata by French composer Francis Poulenc.)

“With percussionist Ayano Kataoka (below left, with Nelson), he performed at Merkin Concert Hall, Tokyo Bunka Kaikan Hall and Izumi Hall. A recital at the Tokyo Opera City Hall received numerous broadcasts on NHK Television. Their CD entitled, “Breaking Training” was released on New Focus Recordings (NYC). His second CD, “Nataraja,” with pianist Thomas Rosenkranz, is also available on New Focus.

“He has collaborated with pianist Claude Frank on the Schneider concert series in New York City and appeared at numerous chamber music festivals across the country including the OK Mozart, Bennington, Skaneateles, Yellow Barn, Cooperstown, Salt Bay, Look and Listen (NYC), Norfolk (Yale), Green Mountain, Chesapeake, and the Chamber Music Quad Cities series.

“He is the Principal Flutist of the New Orchestra of Washington in Washington, D.C., and has performed with the Detroit, Toledo and Tulsa Symphony Orchestras. He also performed as guest principal with A Far Cry, Orquesta Filarmónica de Jalisco, and the Conceirtos de la Villa de Santo Domingo.

“A respected pedagogue, Dr. Nelson has given master classes at over 100 colleges, universities and conservatories.

“Prior to his appointment at UW-Madison, he served as the flute professor at Bowling Green State University for nine years and as the Assistant Professor of Flute at Oklahoma State University from 2007-2011.

“His recent residencies include Yonsei University in Seoul, Korea; the Sichuan Conservatory in Chengdu, China; the Conservatorio de Musica de Puerto Rico; and the Associacao Brasileira de Flautistas in Sao Paulo.

“He is also a regular guest of the Texas Summer Flute Symposium and has been the featured guest artist for 11 flute associations across the country. His former students can be found performing in orchestras, as well as teaching at colleges, universities and public schools nationwide. They have also amassed over 60 prizes in young artist competitions, concerto competitions and flute association competitions.

“Nelson received degrees from the Manhattan School of Music, Yale University and Stony Brook University where he was the winner of the school-wide concerto competitions at all three institutions. He is also a recipient of the Thomas Nyfenger Prize, the Samuel Baron Prize and the Presser Award.

“His principal teachers include Carol Wincenc, Ransom Wilson, Linda Chesis, Susan Hoeppner and Amy Hamilton. Nelson is a Powell Flutes artist and is the Assistant Professor of Flute at UW-Madison where he performs with the Wingra Wind Quintet.”

 


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