The Well-Tempered Ear

Classical music: Farley’s House of Pianos announces its Salon Piano Series for this season and offers subscription tickets for the first time. It opens on Sunday, Oct. 4.

September 17, 2015
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By Jacob Stockinger

The Ear’s friends at Farley’s House of Pianos write:

The Salon Piano Series offers inspiring performances in an intimate salon setting. Each concert is followed by an artist’s reception and some performances include introductions by music scholars and commentators.

Farley Daub plays

Season tickets are being offered for the first time this year and they provide substantial savings as well as the assurance that you won’t be left out. You can buy tickets at www.brownpapertickets.com

Here is the lineup:

DANIEL DEL PINO  – Sunday, Oct. 4, 2015, 4 p.m.

Daniel del Pino (below) returns to play music by Felix Mendelssohn, Cesar Franck‘s Prelude, Chorale and Fugue, and Twelve Etudes, Op. 10, by Frederic Chopin. (You can hear him perform a transcription of the “Ritual Fire Dance” by Manuel de Falla during a concert at Farley’s House of Pianos in January of 2013.)

Daniel del PIno square

ALESSIO BAX and LUCILLE CHUNG (below) – Sunday, Jan. 17, 2016, 4 p.m.

This concert will include pieces for one piano-four hands and for two pianos. The two-piano pieces will be played on rare “twin” pianos restored by Farley’s House of Pianos: a 1914 Mason & Hamlin CC and a 1914 Mason & Hamlin BB.

alessio bax and lucille chung

CELLIST AMIT PELED (below) – Saturday, Feb. 27, 2016, 7:30 p.m.

Hear the exact program that famed cellist Pablo Casals performed 100 years ago, played on Casals’ own 1733 Goffriller cello with Noreen Polera accompanying on a 1914 Mason and Hamlin piano restored by Farley’s House of Pianos.

Amit Peled 1

DICK HYMAN, Jazz Clinic-Lecture, Saturday, May 7, 2016, 4 p.m.

Jazz legend Dick Hyman presents his third clinic at Salon Piano Series.

Dick Hyman – Jazz Concert – Sunday, May 8, 2016, 4 p.m.

Dick will play solo piano for half the concert. Then bassist John Schaffer and drummer John Lombardo will join Dick in a jazz trio.

Since he began his career in the early 1950s, Dick Hyman has been a pianist, organist, arranger, music director and composer while recording over 100 albums under his own name.

Hyman is a masterful improviser with a unique style of piano that spans from early jazz such as Scott Joplin and Jelly Roll Morton to George Gershwin, Duke Ellington and beyond. He is one of the first people to record on the Moog synthesizer and his track “Minotaur” landed on the Billboard magazine’s US Top 40.

Hyman has served as composer, arranger, conductor and pianist for 12 Woody Allen films. He also won an Emmy for his original score to the daytime drama “Sunshine’s on the Way” and for musical direction of a PBS special on Eubie Blake. His recording, Dick Hyman’s “Century of Jazz Piano” is an encyclopedic series of solo performances that covers the last 100 years in jazz over the course of 121 performances.

dick hyman

All concerts are held at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west wide near West Towne.

See complete concert programs and more at www.salonpianoseries.org

Salon Piano Series Tickets Available Online at www.brownpapertickets.com

Tickets cost $45 in advance, $50 at the door. The Jazz Clinic is $20.

Buy the series for $160, and save $40. Tickets are also available at Farley’s House of Pianos and Orange Tree Imports. Service fees may apply.


Classical music: Today marks 70 years since the United States dropped the first atomic bomb on Hiroshima, Japan. The Ear commemorates the event with Samuel Barber’s “Adagio for Strings.” What music would you choose?

August 6, 2015
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By Jacob Stockinger

Today is August 6, 2015 – the 70th anniversary of the United States dropping the world’s first atomic bomb on Hiroshima, Japan in the hope of ending World War II. (That took a second atomic bomb that was dropped on Nagasaki.)

Controversy still rages about whether it was the right decision to make.

The Ear has an opinion about that, but is keeping it to himself.

