The Well-Tempered Ear

Classical music: The Edgewood College Concert Band performs its 23rd annual benefit concert to fight hunger this Friday night. Plus, the Madison Symphony Orchestra’s “Final Forte” competition concert is TONIGHT at 7

March 29, 2017
Leave a Comment

ALERT: Just a reminder that TONIGHT at 7 p.m., the final round of the youth concerto competition with the Madison Symphony Orchestra will take place under the direction of MSO music director John DeMain.

You can stream it, or watch and hear the four finalists – two violinists, a pianist and a harpist – live on Wisconsin Public Television and Wisconsin Public Radio. You can also attend the concert in Overture Hall of the Overture Center for FREE if seats are still available.

For more information, including the program and biographies of the teenage performers, go to:

https://welltempered.wordpress.com/2017/03/25/classical-music-education-watch-it-on-public-television-or-radio-stream-it-live-or-hear-it-in-person-the-final-forte-free-finalists-concert-with-the-madison-symp/

By Jacob Stockinger

This Friday night at 7 p.m., the Edgewood College Concert Band will perform a FREE donation concert to benefit a community food program. (Below is a poster from 2013.)

The concert will be in the St. Joseph Chapel, 1000 Edgewood College Drive.

Admission is FREE with a freewill offering to benefit the Luke House community meal program.

The Edgewood College Concert Band will play under the direction of Walter Rich (below). You can hear a sample of the concert band, taken from its 2013 Christmas concert, in the YouTube video at the bottom.)

The program offers a variety of styles and features music by William Byrd, Ralph Vaughan Williams and Claude Debussy. A Folk Song Set of Wisconsin by the American composer Barry E. Kopetz (born in 1951, below) will be also be featured.

The Music Department at Edgewood College has hosted benefit concerts for Luke House since 1994.


Classical music: After this year’s success, “Bach Around the Clock” will return next year on March 10, 2018

March 24, 2017
10 Comments

By Jacob Stockinger

The revival of “Bach Around the Clock” (below) this past Saturday proved so successful to listeners, performers and organizers that it will return again next year in March 2018. (Below are violist Stan Weldy and his mandolinist son Alex.)

“It went so well, we will do it again,” said the chief organizer, violist Marika Fisher Hoyt (below), who plays with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Ancora String Quartet. She not only was the main host for BATC, she also played in more than half-dozen performances.

As you may recall, the marathon event to mark the 332nd birthday of Johann Sebastian Bach (1685-1750) took place from noon to midnight, wisely revised to 9:30 p.m. after too few performers signed up, at St. Andrew’s Episcopal Church (below), 1833 Regent Street.

Plans for next year are already being made and meetings have already been held. And next year will bring major some changes, Fischer Hoyt told The Ear.

For one, the date will be March 10, 2018 – not March 17 or March 24 – which means it will come well before the usual timing of the Saturday nearest to Bach’s birthday of March 21. But, unlike what happened this year, this earlier date avoids the UW-Madison spring break plus the Easter break for public schools. That could reap big benefits in terms of audience and performers.

Because of the immense amount of work involved, Fischer Hoyt said, a non-profit organization will also be formed and more volunteers will be recruited to help spread out the workload of lining up performers and donors, and of organizing and hosting the event.

As for lining up performers, Fischer Hoyt is extremely optimistic.

“There’s a lot of talent in this town I’ve never heard of,” she told The Ear. (Below is impressive pianist Tim Adrianson performing three Preludes and Fugues from “The Well-Tempered Clavier,” Book II.)

The Ear, who spent an enjoyable six hours or so attending the event, has to agree. He took a lot of photos and will be posting more about the event in the coming days.

Right now, he wants to give a big shout-out to Fischer Hoyt for some of the innovations she brought to this year’s revival of a traditional event that was held for three years, and then abandoned, by Wisconsin Public Radio.

Here are a few of the changes she made, which The Ear thinks proved all for the better, for BATC 4.

1) There were multiple hosts, which breaks up the event and helps avoid monotony.

2) Prior to playing, performers, some of whom traveled from as far away as Dubuque, Milwaukee, Chicago and Waupun, were briefly interviewed and asked what they liked about Bach’s music and why they chose a particular piece to perform. (Below, flutist Casey Oelkers, left, talks with Hoyt.) That adds personal interest.

