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By Jacob Stockinger
It’s time for some answers.
The taxpaying, music-loving public is owed that much.
But for the past two weeks, administrators in the University of Wisconsin’s Mead Witter School of Music have stonewalled concerns expressed by the public and alumni.
The school has continued its censorship of social media with a dismissive silence, and offered no specific explanation or reason why the campus-community, town-and-gown UW Choral Union (below) needs to be killed off after 130 years.
But ever since The Ear broke the story, which has only drawn outrage and anger, sources — who asked to remain unnamed — have offered reasons for the very unpopular move by a public university. The Ear can say now that multiple sources agree in their allegations.
If you need to catch up, here is a link to the original blog posting and comments on June 12:
So the time has come to pass along what the sources say to the general public.
Now it is up to the School of Music to confirm or deny that what the sources say is true.
IS IT INCOMPETENCE?
Everyone who works with her or studies and performs under her has nothing but praise for Mariana Farah (below), the new Director of Choral Activities, as a person, colleague and teacher.
She has been singled out especially for her excellent, outstanding work with small choirs — a cappella choirs and choirs that use piano accompaniment, like the UW Choral Union.
But sources say she has no experience or very little in conducting an orchestra in combination with a large choir.
That is why the Choral Union’s performance last April of Leonard Bernstein’s “Chichester Psalms” and Felix Mendelssohn’s “Laudab Sion” (Praise Zion) was conducted not by Farah, but by Oriol Sans (below), the highly praised conductor of the UW Symphony Orchestra. That also explains why the two shorter choral works were included in a symphony concert along with Bela Bartok’s Concerto for Orchestra.
If that is true, it seems a major disqualification for her current position — an oversight, mistake or deliberate policy decision by the administration and the faculty search committee that is hard to understand.
If The Ear recalls correctly, the UW has never had a choral director who could not conduct orchestras and also teach graduate students to do the same.
If that is true, it seems like Farah is simply not yet experienced enough to lead a major choral program in a Big 10, world-famous university and a very highly rated music school.
Perhaps the school could arrange for conducting the Choral Union to go to Sans. But choral union members say he is more interested in the instrumental orchestra than in the choir. Besides, Sans has plenty of his own duties including teaching, rehearsing and conducting UW Symphony concerts, and accompanying the prize-winning opera program at the UW.
Or maybe the school could hire outside conductors — maybe bring back former director Beverly Taylor who is still working with the Madison Symphony Orchestra — to fill in, although that seems unlikely given budget constraints.
IS IT POLITICAL CORRECTNESS?
So what explains why Farah now heads the choral department at the UW?
Sources say much of the blame has to do with political correctness.
Farah was desirable because is Brazilian and a woman of color who is interested in exploring new and alternative repertoire — not the great chorus-and-orchestra masterpieces by “dead white men” like Bach, Haydn, Mozart, Beethoven, Verdi and Brahms. And apparently that is what the School of Music wanted too when it hired her over other candidates.
These are serious allegations that the sources are making.
The timing is also unfortunate. This is the last week of duties for the current director of the School of Music, Susan C. Cook (below), who oversaw the hiring of Farah.
Her successor, Dan Cavanagh (below) from Texas, takes office this Saturday and will possibly walk into a major scandal or conflict that he will need to resolve right away.
In addition, some Republicans in the Wisconsin State Legislature are strong critics of “Diversity, Equity and Inclusion” in the academic world. And this move feeds right into their concerns about shortchanging students and the public when it comes to basic skills and customary benefits.
That means the UW School of Music might be facing even more severe budget cuts.
But if the allegations are true, the administrators at the School of Music will have brought their misfortune upon themselves.
The Ear and the public are waiting to hear what the School of Music says besides the ill-timed, secretive announcement and banal, vague generalities about resources and core mission that they first offered.
Do you know anything more about the situation?
Do you have an opinion as to whether the decision should be reversed and the Choral Union should continue to exist?
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
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:
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)
“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)
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)
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
The Ear has received the following announcement to post:
Join the Wisconsin Chamber Choir (below) this Saturday afternoon, Dec. 12, at 2 p.m. for Car Carols, a unique holiday concert featuring live, socially-distanced performances of music by African-American composers and seasonal favorites.