All he wants to do today is commemorate the historic event with music.

hiroshima1ruinslarge

First, as background, here is a story from The Washington Post about what it was like to survive the bombing of Hiroshima:

http://www.msn.com/en-us/news/world/what-it-was-like-to-survive-the-atomic-bombing-of-hiroshima/ar-BBlpDXY,

I can’t think of a better piece of music to listen to this day than the sadly eloquent, heart-wrenching and poignant Adagio for Strings by Samuel Barber (below), which is at the bottom in a YouTube video and is performed by Leonard Bernstein conducting the Los Angeles Philharmonic. The moving music does not take sides, but simply expresses profound sorrow.

Samuel Barber 2 composing

Perhaps you have other choices for this day. Maybe a chorale from a passion or cantata by Johann Sebastian Bach? Maybe an aria by George Frideric Handel? Perhaps a Requiem by Wolfgang Amadeus Mozart or Johannes Brahms, Giuseppe Verdi or Gabriel Faure? Maybe the  Ninth Symphony “Ode to Joy” by Ludwig van Beethoven or the Symphony No. 2 “Resurrection” by Gustav Mahler? Maybe the opera “Doctor Atomic” by John Adams?

Leave your thoughts and choice in the COMMENT section.

The Ear wants to hear.


Classical music Q&A: Israeli pianist Inon Barnatan compares great music-making to great acting, and the concert hall to an exciting museum. He makes his MUST-HEAR Madison debut on this Friday night at 8 p.m. in Mills Hall in a solo recital program of works by Schubert, Barber, Franck and Ravel.

April 17, 2014
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EDITOR’S NOTE: Please note that some reviews of productions last weekend are being delayed to make room for previews of the many upcoming concerts and musical events this week.

By Jacob Stockinger

The prize-winning and critically acclaimed young Israeli pianist Inon Barnatan will make his Madison debut this Friday night at 8 p.m. in Mills Hall for the Wisconsin Union Theater, which has been closed for two seasons while being renovated.

Inon Barnatan

Barnatan’s MUST-HEAR program is ambitious and appealing; Franz Schubert’ late Sonata in G Major, the one that the young critic Robert Schumann praised so effusively; Samuel Barber’s Piano Sonata, which was premiered by Vladimir Horowitz; the “Prelude, Chorale and Fugue” by the late French Romantic composer Cesar Franck that was a favorite of Arthur Rubinstein; and Maurice Ravel’s dazzling “La Valse” for solo piano.

Tickets are $25 for the general public; $10 for University of Wisconsin-Madison students. For more information about Inon Barnatan and his recital, including reviews, program notes, audio clips and ticket information, visit:

http://www.uniontheater.wisc.edu/Season13-14/Inon-Barnatan.html

You might recall that Inon Barnatan won raves this past winter for his last-minute appearance with the Milwaukee Symphony Orchestra under Edo de Waart when he stepped in to substitute for an ailing Radu Lupu and played the titanic Piano Concerto No. 1 in D Minor by Johannes Brahms.

In 2009, he won a prestigious Avery Fisher Career Grant, and he has been recognized by the Irving S. Gilmore Foundation.

The Ear has been listening to his recordings: from violin works (the last Sonata by Ludwig van Beethoven and a Fantasy by Schubert) and his impressive readings of the famous last three sonatas and final impromptus and sonatas by Schubert to his performances of “Darkness Visible” by the contemporary British composer Thomas Ades. They all demonstrate his virtuoso technique but also his abundant musicality, subtle interpretations and full tone. Most impressive is his ability to play softly and lyrically. It leaves no doubt: Inon Barnatan is a major poet of the piano.

Clearly, Inon Baranatan is someone to watch, as his career continues to be extremely promising. You can listen to his interview for the Chamber Music Society of Lincoln Center in a YouTube video at the bottom. And here is a link to his own website:

www.inonbarnatan.com

And here is the email Q&A that Inon Barnatan did for The Ear:

Inon Barnatan face

You were just named the first-ever Artist in Association at the New York Philharmonic for the 2014-15 season. What plans do you have for that position? How could it affect your career?

What is so special for me about this position with the New York Philharmonic is that it is stretched over several seasons, so I will be performing with the orchestra both in New York and on the road for three consecutive seasons — which enables me to build a real relationship with this great orchestra as well as the audience.  It removes a little of the pressure of the debut– since I know I will be coming back the following season and the one after that.

Of course there is pressure to live up to the expectations and the faith that the orchestra and Alan Gilbert (both below) have shown in me, but it feels wonderful to know that the organization is behind me from the get-go. This appointment has only recently been announced but has already had significant effect on my career. New York is the center of so many things and when the New York Philharmonic does something, people take notice!  I really couldn’t be more thrilled with it.