3) Free quality snacks of fresh fruit and cheese, not just delicious sweet things like cookies and kringle, were available, as were bottled water, tea and coffee. Good food translates into longer and more comfortable attendance.

4) The church’s venue, especially its woody interior (below), seemed much more suited to Bach’s music and friendly to the audience than the Pres House. And thanks to donations, in addition to a fine church organ there were fine instruments to play, including a Kawai grand piano and a hand-built clavichord from Farley’s House of Pianos. There were also birthday cakes donated by Clasen’s European Bakery of Middleton.

5) The entire event was recorded by Rich Samuels (below) — Madison’s chronicler of live music. He is from WORT-FM 89.9 and he will air BATC in increments on his “Anything Goes” program on Thursday mornings. In fact the broadcasts started this past week with a performance of the Brandenburg Concerto No. 3 on Thursday morning.

6) The event was streamed live via four different places or portals: the St. Andrew’s website, the Bach Around the Clock website, the Audio for the Arts website and WORT website.

7) There was an impressive variety of performers on all levels and of repertoire. It ranged from student to amateur to professional; from solo and small chamber groups to larger choral and orchestral ensembles, plus faculty members from the UW-Madison, UW-Whitewater and UW-Oshkosh as well as the Milwaukee Conservatory of Music. The Ear expects the lineup will get even better as word of next year gets out and spreads. (Below are students from the Suzuki Strings of Madison.) Time to get out the music and start practicing!

8) There might a 9-CD boxed set from Audio for the Arts, depending on getting authorization from all the performers.

In short, Bach Around the Clock 4 was a remarkable community event to honor both a remarkable composer and a town with a remarkable commitment to and a remarkable amount of classical music.

To keep current with BATC news, check the event’s website: https://bacharoundtheclock.wordpress.com

Cheers to Bach Around the Clock.

And special cheers to Marika Fischer Hoyt.

Bravissimo tutti!

Did you go?

What did you think?

Do you have something to say that you can leave in the COMMENT section?

The Ear wants to hear.


Classical music: New music and old music meet in a benefit concert this Saturday night for the Art+Literature Lab of Madison

March 23, 2017
1 Comment

By Jacob Stockinger

The Ear received the following information from Eric Miller to pass along:

Thanks for sharing my recital at the First Unitarian Society of Madison last week. I really appreciate what you do.

I’m repeating the program of unaccompanied music for viola da gamba at the Arts+Literature Lab (below) on this Saturday, March 25, at 8 p.m.

Doors open at 7:30 p.m.

Tickets are $10 in advance, $15 at the door.

I’ll be playing the first suite by Le Sieur de Machy and the Sonata VI by Johannes Schenk from his collection “L’echo du Danube,” (Echo of the Danube), as well as a few other smaller pieces. (Below is Eric Miller, who also performs a Prelude to a suite by Le Seiur de Machy in the YouTube video at bottom.)

In addition to my set, my idea was to juxtapose this music I love with music that is equally intricate and beautiful, but from different sound worlds and traditions.

Milwaukee cellist Patrick Reinholz (below top) will be playing modern pieces by Italian composer Luciano Berio (below middle) and Finnish composer Kaija Saariaho (below bottom) as well as one of his own compositions from a solo recording he is releasing.

Finally, cellist/composer/multi-instrumentalist Brian Grimm (below) will be presenting some of his own compositions and improvisations.

The Facebook event page is here: https://www.facebook.com/events/1384611978280528/

Advanced tickets are available here: http://ericmiller.bpt.me/

The Arts+Literature Lab (A+LL) is at 2021 Winnebago Street, on the east side of Madison. It is really doing exciting things for the community.


Classical music: Bach Dancing and Dynamite Society announces its upcoming summer season of “Alphabet Soup” this June

March 18, 2017
1 Comment

By Jacob Stockinger

The time for announcing new seasons has arrived.

Pretty soon, over the next several weeks and months, The Ear will hear from larger and smaller presenters and ensembles in the Madison area, and post their new seasons.

First out of the gate is the critically acclaimed and popular summer group, the Madison-based Bach Dancing and Dynamite Society. (You can see a short promo video about BDDS on the YouTube video at the bottom.)

It has just announced its upcoming summer season this June, and sent out brochures with the season’s details.

This will be the 26th annual summer season and it has the theme of “Alphabet Soup.”

The concept is explained online and in a brochure newsletter (also online) in an editorial essay by BDDS co-founder and co-artistic director flutist Stephanie Jutt (seen below with co-founder and co-director pianist Jeffrey Sykes).