Choir members will sing from their individual cars using wireless microphones (below), listening to the sound of the whole choir via their car radios. The audience is invited to join our Facebook event or listen in live on YouTube.
There is no charge to view the live-stream, but donations would be welcome.
This unusual concert format was necessitated by the Covid-19 pandemic, but the WCC is grateful for the opportunity to continue singing together in safe ways.
This past September and October, smaller groups from the WCC assembled on Saturday mornings at the Warner Park Pavilion to rehearse in widely spaced formations.
They wore specially designed singers masks, and occasionally harmonized with nearby sandhill cranes that seemed unsure what to make of the a cappella music floating through their habitat.
Recordings by five distinct small ensembles — minus the cranes — will be aired during the Dec. 12 Car Carols broadcast, in addition to live singing by the Parking Lot choristers.
The Car Carols repertoire highlights music by African-American composers spanning nearly a century. Idiomatic pieces in the style of spirituals and contemporary gospel alternate with “non-idiomatic” motets and anthems by Nathaniel Dett (below top), William Dawson, Undine Smith Moore (below middle) and Carlos Simon (below bottom, with an oral self-portrait in the YouTube video at the bottom).
The remainder of the Parking Lot Choir selections consists of carol arrangements by WCC favorites — the late Stephen Paulus (below) and Peter Blotch — and feature virtual harp and violin accompaniment.
Live and virtual performers will also unite to sing Craig Hella Johnson’s moving arrangement of the songs I Love You and What a Wonderful World.
Interspersed between the live Car Carols will be a wide variety of pre-recorded selections, including the world premiere of WCC member Linda Palmer’s arrangement of Sussex Carol, plus music by Johannes Brahms, John Rutter, 17th-century female composer Chiara Cozzolani (below), and Tleycantimo choquilia, a carol from colonial-era Mexico, sung in Spanish and Nahuatl.
Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world-premieres.
Artistic director Robert Gehrenbeck (below), who heads the choral program at the University of Wisconsin-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks. WCC members have acknowledged Gehrenbeck for his intrepid conducting in freezing temperatures during Parking Lot Choir rehearsals.
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)
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)
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
Following a national search, Mariana Farah (below) has been chosen to succeed Beverly Taylor as the new director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music.
Due to prior commitments, Farah cannot start her duties until the fall of 2021. But the delay is understandable given that the coronavirus pandemic continues and group singing remains a particularly hazardous or high-risk activity during the public health crisis. (See her comments about choral singing during Covid-19 in the YouTube video at the bottom.)
(In case you are wondering, Taylor, who retired from the UW-Madison last spring, will continue as director of the Madison Symphony Chorus. One wonders if she will still have a chance to do performances of the requiems by Verdi and Dvorak, both of which were canceled due to Covid-19.)
At a time when more focus is being placed on diversity, the Brazilian-born Farah (below) seems an especially apt choice.
Here is the official UW press release about Farah’s appointment along with much biographical material:
“Mariana Farah is the Associate Director of Choral Activities at the University of Kansas in Lawrence, Kansas, where she teaches courses in graduate choral literature and conducting, directs the university’s Concert Choir and Women’s Chorale (below bottom), and helps oversee all aspects of the choral program.
Born in Brazil, Farah received her Bachelor of Music degree from the Universidade Estadual de Campinas; her Master’s degree from the University of Iowa; and her Doctor of Musical Arts from the University of Missouri-Kansas City.
Her choirs have successfully performed at the Missouri and Kansas Music Educators Association conventions and at the 2008 and 2018 Southwestern ACDA conferences.
Farah’s research focuses on Brazilian choral music, particularly the a cappella choral works of Ernani Aguiar (b. 1950, below). Her edition of Aguiar’s “Três Motetinos No. 2” has been published by Earthsongs, and she expects to introduce more of his music to the United States through performances, recordings, editions and future publications of his unknown choral literature.