New York Philharmonic Alan Gilbert

How would you describe your approach to playing and interpreting music? Are there other musicians, and especially pianists, either historical or current, whom you admire and why?

I feel that we classical performers are like actors — we have a text that we try to internalize and bring to life, but ultimately it is not ourself that is being presented, but the character, or, in our case, the music, that is being communicated. A great actor like Meryl Streep becomes whichever role she is playing, embodying it in such a way that she herself disappears and becomes the role.

That is what I think my job as a performer is.  I don’t want an audience to listen to me playing a piece — I would love for them to feel like the piece is being created at that very moment, the same way I would want to believe an actor IS the person that they are playing, not merely reading the text convincingly.

There are great performers, as well as actors, that are compelling not because they disappear in a role, but because of the very force of their personality. There are phenomenal actors and musicians that don’t change much with different roles or pieces, but bring their particular magnetism and virtuosity to every role.

When the performer is great both types can be very compelling, but I tend to gravitate towards the former. (Below is Inon Barnatan performing at Carnegie Hall in a photo by The New York Times.)

Inon Barnatan playing at Carnegie Hall NY Times

Your terrific and critically acclaimed new recording for the Avie label is an all-Schubert recital. But here you will perform a different big work, the G Major Sonata. What do you want to say about that particular work and its place in Schubert’s overall body of works? Why does Schubert hold particular appeal for you, and will you do more recording of his works, perhaps even a Schubert cycle?

Thank you! Back in 2004 I participated in a Schubert workshop with the great Leon Fleisher (below) at Carnegie Hall, and in some ways that was the start of my love affair with Schubert. I was familiar with his pieces, of course, but delving into the late sonatas as we did, I became intoxicated with the beauty and depth of the music.

Leon Fleisher

The music of Schubert (below), and especially the music he wrote later in his short life, became a staple of my repertoire.  I even curated a project of solo, chamber and vocal music from the miraculous last year — and both the Schubert CDs I’ve recorded so far feature pieces from that year.

That said, the G Major sonata, even though it was not written in the last year but a couple of years before, stands proudly amongst the greatest. It is one of his most lyrical and poetic pieces. It is not played nearly as often as the last three, and I am excited at the prospect of some audience members discovering it for the first time.

As for a possible Schubert cycle, it has been a dream of mine for a long while — perhaps I will keep playing his works one by one until I discover that I have recorded the whole cycle!

Franz Schubert writing

What would you like the public to know about your Madison program, which includes Franck, Barber (below) and Ravel?

This is a very special program to me. The pieces are magical: They manage to be at once very emotional and very intellectual, without compromising one for the other. The pieces all have a sense of nostalgia about them, in different ways.

The composers of the pieces in the first half take Baroque and Classical forms, such as fugues, chorales, sonatas, etc. and imbue them with their own innovation and emotion. The second half has more of a sense of fantasy, a sense of light that by the end of the recital turns to dark. I guess the second half goes from the sublime to the grotesque.

Samuel Barber

How do you think classical music can reach new and young audiences? And what advice would you give to aspiring young musicians and especially pianists?

That’s the million-dollar question. I think there are many things we need to do. It starts with education — putting an instrument in a child’s hand teaches them a lot about communications, listening and a huge variety of other important skills. It also encourages future curiosity about music and culture.

We also need to be more inclusive in some ways, make the concert experience something that would appeal to a young person as well as an older one.  Nowadays, when there are so many ways to consume culture without leaving your home, the concert experience needs to have an energy and excitement to it that is unique to the live experience.

A great museum knows that in order to attract a variety of ages and stay relevant, they need to have not only great art, but great curating.

The Museum of Modern Art in New York, for example, is always teeming with people of all ages, newcomers, repeat visitors, young and old, experts and lay people. They have a collection of some of the great, established artists as well as new exciting art and they are always providing new and interesting ways to look at things. People who go there expect to be challenged as well as be entertained. You may come to see Van Gogh’s “Starry Night” (below) but it’s the new or unexpected stuff around it that keeps you coming back. It’s that combination of edge and quality that makes it cool.

We can learn a lot from that. As performers we need to strive for the highest possible quality of performance, and at the same time try to present it in a context that is interesting, and sometimes challenging or unexpected.

VanGogh-starry_night_edit

 

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