By the way, Jutt is retiring from the UW-Madison this spring but will continue to play principal flute with the Madison Symphony Orchestra and to work and perform with BDDS.

In many ways it will be a typical season of the eclectic group. It will feature local and imported artists. Many of both are favorites of The Ear.

His local favorites include UW-Madison pianist Christopher Taylor; violist Sally Chisholm of the UW-Madison’s Pro Arte Quartet; UW violinist Soh-Hyun Park Altino (below top, in a photo by Caroline Bittencourt); and Pro Arte cellist Parry Karp (below bottom).

Among The Ear’s favorite guest artists are violinist Carmit Zori, clarinetist Alan Kay, the San Francisco Piano Trio (below top); UW alumna soprano Emily Birsan; pianist Randall Hodgkinson; and baritone Timothy Jones (below bottom).

As usual, the season features 12 concerts of six programs over three weeks (June 9-25) in three venues – the Playhouse in the Overture Center (below top), the Hillside Theater (below middle) at Frank Lloyd Wright’s Taliesin compound in Spring Green and the Stoughton Opera House (below bottom).

In addition, there is a FREE family concert in the Overture Playhouse on June 10.

What does seem somewhat new is the number of unknown composers and an edgier, more adventurous choice of pieces, including more new music and more neglected composers.

Oh, there will be classics by such composers as Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Boccherini, Franz Schubert, Johannes Brahms, Peter Tchaikovsky, Sergei Prokofiev, Maurice Ravel, Bela Bartok, Arnold Schoenberg, Benjamin Britten and others. These are the ABC’s of the alphabet soup, according to BDDS.

But also represented are composers such as Philippe Gaubert, Czech Holocaust victim Gideon Klein (below), Guillaume Conneson, Carl Czerny, Paul Moravec and Franz Doppler. These are the XYZ’s of the alphabet soup.

In between come others. Contemporary American composer, and Pulitzer Prize winner, Kevin Puts (below) is a BDDS favorite and is well represented. You will also find less performed works by Ned Rorem, Erich Wolfgang Korngold and Gerald Finzi.

For the complete programs and schedules as well as the list of performers, some YouTube videos and ticket prices, both for season tickets ($109.50, $146, $182 and $219) and for individual concerts ($43), and other information, go to:

http://bachdancinganddynamite.org/concerts/festival-concerts/


Classical music: Singer-scholar Emery Stephens HAS CANCELLED his return to coach students about and to perform a FREE recital of African-American songs and spirituals on Tuesday night at UW

March 13, 2017
Leave a Comment

ALERT: Please IGNORE the posted dates and times below. Professor Emery Stephens has CANCELLED his appearances this week at the UW-Madison due to illness. According to the UW-Madison,  Stephens will try to reschedule his master classes and recital layer this spring. The Ear apologies for any misunderstanding or inconvenience, but he just heard about the cancellation.

By Jacob Stockinger

The last time Professor Emery Stephens (below) visited the University of Wisconsin-Madison School of Music, it was in 2015 and he lectured about “African-American Voices in Classical Music.”

(You can hear Emery Stephens narrate “The Passion of John Brown” in the YouTube video at the bottom.)

Now this week – today and Tuesday – the acclaimed scholar and baritone singer returns to the UW.

This time he will spend Monday coaching UW voice and piano students.

Then on Tuesday night at 6:30 p.m. in Morphy Recital Hall, Stephens plus the voice and piano students and UW collaborative pianist Martha Fischer will perform a FREE recital of African-American songs and spirituals. Also included are some solo piano works by African-American composer Harry T. Burleigh (1866-1949, below).

Here is a link not only to more information about Stephens’ recital, including the program, but also to information about his last visit and about a performance on Wednesday from 1:20 to 3 p.m. in the Memorial Union by the Black Music Ensemble.

http://www.music.wisc.edu/event/emery-stephens-returns-african-american-songs-and-spirituals/2017-03-13/


Classical music: A second photograph of Chopin has been discovered. Here it is along with how it was found and what it tells us

March 11, 2017
4 Comments

By Jacob Stockinger

A conservative musician who admired and valued the music of Johann Sebastian Bach and Wolfgang Amadeus Mozart above that of  Ludwig van Beethoven and his own contemporaries, Frederic Chopin (1810-1849) is one of the most popular and most played of all Romantic composers.

