The Well-Tempered Ear

Classical music education: Here are two blogs that allow you to follow the tour of Peru by the Youth Orchestra of the Wisconsin Youth Symphony Orchestras

July 7, 2018
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By Jacob Stockinger

The Youth Orchestra (below top) of the Wisconsin Youth Symphony Orchestras has landed in Peru, and has already rehearsed, and will officially launch its 10-day tour — which includes the capital city of Cusco and the ancient Incan city of Machu Picchu (below bottom) — with a performance tonight in Lima.

And thanks to the foresight of the WYSO staff, you can follow the young musicians, along with retired WYSO music director and conductor James Smith, each step of the way until the tour ends on July 15:

Here is a link to a typical kind of blog:

https://wysoperutour.wordpress.com

Here is another version about the tour on Instagram:

www.instagram.com/wysoperutour/

And here is a link to more about the tour — including repertoire by Leonard Bernstein , Malcolm Arnold and Dmitri Shostakovich — and to the group, which gave its send-off concert this past Tuesday night at Olbrich Botanical Gardens:

https://welltempered.wordpress.com/2018/06/30/classical-music-wysos-youth-orchestra-give-a-free-farewell-concert-on-tuesday-night-at-olbrich-gardens-before-departing-on-its-tour-of-peru/

Check them out and forward this tour blog story, or a link to it, to friends and family, classmates and the community at large.

You can leave a COMMENT and words of encouragement and praise,

They are making Wisconsin proud — and at a time when the United States could sure use some goodwill ambassadors around the world.

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Classical music: Today is the Fourth of July. Independence Day is the right time to celebrate American classical composers and patriotic concert music. Here are three ways to do that

July 4, 2018
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By Jacob Stockinger

Today is the Fourth of July – Independence Day.

That makes it exactly the right time to think about American composers and American patriotic music – both of which have been receiving well-deserved airplay all week on Wisconsin Public Radio.

Here are three items that seem appropriate because they pertain to American composers and American classical music.

ITEM 1

Tonight at 7 p.m. on the King Street corner of the Capital Square in downtown Madison, guest conductor Huw Edwards (below) will lead the Wisconsin Chamber Orchestra in its Concert on the Square for the Fourth of July.

The “American Salute” program includes: “American Salute” by Morton Gould; the Overture to “Candide” by Leonard Bernstein; “Wisconsin Forward Forever” by march king John Philip Sousa; and, of course, “The 1812 Overture” by Peter Ilyich Tchaikovsky.

Blankets can go down on the ground starting at 3 p.m. For more general information about attending the concert including weather updates, rules and etiquette, and food caterers and vendors, go to:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-2-2/

ITEM 2

Can you name 30 American classical composers? The Ear tried and it’s not easy.

But thanks to Capital Public Radio in Sacramento, California – which will also play and stream (click on the Listen tab) such music today — it isn’t hard.

Here is a link:

http://www.capradio.org/music/classical/2018/07/02/the-30-american-composers-were-featuring-on-the-fourth-of-july/

You can click on the link “Playlist for Independence Day” and see the photo of the composers and the titles of compositions that will be played.

You can also click on the composer’s name in the alphabetized list and see a biography in Wikipedia.

Can you think of American composers who didn’t make the list? Leave the name or names – Henry Cowell and Virgil Thomson (below)  come to mind — in the COMMENT section.

The Ear wants to hear.

ITEM 3

Finally, given the controversial political issues of the day surrounding immigration, The Ear offers this take on perhaps the most virtuosic piano transcription of patriotic music ever played.

It was done by someone who immigrated permanently to the U.S. in 1939 and then became a naturalized citizen in 1944. He also raised millions through war bonds during World War II.

He was the Russian-born pianist Vladimir Horowitz, here playing his own celebrated virtuoso arrangement – done in 1945 for a patriotic rally and war bonds concert in Central Park — of ”The Stars and Stripes Forever” by John Philip Sousa.

Here is a link to his biography in Wikipedia:

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

And here is the YouTube audio of his own performance of the Sousa piece, with the score, including all the special technical demands, especially lots of Horowitz’s famous octaves, to follow along with. It’s a performance that has become justifiably legendary:


Classical music: Tonight is that start of six weekly Concerts on the Square with the Wisconsin Chamber Orchestra and guest artists under conductor Andrew Sewell. Here’s what you need to know

June 28, 2017
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By Jacob Stockinger

Tonight marks the first of this summer’s Concerts on the Square, performed by the Wisconsin Chamber Orchestra (below) and guest artists under the baton of music director Andrew Sewell.