In addition to her work at KU, Farah (below) maintains an active schedule as a clinician for festivals in Brazil and in the U.S., where she is often sought out for her expertise in Brazilian choral music.
Farah has presented at several conferences for the National Association for Music Education and the American Choral Directors Association.
Recent engagements include appearances as a conductor at the 2019 Northwest Kansas Music Educators Association High School Honor Choir; the 2018 Southwestern ACDA conference, 2016 and 2014 Kansas Music Educators Association Convention; Universidade de São Paulo-Ribeirão Preto; Universidade Estadual de Campinas; Universidade Estadual de Maringá; Festival de Música de Londrina; Adams State Honor Choir Festival; the 2015 Kantorei Summer Choral Institute, a residency with the Harvard-Radcliffe Collegium Musicum; and the 2014 Idaho All-State Treble Choir.
Farah is the music director at First Presbyterian Church in Lawrence, Kansas, where she directs the Chancel Choir and oversees a thriving music program. She also serves as the interim 2019-20 conductor for the Wichita Chamber Chorale (below) and as a board member of the National Collegiate Choral Organization.
She has served as the president elect (2018-2020) and R&R Chair for Ethnic and Multicultural Perspectives (2014-2018) for the ACDA Southwestern Division.
As a singer, Farah performed with the Kansas City Te Deum Chamber Choir (2015-2018) and participated in their 2016 recording of Brahms’ “A German Requiem” (Centaur Records). The recording was recognized by The American Prize, naming Te Deum a semi-finalist for best Choral Performance (community division) for the 2019-20 contest.
Do you have an observation or words of welcome to say?
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By Jacob Stockinger
The news can be confusing and even contradictory about some specifics, but the general direction of reports and statistics about the coronavirus pandemic and deaths from COVID-19 is clear.
It is going to be a long haul until we safely get to go hear live music in large crowds again, just as The Ear talked about earlier this week. (Below is a photo of conductor John DeMain and the Madison Symphony Orchestra in Overture Hall.)
When performers finally get to play, and the concert halls finally get to open, and audiences finally get to listen in person, here is what The Ear wants to know:
What composer would you like hear?
Maybe Beethoven (below) because so much of the Beethoven Year – marking the composer’s 250th birthday this coming December – has been canceled or postponed?
Maybe Johann Sebastian Bach (below) because he just seems so basic, varied and universal?
And what specific piece of music would you like to hear?
Perhaps Beethoven’s Ninth Symphony “Choral” with its “Ode to Joy”? Or maybe the “Eroica” Symphony? Or one of the string quartets?
Perhaps the “St. Mathew Passion” or the Mass in B Minor? Maybe one or more of the cantatas?
Should the music pay homage to the suffering, loss and death – perhaps with Mozart’s “Requiem”? Or Brahms’ “A German Requiem”? Or Mahler’s “Resurrection” Symphony?
Or should the music be upbeat and joyous, like Dvorak’s “Carnival Overture” (below in the YouTube video)? Or some glittering and whirling waltzes by the Strauss family?
Is there an opera that seems especially relevant?
Would you prefer instrumental, choral or vocal music?
And what period, era or style would you prefer?
It will be great to be reacquainted with old and familiar friends. But it would also seem an ideal time to commission and perform new music.
Leave your suggestions in the Comment section with, if possible, a link to a YouTube performance to help us decide.
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By Jacob Stockinger
This week is a busy one at the UW-Madison’s Mead Witter School of Music with concerts on Wednesday, Thursday and Saturday.
There are also FREE and PUBLIC master classes on Friday.
Here are details:
WEDNESDAY, FEB. 5
At 7:30 p.m. in the Collins Recital Hall of the new Hamel Music Center, 740 University Ave., UW horn professor Daniel Grabois (below, in a photo by James Gill) – a member of the acclaimed Wisconsin Brass Quintet – will perform a FREE faculty recital.
Grabois will be accompanied by pianist Shuk-Ki Wong.
No specific program has been posted. But composers on the program include Eugene Bozza, Charles Gounod, Francis Poulenc, Wolfgang Plagge and a world premiere by Daniel Kessner.