He remains a perennial favorite of audiences, students and concert artists. Witness the recent sold-out concerts featuring Chopin’s music by Trevor Stephenson at his home and by Adam Neiman at Farley’s House of Pianos. An amazingly high percentage of Chopin’s works remains in the active repertoire.

His was no belated posthumous fame, either. Chopin, the famous Polish pianist-composer who was exiled in Paris, was well-known and widely respected in his own lifetime by the public and by other famous composers and pianists such as Franz Liszt and Robert Schumann.

Yet despite many drawings and paintings of Chopin – often at odds in their depictions — until recently only one known photograph of Chopin existed: The familiar one taken by Louis-Auguste Bisson in Paris towards the end of Chopin’s life, just months before he died of tuberculosis at age 39 in 1849.

Now a second photograph — or daguerreotype, to be exact — has been discovered. It probably dates from 1847 or so.

Here is the new photographic portrait of Chopin:

Want to know some background?

Here is the story from Poland via The Washington Post and the Associated Press:

https://etsuri.com/articles/a-rare-unknown-photo-of-frederic-chopin-probably-found

Here are the two known photographs side by side for comparison:

http://www.businessinsider.com/only-2-known-photos-of-chopin

And here is a terrific blog analysis of the two photographs that also discusses his late music and what the photographs tell us about Chopin:

http://jackgibbons.blogspot.com/2010/03/chopins-photograph.html

The Ear wonders how long it will be before we start seeing the new photograph of Chopin on CD jackets and liner notes.

In any case, as an homage, here is Chopin’s last composition, the archetypically Polish form of the Mazurka in F minor, Op. 68, No. 4, played in a YouTube video by Vladimir Ashkenazy :


Classical music: The 14th annual Wisconsin Flute Festival takes place this Saturday and offers a FREE concert at 5 p.m. Plus, a FREE recital of French flute music is this Friday at noon

March 2, 2017
3 Comments

ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Iva Ugrčić, flute and pianist Kyle Johnson performing an all-French program of music by Francis Poulenc, Olivier Messiaen, Claude Debussy and Jules Bouquet. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

The Ear has received the following information to post:

The 14th annual Wisconsin Flute Festival will take place this coming Saturday, March 4.

Flute

The Wisconsin Flute Festival brings together flutists and music lovers of all ages from Wisconsin and the greater Midwest.

The day’s events include workshops, performances, youth and collegiate competitions, a master class, and a 2,300-plus square foot exhibition hall with purveyors of fine flutes, music and accessories.

This year’s Festival will feature guest artist Lorna McGhee (below), principal flute of the Pittsburgh Symphony Orchestra and Artist Lecturer in Flute at Carnegie Mellon University.

lorna-mcghee-2

The 14th annual Wisconsin Flute Festival will begin at 8 a.m. in the Pyle Center at UW-Madison and will culminate in a FREE public concert beginning at 5 p.m. in Mills Concert Hall, in the Mosse Humanities Building, at UW-Madison.

This concert, “Landscapes and Love Songs,” will be performed by featured guest artist Lorna McGhee. (Sorry, The Ear has no details on the program.)

This year, an expanded variety of workshops and performances will be offered. Workshop topics will include circular breathing, articulation and vibrato, in addition to sessions on maximizing practice time, musicians’ health and interpreting musical pieces.

Participants will also have the opportunity to experience an interactive session with low flutes including; alto flutes, bass flutes and a contrabass flute (below).

contrabass-flute

Performances during the day will feature: electro-acoustic music; Telemann (below top) on historical flutes; lesser-known modern masters; Romanian composers; Latin music; Bach (below bottom) transcriptions; contemporary interpretation; and works for flute, clarinet and voice. Student soloists and chamber ensembles from UW-Whitewater and UW-Madison will present concerts.

georg philipp telemann

Bach1

For flutists shopping for an instrument, music or accessories, over a dozen companies and organizations from across the US will be on-site in the Festival’s exhibit hall. Technicians will be also available to evaluate instruments and conduct minor repairs.

Exhibitors include Altus Flutes, Atlantic Crossing Records, Brannen Brothers Flutemakers, Inc., Burkart Flutes & Piccolos, Di Zhao Flutes, Flute Center of New York, Flute Specialists, Flute World, Heid Music, The National Flute Association, Ward-Brodt, White House of Music and Wisconsin Youth Symphony Orchestras.