The FREE community event was first proposed by famed “American Girl” dolls creator, businesswoman and philanthropist Pleasant Rowland decades ago when she worked downtown and lamented how abandoned the Capitol Square got after dark. This is the 34th season of the popular Concerts on the Square. Each concert now draws tens of thousands of listeners.

The concerts will take place on the King Street corner of the Capitol Square. They run from 7 to 9 p.m. on six consecutive Wednesdays (rain dates are Thursdays). But of course people gather hours earlier to socialize and picnic.

Although pop,rock, folk and film music is often featured, tonight’s program is mostly classical – composers are Leonard Bernstein, Louis Moreau Gottschalk and Otto Nicolai — and performing will  be this year’s winner of the WCO teenage concerto competition. She is violinist Emily Hauer (below) and she hails from Appleton, Wisconsin, where she has studied at the Lawrence University Conservatory of Music.

Here is a link to all you need to know about tonight, from the programs and a performer’s detailed biography to vendor menus, the way to volunteer and the ground rules for concert etiquette:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-1-2/

You can see and hear a sampler of Concerts on the Square in the YouTube video at the bottom.

For future planning, here is a link to all six concerts with similar information:

https://wisconsinchamberorchestra.org/performance-listing/category/concerts-on-the-square

Should you want to know more about WCO maestro Andrew Sewell (below),  music director since 2000 — and who has also just been named the music director of the San Luis Obispo Symphony in California — here are some profiles and interviews that make for good reading while you wait for the music to start.

Here is an excellent profile done by Sandy Tabachnik in 2014 for Isthmus:

http://isthmus.com/music/andrew-sewell-the-malleable-maestro-of-the-wisconsin-chamber-orchestra/

And here is some background about the New Zealand-born Sewell, who became an American citizen 10 years ago, along with links to other news stories about his latest appointment:

https://welltempered.wordpress.com/tag/sewell/

https://welltempered.wordpress.com/2017/06/16/classical-music-maestro-andrew-sewell-has-been-named-the-new-music-director-of-the-san-luis-obispo-symphony-in-california-while-retaining-his-longtime-post-as-music-director-of-the-wisconsin-chamber/

And from the “Only Strings” blog of Paul Baker, who hosts a show of the same name on WSUM 91.7 FM, the student-run radio station at the UW-Madison, here is an interview with ever-gracious Sewell:

https://onlystringswsum.wordpress.com/author/pbaker/page/3/


Classical music: Maestro Andrew Sewell has been named the new music director of the San Luis Obispo Symphony in California while retaining his longtime post as music director of the Wisconsin Chamber Orchestra

June 16, 2017
2 Comments

By Jacob Stockinger

The Wisconsin Chamber Orchestra‘s longtime music director Andrew Sewell (below) has been named the new music director of the San Luis Obispo Symphony in California.

The news comes in between the end of a critically acclaimed and very successful Masterworks season in the Capitol Theater of the Overture Center and the start of the upcoming and always popular summer Concerts on the Square on Wednesday evenings from June 29 through Aug. 2.

Sewell, who was born and trained in New Zealand, has been an American citizen for the past 10 years. He led the Wichita Symphony Orchestra for 10 years and the Mansfield Symphony Orchestra in Ohio, and he also guest conducts in Hong Kong and many other cities in the U.S. and abroad.

Asked if the move means there will be guest conductors for the WCO, Sewell told The Ear:

“I will be conducting all concerts this year. The schedules for both orchestras work surprisingly well together.

“The situation is not unlike the first 10 years of my tenure in Madison when I was music director of the Wichita Symphony concurrently with the Wisconsin Chamber Orchestra. I’ll share my time between both communities.” 

For more about Sewell’s impressive and extensive background, go to:

https://wisconsinchamberorchestra.org/about/andrew-sewell/

Here is a statement from the WCO:

“When Maestro Sewell raises his baton at Concerts on the Square this month, he will also be embarking on a new position as music director of the San Luis Obispo Symphony. (At bottom, he seen conducting the San Luis Obispo Symphony.)