THURSDAY, FEB. 6
At 7:30 p.m. in the Mead Witter Foundation Concert Hall, also in the Hamel Music Center, the UW Symphony Orchestra (below, with the UW Choral Union in the background) will give a FREE concert.
UW professor Oriol Sans (below), who is new to campus this year, will be the main conductor with Michael Dolan serving as a guest conductor.
The program is the “Appalachian Spring” Suite by Aaron Copland and the Symphony No. 9 by Dmitri Shostakovich.
SATURDAY, FEB. 8
At 8 p.m. in the Mead Witter Foundation Concert Hall, guest artists The Knights will give a concert that features UW clarinetist Alicia Lee (below), who is a member of the Wingra Wind Quintet and who toured with The Knights chamber orchestra during the decade she lived and worked in New York City.
Says Lee: “We are excited to bring a group with a fresh perspective that is run in perhaps a less traditional way,” Lee says of the residency. “This is a group of people with interesting, diverse approaches to a life in music. Many have been making music together for nearly 20 years, so the roots of both friendship and musical values run very deep.”
On Friday, Feb. 7, The Knights (below) will offer a one-day, on-campus residency that is FREE and OPEN TO THE PUBLIC.
Opportunities include access to strings, wind, percussion and horn master classes; a workshop on music business; a side-by-side orchestral reading; and attendance at their rehearsal. All activities will take place in the Hamel Music Center. For a day-long schedule, go to: https://www.music.wisc.edu/the-knights/
You can hear rehearsals and commentaries by The Knights in the YouTube video at the bottom.
According to program notes: “The Knights is a collective of adventurous musicians, dedicated to transforming the orchestral experience and eliminating barriers between audiences and music.
“Driven by an open-minded spirit of camaraderie and exploration, they inspire listeners with vibrant programs that encompass their roots in the classical tradition and passion for artistic discovery.
“The orchestra has toured and recorded with renowned soloists including Yo-Yo Ma, Dawn Upshaw, Bela Fleck and Gil Shaham, and have performed at Carnegie Hall, Tanglewood and the Vienna Musikverein. Read more at: https://theknightsnyc.com”
The program for The Kreutzer Project concert on Saturday night is:
Colin Jacobsen: World premiere of a new work
Ludwig van Beethoven: Kreutzer Concerto (based on the famous Kreutzer Sonata) arranged by The Knights for solo violin and chamber orchestra
INTERMISSION
Leos Janacek: The “Kreutzer Sonata” String Quartet arranged by The Knights for chamber orchestra
Johannes Brahms: Hungarian Dances arranged by The Knights for chamber orchestra
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CORRECTION: The Ear received the following correction to the story he posted yesterday about the Wisconsin Chamber Orchestra and apologizes for the error:
“There was a change to our rollout in Brookfield. We are only repeating the fifth Masterworks concert on Saturday, May 9, at 7:30 p.m. at the Sharon Lynne Wilson Center for the Arts. We are NOT repeating this Friday’s concert in Brookfield.
“We will perform a Family Series concert of “Beethoven Lives Next Door” on Sunday, March 29, at 3 p.m. at the same Brookfield venue.”
By Jacob Stockinger
The upcoming weekend is a busy one for classical music.
The busiest night is Saturday night when two major concerts will take place: a performance by the Escher String Quartet and the postponed concert by the UW Choral Union and UW Symphony Orchestra with soloists.
Here are details:
ESCHER STRING QUARTET and DAVID FINCKEL
The concert by the Escher String Quartet (below) with cellist David Finckel (below bottom. formerly of the critically acclaimed Emerson String Quartet) takes place on this Saturday night, Jan. 25, at 7:30 p.m. in Shannon Hall of the Wisconsin Union Theater.
The performance is part of the special season celebrating the centennial anniversary of the Concert Series.
The program includes the sublime Quintet in C Major, D. 956, with two cellos, by Franz Schubert and the String Quartet in A minor by the great early 20th-century Viennese violinist and composer Fritz Kreisler (below).