Tickets are $20 to $35 for Festival participants. Tickets for non-flutist family members of participants (parents, siblings) are available for at a special rate of $5. Registration information is available online at wisconsinflutefestival.org. Tickets can be purchased at the Festival.

The evening concert beginning at 5 p.m. in Mills Hall, is FREE and OPEN TO THE PUBLIC.

The Wisconsin Flute Festival is a program of the Madison Flute Club.

About the Madison Flute Club

The Madison Flute Club was founded in 2002 and currently presents over 20 concerts each year to an audience of more than 1,500 community members. The club involves, on average, 35 active adult members and over 30 youth from the surrounding area.

To advance and achieve its mission, the Madison Flute Club has undertaken several large projects and partnered with numerous organizations and events in Dane County.

These projects include the commissioning and world premiere of a work for flute choir for Design MMoCA, successfully fundraising for a contrabass flute (the first such instrument in Wisconsin) and performing at the National Flute Association Convention.

Madison Flute Club ensembles and members have been featured on Wisconsin Public Radio’s The Midday with Norman Gilliland, WORT 89.9FM Madison and in the publication The Flutist Quarterly.

The 2017 Wisconsin Flute Festival is co-hosted by Madison Flute Club and UW-Madison Flute Studio.

Major funding is provided by: Heid Music, American Printing Company, Eric and Tobi Breisach, Distillery Marketing and Design, Karl Sandelin in honor of Joyce Sandelin and Wisconsin Youth Symphony Orchestras.

Additional funding is provided by Altus Handmade Flutes, Breisach Cordell PLLC, and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation and the Pleasant T. Rowland Foundation.


Classical music: On Saturday, the UW-Madison hosts a FREE and PUBLIC day of workshops, master classes and performances for pianists and other keyboard players

March 1, 2017
2 Comments

By Jacob Stockinger

Attention all pianists– amateurs, professionals and students — as well as other keyboard players.

This Saturday brings the first University of Wisconsin-Madison “Keyboard Day.”  The focus is comprehensive, having the title “From the Practice Room to the Stage: The Pathway to Artistry.”(The official logo is below.)

pathways-to-artistry-logo

The underlying reason may be to attract and recruit talented undergraduate students to the University of Wisconsin-Madison School of Music. But the net effect is that a lot of wisdom about keyboard playing – from practicing to performing — will be on display to be shared with those who attend.

All events are FREE and OPEN TO THE PUBLIC.

Steinway Grand Piano

The event takes place in Morphy Recital Hall from 9:30 a.m. to 5 p.m.

Here is a schedule:

9:30-10 a.m. Coffee and Pastries (Mills Lobby)

10 a.m.-noon UW-Madison Keyboard Faculty Workshops

Strategies for Learning a New Piece with Professor Martha Fischer (below top) and Professor Jess Johnson (below bottom)

Getting Inside a Composer’s Head with Professor John Stowe

Beyond Repetitive Drilling: Custom Exercises for Every Difficult Passage with Professor Christopher Taylor

Mindfulness and Self-Compassion in the Practice Room with Professor Martha Fischer and Professor Jess Johnson

Martha Fischer color Katrin Talbot

jessica johnson at piano

1:30-3:30 p.m. Master class for high school students with UW-Madison keyboard faculty

Etude in E major, Op. 10, No. 3 by Frederic Chopin; Yunyao Zhu, a student of Kangwoo Jin

Sonata in G major, Op. 49, No. 2 by Ludwig van Beethoven. George Logan, a student of Liz Agard

Sposalizio, by Franz Liszt. Owen Ladd, a student of  William Lutes

Scherzo No. 2 in B-flat minor, Op. 31, by Frederic Chopin. Jacob Beranek, a student of Margarita Kontorovsky

Morphy Hall 2

3:30-4 p.m. Reception in Mills Lobby

4-5 p.m. Recital featuring UW-Madison Keyboard Faculty

Sonata, Wq. 49 No. 5 by Carl Philipp Emanuel Bach (1714-1788). From Sei Sonate, Op. 2 (1744). John Chappell Stowe, harpsichord (below top)

Quasi Variazioni. Andantino de Clara Wieck by Robert Schumann (1810-1856) from Piano Sonata in F minor, Op. 14. Jess Johnson, piano. *Performed on a Steinbuhler DS 5.0 TM (“7/8”) alternatively-sized piano keyboard.

