CORRECTION: In an early version of yesterday’s post, The Ear mistakenly said that performances by the Madison Opera of “Charlie Parker’s Yardbird” are on Saturday night at 8 as well as Sunday afternoon at 2:30. The first performance is FRIDAY NIGHT at 8 p.m. – NOT Saturday night. The Ear apologizes for the error.
Here are two links with more information about the opera and the production:
By Jacob Stockinger
This is a busy week with a wide diversity of music at the University of Wisconsin-Madison School of Music.
Here is a run-down by day:
At 7:30 p.m. in Mills Hall, UW hornist Daniel Grabois (below, in a photo by James Gill) will be joined by fellow UW-Madison professor pianist Christopher Taylor for a concert of brass music that is FREE and OPEN to the public.
The program features works by Franz Strauss (Empfindungen am Meere), Paul Hindemith (Alto Horn Sonata), Maurice Ravel (Horn Sonata, originally Violin Sonata) and Jean-Michel Damase (Sonata).
At 7:30 p.m. (NOT 7, as mistakenly first stated in yesterday’s post) in Morphy Recital Hall, saxophonist Daniel Schnyder will perform music by American jazz titan Charlie Parker with the Blue Note Ensemble and also participate in a Q&A session. The event is FREE and open to the public.
Schnyder is the composer of the opera “Charlie Parker’s Yardbird” that the Madison Opera will perform in the Capitol Theater of the Overture Center on Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. See the above correction for links to more information about the opera.
From 4:30 to 6 p.m. in Mills Hall, Venezuelan pianist Gabriela Montero will offer a FREE and PUBLIC master class. The Ear has no details about what will be featured.
Montero (below, in a photo by Shelley Mosman), who specializes in spontaneous improvisations but also performs standard repertoire, will perform at 8 p.m. on this Saturday night at the Wisconsin Union Theater. (In the YouTube video at the bottom, you can hear her live improvisations in Cologne, Germany on the aria theme of Johann Sebastian Bach‘s well-known “Goldberg” Variations.)
Here is a link with more information, including ticket prices, concert and recording reviews and audio-video clips, about her recital in Shannon Hall at the Wisconsin Union Theater:
And here is a link to more information about Montero, who also has won awards for her playing, improvisations and her Piano Concerto No. 1:
At 7:30 p.m. in Mills Hall is the annual Symphony Showcase with the winners of the UW concerto competition and the world premiere of a student composition. The concert will be conducted by Professor James Smith and graduate student Kyle Knox.
Admission to the event costs $10 for adults; students and children get in for free. There is also a FREE post-concert reception at the nearby University Club.
For more information about the program (violin works by Ravel and Shostakovich, vocal works by Ravel and Gounod, a trumpet work by Oskar Boehme) and biographies of the five student performers (below) plus student composer (Nathan Froebe), go to:
By Jacob Stockinger
It’s the weekend — a good time for another reader poll.
Last weekend, The Ear heard the Violin Sonata No. 1 by the French composer Gabriel Faure (below), in a wonderful performance by UW-Madison faculty members violinist Soh-Hyun Park Altino and pianist Christopher Taylor, who make an outstanding partnership that The Ear hopes to heard more often.
The Ear has long thought that Faure, who was the teacher of Ravel, has been neglected. His work, especially his solo piano pieces and chamber music, is subtle and appealing but unjustly overshadowed by the Germanic school.
Yet Faure seems to be getting more performances, although still not as many as he deserves.
So maybe The Ear will switch to say that the 20th-century English composer Gerald Finzi (below) is now his favorite neglected composer.
You can hear Finzi’s haunting and exquisite “Eclogue” for piano and strings, which was originally the slow movement for a piano concerto, in the YouTube video at the bottom.
But The Ear also likes Finzi’s Clarinet Concerto and his Five Bagatelles — especially the “Romance” movement — for Clarinet and Piano.
There are so many composers who deserve a wider hearing — including big mainstream composers like the prolific master Franz Joseph Haydn whose name is better known than most of his works.
Recently, on Wisconsin Public Radio, The Ear heard rarely performed solo piano works by the Czech Josef Suk (below top) and really liked them. Same goes for some solo piano works and violin works by Clara Schumann (below bottom).
There are so many other composers, including ones from Scandinavia, Asia and the United States, who fly under the radar but deserve better recognition and more performances.
So here is what The Ear wants to know:
Who is your favorite neglected composer?
And what is your favorite piece by that composer and why?
Please tell the rest of us, with a link to a YouTube performance, if possible, and help us expand our horizons.
The Ear wants to hear.
By Jacob Stockinger
The weekend always seems like a good time for a reader survey or poll.
So this week, here is what The Ear wants to know:
What was the first piece of chamber music that you loved and that really hooked you on chamber music?
There are so many pieces to choose from in such a rich repertoire that covers all instruments and the human voice as well.
There are sonatas and duos for violin and cello with piano, for example, and songs for voice and piano or other accompaniment, There are piano trios and string trios. There are string quartets and piano quartets. There are wind quintets, string quintets and brass quintets as well as piano quintets. And there are even wonderful sextets, septets and octets. (Below are UW faculty members pianist Christopher Taylor and violinist Soh-Hyun Park Altino.)
So what pieces or performers or qualities hooked you on chamber music?
And what pieces or performers or qualities keep you listening?
The “Trout” Quintet or the string quartets or the piano trios by Franz Schubert? For The Ear it was a magical and entrancing performance of the beautiful Piano Trio No. 1 in B-flat Major by Schubert, performed outdoors. (You can hear it in the YouTube video at the bottom.)
Was it the Baroque trio sonatas by Johann Sebastian Bach and George Frideric Handel? Or various Classical-era sonatas and string quartets by Franz Joseph Haydn, Wolfgang Amadeus Mozart or Ludwig van Beethoven? Maybe more Romantic string quartets by Antonin Dvorak and Johannes Brahms. Or more modern ones by Sergei Prokofiev or Dmitri Shostakovich? Perhaps even contemporary string quartets by Philip Glass? (Below are the Willy Street Chamber Players, who regularly program new music.)
Leave word in the COMMENT section with link to a YouTube performance if possible.
Maybe your choices will even help win over new converts to chamber music.
And be sure to tell us what appeals to you about chamber music versus other music genres such as operas and orchestral works.
The Ear wants to hear.
By Jacob Stockinger
The University of Wisconsin-Madison School of Music is sponsoring a daylong workshop for pianists and the keyboard artists called “From the Practice Room to the Stage: The Pathway to Artistry.”
The first annual “Keyboard Day” event is FREE and OPEN TO THE PUBLIC, and will take place in Morphy Hall on Saturday, March 4.
The event features UW-Madison students and faculty members – including well-known UW pianists Christopher Taylor (below top) and Martha Fischer (below bottom) — as well as selected high school pianists who will take part in master classes and recitals.
NOTE: The deadline for high school pianists to apply to participate in master classes and recitals is this coming Tuesday, Jan. 31. Those who are selected will be notified by Feb. 15. For more information, see below.
The purpose of the daylong event is to help advertise the piano program at the UW-Madison and to attract talented high school piano students to the UW music school.
Workshops will cover many aspects, from learning a new piece, developing keyboard technique, practicing efficiently and overcoming stage fright when performing.
There will be master classes too.
Interested high school students must submit a recording of two pieces as well as an application.
Here is a link with a complete schedule and more specific information about the various workshops and concerts, along with an application form that can be downloaded and submitted:
ALERT: The FREE Friday Noon Musicales at the First Unitarian Society of Madison, 900 University Bay Drive, resume this week after a break for Christmas, New Year’s and other holidays. This Friday, from 12:15 to 1 p.m., pianist Olivia Musat will perform music by Olivier Messiaen, Isaac Albeniz and Paul Constantinesco.
By Jacob Stockinger
It seems a tradition throughout the media to offer a roundup of the Year’s Best with a local slant.
The Ear already offered a national and international roundup. Here is a link to that, especially to the surprisingly rich roundup that he unexpectedly found on Wikipedia:
For a more local perspective, The Ear trusts and generally agrees with critic John W. Barker (below), who writes frequently for this blog and more often for Isthmus.
Here is a link to Barker’s list of memorable concerts in the Madison area, Because Isthmus mixes classical with other genres like pop, folk and jazz, you have to scroll down to “Classical cornucopia”:
Although I agree with all the concerts that Barker mentions, he left out some that The Ear really loved. One was the absolutely riveting and moving performance in November by the Madison Symphony Orchestra under John DeMain of the momentous Fifth Symphony by Dmitri Shostakovich.
For example just about everything that the Pro Arte Quartet does at the University of Wisconsin-Madison School of Music is first-rate and memorable, whether they play in Mills Hall or on “Sunday Afternoon Live From the Chazen Museum of Art.”
But this past fall, a free noontime concert by the Pro Arte with legendary pianist Leon Fleisher especially stood out. Together (below), they performed the Piano Quintet in F Minor by Johannes Brahms – an unquestionable masterpiece in an unforgettable performance.
The Ear would also add two events, both violin recitals, at the Wisconsin Union Theater.
Last spring Hilary Hahn (below top, in a photo by Peter Miller) turned in a stunningly superb recital. Then this fall, superstar Joshua Bell (below bottom) did the same. Both artists displayed terrific musicality combined with terrific virtuosity in generous and first-rate, ambitious programs.
He would add several summer concerts by the Bach Dancing and Dynamite Society, especially the sizzling dueling violin concert (below) where the BDDS interspersed “The Four Seasons” buy Antonio Vivaldi with “The Four Seasons in Buenos Aires” by Astor Piazzolla.
The Ear would also add an experimental concert at which UW-Madison pianist Christopher Taylor (below) unveiled his reworked two-keyboard “Hyperpiano.” While the concert, which featured the “Goldberg” Variations by Johann Sebastian Bach, wasn’t successful musically, it certainly was intriguing, unusual and highly memorable, even with imperfect digital technology.
And The Ear also recalls a fine concert by the Rhapsodie Quartet (below) of the Madison Symphony Orchestra at the Overture Center.
And let’s not forget the University Opera’s production of “Falstaff” by Giuseppe Verdi that was impressively and successfully updated to Hollywood by director David Ronis.
The Ear is sure there are more memorable concerts that escape him right now. Madison just features so much wonderful music-making in the course of a year.
Moreover, The Ear is also sure you have your favorites – whether they are individual plays; small chamber music groups such as duos, string quartets and piano trios; larger ensembles like the Madison Symphony Orchestra and the Wisconsin Union Theater; or entire events like the UW Brass Festival.
I am sure that fans of the innovative percussion group Clocks in Motion and the acclaimed Madison Choral Project have a concert or two to nominate.
So please use the COMMENT section to tell us what were your most memorable classical concerts in Madison during 2016.
The Ear wants to hear.
By Jacob Stockinger
Like everyone in the almost sold-out house at Mills Hall last Friday night, The Ear went to hear the wonderfully gifted UW-Madison piano virtuoso Christopher Taylor unveil his new hi-tech invention: the so-called “Hyperpiano.”
Taylor (below) patiently explained in detail how the hybrid electronic-acoustic piano was conceived and developed, and then how it worked.
Here is a link to two stories with detailed background:
But at the risk of hurting the feelings of the brilliant and personable Taylor, The Ear has to confess: He left the event – more an experiment or demonstration than a concert – disappointed. He just doesn’t see the point. It seems a case where the idea will inevitably prove superior to the reality.
This new piano, conceived and executed by Taylor with lots of help, features a digital-like console (below) with two keyboards. The console then links up electronically to two regular acoustic concert grand pianos by means of lots of wires. Wires pass along electronic digital impulses to mechanical fingers that hit actual piano keys and makes traditional pianos play.
If the Hyperpiano sounds like some kind of Rube Goldberg contraption, well, that’s because it IS. Ingenious, yes; practical, hardly.
The piece Taylor used to demonstrate his new piano was the momentous and magnificent “Goldberg” Variations by Johann Sebastian Bach, a promising and appealing challenge for the new piano. The Ear has heard Taylor play this music before, and it was a memorable experience.
Not this time.
A great instrument is supposed to make playing easier, to bring both the performer and the audience closer to the music. But this new piano interfered with both and did just the opposite. It put you on edge, just waiting for the next thing to go wrong and get fixed and then go wrong again. It made no sense, and little beauty.
Clearly the Hyperpiano – more accurately dubbed Frankenpiano by Taylor’s students — is a technological curiosity that is still a work-in-progress, with lots of snags and flaws that became apparent during 2-1/2 hours.
But even had it worked perfectly, The Ear asks: What is the point?
Certainly it makes for an interesting electrical engineering problem to solve, one that eats up lots of time, thought, energy and money. But why have three $100,000 concert grand pianos and a custom-built piano console all on the stage when a single traditional piano would do the job just fine?
Single-keyboard pianos have brought us many memorable performances of the Goldbergs – including those by Rosalyn Tureck, Glenn Gould, Andras Schiff, Jeremy Denk, Murray Perahia and Angela Hewitt among others, to say nothing of Taylor himself.
And on stage was an old one-of-a-kind, two-keyboard Steinway that Taylor has used before to fine effect, rather like the two-manual harpsichord that Bach originally wrote the music for and that facilitates the difficult cross-hand passages.
Despite distractions, Taylor played the Bach with total commitment and enthusiasm as well as with his back to the audience, as piano recitals used to be played before the young Franz Liszt turned the piano sideways to show off his heart-throb profile.
Yet the misfiring of electrodes plus an unending loud chirp or tweet and the uneven pistons or clunky mini-jackhammers (below) that hit the keyboards as artificial “fingers” just meant a lot of dropped notes and, for the most part, a very choppy reading of Bach’s great music that stymied both the performer and the listeners.
Compounding the performance was that Taylor took all the repeats, which often just doubled the frustration. How The Ear wishes Taylor had played just the first half on the Hyperpiano and then, for comparison, switched to a regular piano or to the two-keyboard Steinway.
True, at the end the audience gave Taylor well earned applause and a prolonged standing ovation. But The Ear suspects it was more for his perseverance, patience, good humor and stupendous effort than for the music itself or the new piano. He bets only a very few listeners would pay to go back to hear another recital on the Hyperpiano.
Will Taylor continue to work on improving the terrifically complex Hyperpiano? Yes, one suspects that he will and one wishes him success. But wouldn’t all that time and effort be better spent learning new music and performing it?
The Ear says: Enough hype about the Hyperpiano!
It’s time for a great musician to get back to the music.
Did you go hear the Hyperpiano?
What do you think?
The Ear wants to hear.
ALERT 1: The UW-Madison‘s Pro Arte Quartet will give a FREE concert TONIGHT at 7:30 p.m. in Mills Hall. The program is the “Italian Serenade” (1887) by Hugo Wolf (1860-1903); the String Quartet No. 3 in F Major, Op. 73, (1946) by Dmitri Shostakovich (1906-1975); and the String Quartet in A-flat Major, Op. 105 (1895) by Antonin Dvorak (1841-1904).
ALERT 2: Tickets to the piano recital of Johann Sebastian Bach‘s “Goldberg” Variations by Christopher Taylor this Friday night are SOLD OUT as of Monday morning.
By Jacob Stockinger
The Ear has received the following announcement to post about a set of unusual piano concerts this coming weekend:
In their only North American appearance, world-renowned pianists Daniel del Pino, Lucille Chung, Alon Goldstein and Roberto Plano will be heard this Friday and Saturday nights in the opening program of the third season of the Salon Piano Series.
Hosted by Tim and Renee Farley at Farley’s House of Pianos, the Salon Piano Series has quickly gained a reputation for unique and stimulating programs in the intimate and historic setting of the Farley showroom.
But never have four pianists been heard at once on four restored instruments.
“It’s an honor knowing the pianists chose our location for their only North American performance,” says Renée Farley, co-founder of the Salon Piano Series. “We thought of no better way to open our third season.”
The repertoire for the “Four on the Floor” concerts could hardly be more entertaining or appropriate for Halloween weekend: arrangements of the “Danse Macabre” by Camille Saint-Saens; the “Carmen Fantasy” based on the beloved opera by Georges Bizet; Maurice Ravel’s own transcription for four keyboards of his “Bolero” (heard in the YouTube video at the bottom); and an arrangement of the “Hungarian Rhapsody No. 2” by Franz Liszt.
For the first time, an SPS program will be heard twice, on Friday, Oct. 28, and Saturday, Oct. 29, with both events beginning at 7:30 p.m. at the Farley’s House of Pianos Showroom, 6522 Seybold Road, Madison. That is on Madison’s far west side near the West Towne Mall.
Tickets are $45.
For more information about tickets, the concerts and the artists, plus other artists and concerts in the Salon Piano Series this season, visit:
For information about Farley’s House of Pianos, go to:
Daniel del Pino (below) is a leading Spanish concert pianist juggling an international recital career with teaching in the Basque Country in Donostia-San Sebastian, Spain.
The reputation of Lucille Chung (below), who often performs with her husband Alessio Bax, has grown steadily since her debut at the age of 10 with the Montreal Symphony Orchestra. To date she has performed with more than 60 orchestras.
Alon Goldstein (below, in a photo by Meagan Cignoli) is particularly admired for his artistic vision and innovative programming. The New York Times described a recent performance as “exemplary throughout, with his pearly touch and sparkling runs.”
Roberto Plano lives in Travedona Monate, Italy and teaches there at Accademia Musicale Varesina, which he founded.
By Jacob Stockinger
This week will be a busy one at the University of Wisconsin-Madison School of Music, which is now funded in large part by the Mead Witter Foundation.
The big event is the long-awaited groundbreaking for the new performance center. That, in turn, will be celebrated with three important and appealing concerts.
Here is the lineup:
From 4 to 5:30 p.m., an official and public groundbreaking ceremony for the new Hamel Music Center will take place at the corner of Lake Street and University Avenue. (Below is an architect’s rendering of the completed building.)
At 8 p.m. in Mills Hall, pianist Christopher Taylor (below) will perform the “Goldberg” Variations by Johann Sebastian Bach on the two-keyboard “Hyperpiano” that he has invented and refined. (You can hear the opening aria theme of the “Goldberg” Variations played by Glenn Gould in the YouTube video at the bottom.)
For more information about the concert and the innovative piano, visit:
Tickets are $18 and are available at the Wisconsin Union Theater box office. Last The Ear heard, the concert was close to a sell-out.
At 7 p.m. in Mills Hall, UW-Madison faculty bassoonist Marc Vallon (below, in a photo by James Gill), who studied and worked with the recently deceased French composer and conductor Pierre Boulez, will lead a FREE “Breaking Ground” concert of pioneering music from the 17th, 19th, 20th and 21st centuries.
For more information and the complete program, go to:
At 3 p.m. in Mills Hall, the Wisconsin Brass Quintet will give a FREE concert.
For more information about the group and the program, go to:
ALERT: The Ear likes to see cooperation and collegiality, especially as the classical music scene in Madison gets busier and more competitive. And cooperation is exactly what he heard this week on Wisconsin Public Radio‘s noon-time show “The Midday” with Norman Gilliland.
Members of the Willy Street Chamber Players and the Handel Aria Competition, which both take place tonight, appeared back-to-back on the show and behaved as true colleagues.
The Willy Street Chamber Players said their program of Tchaikovsky s “Souvenir of Florence” and “Entr’acte” by Caroline Shaw should run about an hour — from 6 to 7 p.m. — and that they would do everything possible (less talking perhaps?) to make sure audience members could also attend the fourth annual Handel Aria Competition, which starts at 7:30 p.m. in Mills Hall, and is held in conjunction with the Madison Early Music Festival, which takes place this week.
Here is a link with more details about the Willy Street Chamber Players:
And here is a link to the Handel Aria Competition.
By Jacob Stockinger
Get out your datebooks.
Most of the major classical music organizations and presenters in town – the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Opera, the Wisconsin Union Theater to name a few — have already announced their new seasons for 2016-27.
And now the University of Wisconsin-Madison School of Music has posted its calendar of concerts for the new season, most of which take place in Mills Hall (below) on its website.
To be clear, there are few specific programs listed with composers and works. Sometimes that happens because the programs just aren’t decided yet. And sometimes they aren’t decided because the makeup of some groups – like the UW Symphony Orchestra and the UW Chamber Orchestra – aren’t known until school begins in September.
Nonetheless, it is an impressive list that runs into the hundreds when you include student recitals.
Some of the higher profile concerts are ticketed, but most remain FREE to the public.
And you can find out a lot from the calendar, even if it is incomplete and subject to change.
You can see the operas that will be staged by the University Opera – namely Giuseppe Verdi’s “Falstaff” and Benjamin Britten’s “The Turn of the Screw.”
You can find out about the UW Choral Union (below), which will perform works by Johannes Brahms, Ludwig van Beethoven and Leonard Bernstein as well as a rarely performed worked based on Walt Whitman by Paul Hindemith.
You can see the groups that will participate in the third annual Brass Fest, including the Stockholm Chamber Brass on its first tour of the U.S.
You can see when virtuoso pianist Christopher Taylor (below) will perform as well as when his fellow faculty members will play recitals.
And same goes for the 38th annual Karp Family Labor Day concert on Sept. 5, which officially opens the news season.
There is just so much to choose from!
Here is a link:
By Jacob Stockinger
The Ear has received the following notice:
The final SoundWaves event of the year will be on this Friday, April 29, at 7:30 p.m. at the Town Center of the Wisconsin Institutes for Discover (WID), 333 North Orchard Street, across from the Union South.
SoundWaves events explore a broad theme through different lenses from the sciences and the humanities, ending with a related performance.
The title of Friday’s event is “Let’s Start at the Very Beginning: Origins in Science and Music.”
The presenters are John Yin, speaking about the COOL (Chemical Origins Of Life) Project; Clark Johnson speaking about the first billion years of the Earth’s history; Elizabeth Hennessy on the interaction of man and animal in a pristine environment (the Galapagos) and about Darwin; and the School of Music’s own composer Laura Schwendinger (below), speaking about the inspiration for the creation of new works.
Then, SoundWaves Curator Daniel Grabois (below, in a photo by James Gill), horn professor at the University of Wisconsin–Madison School of Music, will speak about the process of creating a new CD recording.
The event will conclude with a performance by School of Music pianist Christopher Taylor (below). He will be playing a dual-manual piano (a piano with two keyboards).
This is an instrument that creates whole new possibilities in piano performance, and Professor Taylor will be performing selections from Johann Sebastian Bach’s “Goldberg” Variations as well as his own arrangement of Liszt’s “Paysage” (“Landscape” from the Transcendental Etudes) made for this instrument.
(You can hear the haunting opening Aria from Bach’s “Goldberg” Variations, from the second recording made by Glenn Gould, in a popular YouTube video at the bottom that has almost 1.9 million hits.)
Admission is free.
Cash bar opens at 7 p.m.
Registration is suggested at www.discovery.wisc.edu/soundwaves