Also on this Saturday night at 8 p.m., in the Mead Witter Foundation Concert Hall in the new Hamel Music Center at 740 University Avenue, the UW Choral Union and UW Symphony Orchestra (below top), along with two vocal soloists – soprano Chelsie Propst (below middle) and baritone James Harrington (below bottom) — will perform a concert originally scheduled for Dec. 7 and then postponed.
The program, without intermission, is one 80-minute work: the epic and influential “A Sea Symphony” by the great 20th-century British composer Ralph Vaughan Williams (below).
Beverly Taylor (below), the longtime director of choral activities at the UW who will retire this spring, sent the following note:
“The text by American poet Walt Whitman presents four symphonic scenes of great breadth and imagination, with lush harmonies and constantly varying tempos and dynamics.” (You can hear the Waves section, or third movement, from “A Sea Symphony” in the YouTube video at the bottom.)
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By Jacob Stockinger
Today – Wednesday, Dec. 25, 2019 – is Christmas Day.
There is so much great Christmas music written by so many great composers. You’ll hear a lot of it tomorrow morning on Wisconsin Public Radio, starting at 9 a.m..
But here are three of The Ear’s favorites.
One comes from the “Christmas Oratorio” by the German Baroque composer Johann Sebastian Bach and is loud, upbeat and brassy.
The second is “Lo, how a rose ere blooming” is by the early German baroque composer Michael Praetorius, and is so hauntingly quiet and intimate, sounding almost medieval or chant-like.
The third work, also intimate but on a much larger scale, is the “Shepherds’ Farewell to the Holy Family” from “The Childhood of the Christ” by the Romantic French composer Hector Berlioz.
Here they are, first the Praetorius — in the original German — and then the Bach and finally the Berlioz.
And here is a YouTube compilation with almost three hours of seasonal music:
What is your favorite piece of classical music to celebrate Christmas?
Leave your answer – with a YouTube link, if possible — in the Comment section.
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By Jacob Stockinger
The Wisconsin Chamber Choir (below top) will perform a holiday program this coming Saturday night, Dec. 14, at 7:30 p.m. at the First Unitarian Society of Madison’s Atrium Auditorium (below bottom, in a photo by Zane Williams), 900 University Bay Drive.
The program features Antonio Vivaldi’s “Gloria” paired with Johann Sebastian Bach’s Advent cantata, Nun komm der Heiden Heiland (Now Come, Savior of the Nations, BWV 61), performed with the professional orchestra Sinfonia Sacra.
(You can hear the familiar and energetic opening of Vivaldi’s “Gloria” — performed by Sir John Eliot Gardiner, the Monteverdi Choir and the English Baroque Soloists — in the YouTube video at the bottom.)
Complementing the Vivaldi and Bach works are additional selections, including a unique collection of O Antiphons — Latin prayers for the season of Advent.
Strikingly modern compositions by John Tavener (below top, in a photo by Steve Forrest), Vytautas Miskinis and Pavel Lukaszewski alternate with French Baroque settings by Marc-Antoine Charpentier (below bottom).
Seasonal carols round out the program in arrangements by three of the WCC’s favorite composers: Peter Blotch; the late American composer from Minneapolis Stephen Paulus (below); and Giles Swayne.
Advance tickets are available for online for $20 ($10 for students) from http://www.wisconsinchamberchoir.org/tickets or Brown Paper Tickets; or in person at Orange Tree Imports and Willy Street Coop, or from a member of the choir.
The ticket price at the door is $25.
Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms as well as a cappella works from various centuries and world premieres.
WCC artistic director Robert Gehrenbeck (below), who heads the choral program at the UW-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.
Since 2002, the WCC has presented cantatas and oratorios with full orchestra, annually or biennially, including last season’s Christmas Oratorio by Johann Sebastian Bach.
The players assembled for these performances, known collectively as Sinfonia Sacra, are members of the best regional orchestras, including the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Bach Musicians, the Wisconsin Baroque Ensemble and Sonata à Quattro.
For more information about the Wisconsin Chamber Choir, including how to join it as well as its future concerts, reviews, biographies, history and recordings, go to: https://www.wisconsinchamberchoir.org
Did incompetence and political correctness kill the UW Choral Union?
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By Jacob Stockinger
It’s time for some answers.
The taxpaying, music-loving public is owed that much.
But for the past two weeks, administrators in the University of Wisconsin’s Mead Witter School of Music have stonewalled concerns expressed by the public and alumni.
The school has continued its censorship of social media with a dismissive silence, and offered no specific explanation or reason why the campus-community, town-and-gown UW Choral Union (below) needs to be killed off after 130 years.
But ever since The Ear broke the story, which has only drawn outrage and anger, sources — who asked to remain unnamed — have offered reasons for the very unpopular move by a public university. The Ear can say now that multiple sources agree in their allegations.
If you need to catch up, here is a link to the original blog posting and comments on June 12:
So the time has come to pass along what the sources say to the general public.
Now it is up to the School of Music to confirm or deny that what the sources say is true.
IS IT INCOMPETENCE?
Everyone who works with her or studies and performs under her has nothing but praise for Mariana Farah (below), the new Director of Choral Activities, as a person, colleague and teacher.
She has been singled out especially for her excellent, outstanding work with small choirs — a cappella choirs and choirs that use piano accompaniment, like the UW Choral Union.
But sources say she has no experience or very little in conducting an orchestra in combination with a large choir.
That is why the Choral Union’s performance last April of Leonard Bernstein’s “Chichester Psalms” and Felix Mendelssohn’s “Laudab Sion” (Praise Zion) was conducted not by Farah, but by Oriol Sans (below), the highly praised conductor of the UW Symphony Orchestra. That also explains why the two shorter choral works were included in a symphony concert along with Bela Bartok’s Concerto for Orchestra.
If that is true, it seems a major disqualification for her current position — an oversight, mistake or deliberate policy decision by the administration and the faculty search committee that is hard to understand.
If The Ear recalls correctly, the UW has never had a choral director who could not conduct orchestras and also teach graduate students to do the same.
If that is true, it seems like Farah is simply not yet experienced enough to lead a major choral program in a Big 10, world-famous university and a very highly rated music school.
Perhaps the school could arrange for conducting the Choral Union to go to Sans. But choral union members say he is more interested in the instrumental orchestra than in the choir. Besides, Sans has plenty of his own duties including teaching, rehearsing and conducting UW Symphony concerts, and accompanying the prize-winning opera program at the UW.
Or maybe the school could hire outside conductors — maybe bring back former director Beverly Taylor who is still working with the Madison Symphony Orchestra — to fill in, although that seems unlikely given budget constraints.
IS IT POLITICAL CORRECTNESS?
So what explains why Farah now heads the choral department at the UW?
Sources say much of the blame has to do with political correctness.
Farah was desirable because is Brazilian and a woman of color who is interested in exploring new and alternative repertoire — not the great chorus-and-orchestra masterpieces by “dead white men” like Bach, Haydn, Mozart, Beethoven, Verdi and Brahms. And apparently that is what the School of Music wanted too when it hired her over other candidates.
These are serious allegations that the sources are making.
The timing is also unfortunate. This is the last week of duties for the current director of the School of Music, Susan C. Cook (below), who oversaw the hiring of Farah.
Her successor, Dan Cavanagh (below) from Texas, takes office this Saturday and will possibly walk into a major scandal or conflict that he will need to resolve right away.
In addition, some Republicans in the Wisconsin State Legislature are strong critics of “Diversity, Equity and Inclusion” in the academic world. And this move feeds right into their concerns about shortchanging students and the public when it comes to basic skills and customary benefits.
That means the UW School of Music might be facing even more severe budget cuts.
But if the allegations are true, the administrators at the School of Music will have brought their misfortune upon themselves.
The Ear and the public are waiting to hear what the School of Music says besides the ill-timed, secretive announcement and banal, vague generalities about resources and core mission that they first offered.
Do you know anything more about the situation?
Do you have an opinion as to whether the decision should be reversed and the Choral Union should continue to exist?
Leave a comment in the Comment section.
The Ear wants to hear.
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