Don Quixote a Dulcinea (1933) by Maurice Ravel (1875-1937) Poetry by Paul Morand. Paul Rowe, baritone, and Martha Fischer, piano

The Banjo by Louis Moreau Gottschalk (1829-1869). Christopher Taylor, piano (below middle). You can hear the piece in the YouTube video at the bottom. Taylor will also play “Ojos criollos” (Creole Eyes) and “Pasquinade” by the American composer Gottschalk.

Nature Boy by George Alexander “eden ahbez” Aberle (1908-1895) Johannes Wallmann, jazz piano (below bottom)

BATC2 John Chappelle Stowe and Edith Hines

Christopher Taylor new profile

johannes wallmann playing


Classical music: Does movie music qualify as classical music? Edgewood Chamber Orchestra concert this afternoon has been CANCELLED

February 25, 2017
4 Comments

ALERT: The concert by Edgewood Chamber Orchestra scheduled for 2:30 p.m. today — Sunday, Feb. 26  — has been CANCELLED. The cancellation was caused by a heating issue in the performance venue. The Chamber Orchestra’s season will continue with its next performance on Sunday, April 23, 2017.

By Jacob Stockinger

The Oscars (below) will be given out this Sunday night at 7:30 p.m. CST on ABC-TV.

Around the nation and the world, more and more symphony orchestras and chamber music groups are turning to performing movie music to attract new audiences — and to explore new repertoire.

And that includes the Madison Symphony Orchestra.

Two seasons ago, acclaimed British violinist Daniel Hope soloed with the MSO to explore movie scores by exiled European composers including Franz Waxman, Miklos Rozsa and Erich Wolfgang Korngold.

This past fall, the MSO put the Chaconne from the film “The Red Violin,” composer by John Corigliano, on the opening program of this season. And this summer, the MSO will perform music by John Williams used in the Harry Potter films.

This morning from 10 a.m. until noon, Wisconsin Public Radio will use the listener’s choice program “Classics By Request” to air its annual Salute to the Oscars that includes past film scores and those up for Academy Awards this year.

YL Oscar foods statue

So this seems a great time to raise the question: “Do film scores qualify as classical music”?

The question was recently debated for Gramophone magazine by the critic Jed Distler and two distinguished contemporary composers who have written for the concert hall and for Hollywood: Philip Glass (below top) and John Corigliano (below bottom).

Philip Glass

John Corigliano

It is a fascinating discussion that may surprise you. One great crossover example that The Ear loves is the String Quartet No. 3 by Philip Glass, which is based on the same composer’s full score for the film”Mishima.” (You can hear the last movement in the YouTube video at the bottom.)

Here is a link to that discussion:

https://www.gramophone.co.uk/feature/debate-when-is-film-music-classical

Don’t forget to leave your favorite movie score and what you think about movie music and classical music in the COMMENTS section.

The Ear wants to hear.


Classical music: Pianist Adam Neiman defines what makes for great Chopin playing. He performs an all-Chopin recital this Sunday afternoon at Farley’s House of Pianos.

February 21, 2017
Leave a Comment

By Jacob Stockinger

What makes for great Chopin playing?

It is an especially germane question since the critically acclaimed pianist Adam Neiman (below) will perform an all-Chopin recital this coming Sunday at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Tickets are $45. For more information, go to:

http://salonpianoseries.org/concerts.html

Neiman –pronounced KNEE-man — has appeared here as a soloist with the Wisconsin Chamber Orchestra and recorded piano concertos by Mozart with the WCO. He is a critically acclaimed prize-winning pianist with a major concertizing and recording career. He also teaches at Roosevelt University in Chicago and is a member of the Trio Solisti, a piano trio that has been hailed as the successor to the famous Beaux Arts Trio.

Here is a link to Neiman’s website with information about him and his recordings, including upcoming releases of Beethoven, Liszt and Rachmaninoff:

http://www.adamneiman.com

Adam Neiman also recently did an email Q&A interview with The Ear:

adam-neiman-2017

There are some exceptional players of Beethoven and other German composers who sound completely out of their element in Chopin. What qualities do you think make for great Chopin playing and what makes Chopin difficult to interpret?

Chopin’s music incorporates a narrative language and an emphasis on very “first person” points-of-view; in other words, it is highly personalized, expressing emotion from the perspective of the individual, including nationalistic sentiments. Often, Germanic music aims for “objective” viewpoints, with extremely stringent instructions by the composer.