“Fans of the Wisconsin Chamber Orchestra need not worry, though, as he will retain his position and residence here in Madison. 

“We’re very proud of Andrew and what he has accomplished here in Madison, around the nation and abroad” said Mark Cantrell, CEO of the WCO. “This appointment reinforces what we already know about Andrew, that he is an exciting and impressive director and musician.

“We’re fortunate to retain him here as music director, and we look forward to many more years of him behind the baton with the Wisconsin Chamber Orchestra. We wish him the best of luck in San Luis Obispo.”

For more about this story, use the following links:

Here is a WCO posting about the news:

Global Search Yields Symphony’s Ninth Conductor

And here is a newspaper story with many details about Sewell and his plans for the new position, including where he will live, as well as his plans for sharing repertoire and guest soloists:

SLO Symphony has a new director


Classical music: UW Choral Union and UW Symphony Orchestra resurrect Paul Hindemith’s long-neglected 20th-century secular Requiem with fine singing and committed playing

May 2, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photographs below.

By John W. Barker

It is unusual that, within the space of a few days, we have parallel performances of two very untraditional Requiems, ones setting vernacular texts rather than liturgical Latin ones.

The UW Choral Union and UW Symphony(below) performed Paul Hindemith’s “When Lilacs Last in the Dooryard Bloom’d: A Requiem For those we love” last weekend. And the Madison Symphony Chorus and Orchestra will give us Johannes BrahmsEin deutsches Requiem (A German Requiem) this coming weekend, May 5-7.

(NOTE: Here is a link with more information about the three MSO performances this coming weekend:

https://welltempered.wordpress.com/2017/05/01/classical-music-madison-symphony-orchestra-closes-its-season-with-the-german-requiem-by-brahms-and-the-american-premiere-of-charles-villiers-stanfords-1921-concert-piece-fo/)

It is hard to resist the temptation to compare them.

They were, of course, composed about a century apart, in the contexts of very different stylistic eras. They reflect very different aesthetics: High Romantic warmth for Brahms, conservative modernism for Hindemith.

The different texts chosen also determine crucial differences. Brahms selected Luther’s German translations of passages from Scripture, as a broad collage of human consolation and solace, whereas the German-born Hindemith, a naturalized American citizen who fled from Hitler’s Nazism, in a patriotic commemoration of the death of President Franklin Delano Roosevelt, chose the long poem of grieving that Walt Whitman (below) wrote over the death of President Abraham Lincoln.

The relatively concise Scriptural texts allowed Brahms to develop rich melodic and contrapuntal elaborations. Hindemith’s determination to set Whitman’s complete poem, of 208 verses in altogether irregular free verse, committed him to keep things in constantly moving continuity, with little chance for pausing and elaborating.

To be sure, Hindemith (below) was never a distinguished lyricist, for all his skills, so his writing is endless declamation by the soloists, backed by strongly cast choral statements. (You can hear famed baritone Dietrich Fischer-Dieskau and the chorus sing the opening of the Hindemith requiem in the YouTube video at the bottom.)

There are many lovely and powerful moments, but they pass by quickly and leave little of memorable expressiveness. There is much clever music here, but in sum total it is more dutiful than beautiful.

The performance in Mills Hall — I heard the one Sunday night — showed a stage packed with musicians. There were two soloists, a chorus of exactly 100 singers, and an orchestra (the UW Symphony) of 67 players, 46 of them on strings. UW choral director and conductor Beverly Taylor (below) drew from all of them deeply committed musical results.

Of the two soloists, soprano Jennifer D’Agostino (below left) sang with beauty and expression, but it was baritone James Held (below right) who stole the show, with a ringing voice, superb diction, and a genuine eloquence.

The huge chorus was quite magnificent, well unified, fully serious in its enunciation, and capable of some truly musical sound — and Hindemith, though nowhere near Brahms as a choral composer, gave them some serious challenges. The orchestra sounded a bit rough at the very beginning, but settled into participating strongly in the performance.

Whatever reservations one may have about Hindemith’s score, this Whitman Requiem, one of his last important works and premiered in 1946, is a significant piece. It is far less frequently heard than that by Brahms, and so it is very good that UW choral director Beverly Taylor has brought it to our attention.


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