For players who struggle with the open-ended idiomatic flavor in Chopin’s music, the lack of objective instruction by the composer can make it difficult for them to know what to do. (You can hear Adam Neiman discussing much more about Chopin’s personality and artistic achievement in the YouTube video at the bottom)

To play Chopin (below) at a very high level requires imagination and freedom, as well as a poetic and introspective musical tendency. The fluidity of rubato, the contrapuntal interaction between the hands and the frequent use of widely spread textures requires a nimble master of the instrument, one with the ability to emphasize the piano’s specific virtuosic abilities.

In addition, Chopin’s music is centered around a bel canto operatic style of melody, whereas Germanic melody tends to be more motivic in nature, and therefore developmental.

A composer like Beethoven will emphasize motivic metamorphosis as a means of augmenting a form to create large structures, whereas Chopin will glide from one melodic area to another, using harmonic exploration as the central means of formal expansion.

This compositional difference outlines different strengths in the pianists, as the skill set to play reams of melody lines in succession can often be very different from those skills required to highlight motivic development in a work.

Chopinphoto

Can you place the 24 Preludes that you will be playing within the context of Chopin’s entire body of works. What would you like the public to know about the preludes and how you see them individually and as a group?

The 24 Preludes were composed while Chopin was on holiday in Mallorca, Spain, which proved to be Chopin’s first palpable bout with tuberculosis, the disease that eventually killed him. (Below is an 1849 photo of Chopin on his deathbed.)

Many of these works were written in a fever-state, in haste, and during a stressful time period in which Chopin was not only facing his own mortality, but also dealing with the myriad challenges of integrating with the children of his lover, the French writer Aurora Dudevant who is better known as George Sand.

These Preludes are like snapshots into the mind of the composer at a moment in time, often without regard for cohesion or development. They exist in a timeless place, where the music expresses the extremely personal sentiments roiling through Chopin’s consciousness.

In many ways, these works capture his spirit in the most distilled possible way, giving the player and listener an opportunity to view the mind and heart of Chopin without filter or refinement, hallmarks of his larger works.

Despite the widely varied emotional content of these Preludes, as a set they hold together as a marvelous and surprisingly cogent musical journey. They exemplify the 19th-century “Romantic” ideals of fantasy, freedom, individuality and raw emotion.

Chopin on deathbed photo

You will also perform all four Ballades. How they do they rank within Chopin’s output? What would you like listeners to know about each of the four ballades, about what they share in common and what distinguishes each one? Do you have favorites and why?

If the Preludes represent the pinnacle of Chopin’s ability to express poetic ideals within miniature forms, the Ballades represent the apex of his more grandiose musical philosophy.

The Ballade, as a form, emanates from epic poetry, often portraying a heroic protagonist overcoming seemingly inescapable challenges. Ballades can also be tied to nationalistic notions, and for Chopin, all four Ballades are truly Polish in their expression.

As Chopin’s native Poland was invaded and he was cut off permanently from re-entry, Chopin became an orphan of the world, whose adopted home of France revered and celebrated him without equal.

His musical mission — exemplified by the Ballades, Mazurkas and Polonaises in particular — was to heighten awareness of Poland’s cultural contributions to a European audience totally unaware of the goings-on in the east.

As a result of the immense conflicts suffered by Chopin’s homeland, and in keeping with the deep pride and identification Chopin felt as a Pole, these Ballades express the emotional rollercoaster of a lone Polish hero — perhaps Chopin himself, autobiographically — battling the world.

All four of these works make an enormous impression on the listener. From the despair and anger of the first Ballade, the bi-polar conflicts of the second (below is the opening of the second Ballade in Chopin’s manuscript), the pastoral hopefulness of the third, and the desolate introspection of the fourth, these Ballades speak to the soul and require the most intensely personal voice of the performer.

Adam Neiman 2 2016

They require the possession of immense physical power and emotional maturity, which renders these works as being among Chopin’s most challenging.

I love all four of them equally. They are true masterworks of the highest order.

chopin-ballade-2-autograph

In there anything else you would like to say?

I am deeply honored and extremely delighted to return to Madison to perform this recital. I look forward to seeing many familiar faces, as well as new friends. Thank you!


Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,092 other followers

    Blog Stats

    • 1,648,373 hits
%d bloggers like this: