The Well-Tempered Ear
Too bad the Wisconsin Union Theater didn’t book a great pianist for next season
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By Jacob Stockinger
“We are living in a Golden Age of pianists,” famed concert pianist, Juilliard teacher and frequent Madison performer Emanuel Ax (below) has said.
He should know. But you would never guess that from the recently announced next season at the Wisconsin Union Theater (below).
The WUT has not booked a solo pianist for the 2022-23 season.
Here is a link to the lineup for the next season:
https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/
Is The Ear the only one who has noticed and is disappointed?
Who else feels bad about it?
After all, this is the same presenting organization that brought to Madison such legendary pianists as Sergei Rachmaninoff, Ignaz Jan Paderewski, Percy Grainger, Arthur Rubinstein, Vladimir Horowitz, Dame Myra Hess, Guiomar Novaes, Egon Petri, Robert Casadesus, William Kapell, Claudio Arrau, Alexander Brailowsky, Gary Graffman, Glenn Gould, Rosalyn Tureck, Byron Janis, Misha Dichter, Peter Serkin, André Watts, Lili Kraus and Garrick Ohlsson
It is the same hall (below) in which The Ear has heard Rudolf Serkin, Vladimir Ashkenazy, Angela Hewitt, Alfred Brendel, Murray Perahia, Valentina Lisitsa, Andras Schiff, Joyce Yang, Yefim Bronfman, Jeremy Denk, Ingrid Fliter, Richard Goode, Leon Fleisher, Simone Dinnerstein, Wu Han and so many other great and memorable names including, of course, Emanuel Ax.
What a history!
As you can see and as The Ear likes to say, the Wisconsin Union Theater is “The Carnegie Hall of Madison.” For over 100 years, it is where the great ones play.
One irony is that many of those former bookings of pianists took place when the University of Wisconsin School of Music had many more pianists on the faculty and provided a major alternative venue for piano recitals.
Another irony is that so many young people take piano lessons (below) and are apt to want to attend, probably with their parents, to hear a live professional concert piano recital. You would think the WUT would also see the advantages of having such community outreach links to the public and to music education, especially since the WUT has hosted Open Piano Day for the public. (See the YouTube video of a Channel 3000 story in February 2020 at the bottom.)
From what The Ear reads, there are lots of up-and-coming pianists, many affordable names of various winners of national and international competitions. They should be affordable as well as worthy of being introduced to the Madison public.
But that seems a mission now largely left to the Salon Piano Series.
Plus, so many of the new pianists are young Asians who have never appeared here, which should be another draw for the socially responsible and diversity-minded WUT.
But that is another story for another day.
What do you think of the WUT not presenting a solo pianist next season?
Maybe there will be a pianist booked for the 2023-24 season.
What pianists would you like see booked by the WUT student programming committee?
The Ear wants to hear.
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Check out the 2022 classical music Grammys for trends and suggested listening
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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:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- 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)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “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)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- 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)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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Here are the Top 10 online concerts to stream in March, according to critics for the New York Times
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ALERT: The online live-streamed concert by the UW-Madison’s Pro Arte Quartet — scheduled for this Friday night, March 5 — in the all-Beethoven cycle of string quartets has been canceled and postponed until next year. The Friday, April 9 installment of the Beethoven cycle will be held as Installment 7 instead of 8.
By Jacob Stockinger
Classical music critics of The New York Times have once again picked their Top 10 online concerts for the month of March.
The Ear has found such lists helpful for watching and hearing, but also informative to read, if you don’t actually “attend” the concert.
If you have read these lists before, you will see that this one is typical.
It offers lots of links with background about the works and performers; concert times (Eastern); and how long the online version is accessible.
Many of the performers will not be familiar to you but others – such as pianist Mitsuko Uchida (below, in a photo by Hiroyuki Ito for the Times), who will perform an all-Schubert recital, will be very familiar.
But the critics once again emphasize new music and even several world premieres – including one by Richard Danielpour — and a path-breaking but only recently recorded live performance of the 1920 opera “Die Tote Stadt” (The Dead City) by long-neglected composer Erich Wolfgang Korngold (below), who is best known for his Hollywood movie scores but who also wrote compelling classical concert hall music. (In the YouTube video at the bottom, you can hear soprano Renée Fleming sing “Marietta’s Song.’)
But some works that are more familiar by more standard composers – including Mozart, Beethoven, Schubert, Schumann, Ravel and Copland – are also included.
The Times critics have also successfully tried to shine a spotlight on Black composers and Black performers, such as the clarinetist and music educator Anthony McGill (below top), who will perform a clarinet quintet by composer Samuel Coleridge-Taylor (below) and music in the setting of the Metropolitan Museum of Art.
No purists, the critics also suggest famous oboe and clarinet works in transcriptions for the saxophone by composer-saxophonist Steven Banks (below).
Also featured is a mixed media performance of words and music coordinated by the award-winning Nigerian-American novelist, essayist and photographer Teju Cole (below), whose writings and photos are irresistible to The Ear.
Here is a link to the story in the Times: https://www.nytimes.com/2021/02/25/arts/music/classical-music-streaming-concerts.html
Are there other online concerts in March – local, regional, national or international – that you recommend in addition to the events listed in the Times?
The Ear wants to hear.
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The UW-Madison’s Pro Arte Quartet performs the fifth installment of its complete Beethoven cycle this Friday night at 7:30 in a FREE live-streamed concert
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By Jacob Stockinger
As we draw close to Dec. 16 and the 250th birthday celebrations for Ludwig van Beethoven (below, in 1803), one of the joys and highlights of the Beethoven Year continues to impress.
The UW-Madison’s acclaimed Pro Arte Quartet will give the fifth installment of their complete cycle of the 16 string quartets by Beethoven this Friday night, Nov. 20, at 7:30 p.m.
Here is a direct link: https://youtu.be/nZN7tRu8N_k
Members of the quartet (below, from left) are: violinists David Perry and Suzanne Beia; violist Sally Chisholm; and cellist Parry Karp.
The FREE online virtual concert is a livestream from the Mead Witter Foundation Concert Hall, where the quartet will once again play with masks and social distancing (below).
No in-person attendance is allowed.
“It’s different playing without a live audience,” says cellist Parry Karp. “But we’re getting used to it. Not having to play other live concerts or to go on tour around the state also allows us to focus more. And the upside of playing online is that we saw quite a number of viewers from Brazil and Argentina listening to our last concert.”
Before each of the two quartets, Professor Charles Dill (below in a photo by Katrin Talbot), who teaches musicology at the UW-Madison’s Mead Witter School of Music, will give a short introductory lecture.
The program features one early quartet and one middle “Razumovsky” quartet: String Quartet No. 3 in D Major, Op. 18 No. 3 (1798-1800); and String Quartet No. 8 in E Minor, “Razumovsky,” Op. 59, No. 2 (1806).
You can hear the Ebène Quartet play the hymn-like slow movement of the Razumovsky quartet, with its use of a Russian theme, in the YouTube video at the bottom.)
Here is more background from Wikipedia about both quartets:
https://en.wikipedia.org/wiki/String_Quartet_No._3_(Beethoven)
https://en.wikipedia.org/wiki/String_Quartet_No._8_(Beethoven)
For more information about the program, the names of the orchestra’s players and impressive historical background about the Pro Arte Quartet, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-v/
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Cellist Camille Thomas makes her Madison debut online from Paris for the Wisconsin Union Theater this Saturday night
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By Jacob Stockinger
The Wisconsin Union Theater’s fall virtual Concert Series performances will begin this Saturday night, Nov. 7, at 7:30 p.m. CST with a live online performance from Paris by the acclaimed cellist Camille Thomas (below).
The “Midnight in Paris” recital – performed in Paris and streamed — features music by Claude Debussy, Nadia Boulanger, Maurice Ravel and Frederic Chopin. The performance will be preceded by a live 30-40 minute online Q&A with Thomas and pianist Julien Brocal on Saturday afternoon at 2 p.m. CST.
Here are the specific works on the program, which will last about 75 minutes with no intermission:
Debussy, “Clair de Lune” (arr. Roelens)
Nadia Boulanger, “Three Pieces” for cello and piano
Ravel, Kaddish
Chopin, Cello Sonata in G Minor, Op. 65; and Introduction et Polonaise brillante, Op. 3
Tickets for this online event are $10 for UW-Madison students, $18 for Wisconsin Union members, and $20 for all other patrons.
For more information about the Thomas’ performance – including a video and how to purchase tickets — visit union.wisc.edu/events-and-activities/event-calendar/event/camille-thomas.
Thomas (below), a Franco-Belgian cellist, says she uses her music to bring people together from a range of cultures and backgrounds. Thomas released her second album, called “Voice of Hope,” with the exclusive Deutsche Grammophon this past June. (In the YouTube video at the bottom, you can hear Thomas play a solo version from the album of Gluck’s “Dance of the Blessed Spirits” from his opera “Orfeo ed Euridice.”)
Thomas plays the Feuermann Stradivarius cello (1730, below) — named for the famous 20th-century cellist Emanuel Feuermann who played it — with a bow by Eugene Sartory, who is regarded as one of the finest bow makers in history. Joining her for this performance will be pianist Julien Brocal.
“Camille Thomas’s extraordinary talent makes her one of the most captivating artists of our time, as evidenced by being the first cellist in several decades to be signed by the major record label Deutsche Grammophon,” says Wisconsin Union Theater director Elizabeth Snodgrass. “Her ‘Midnight in Paris’ program brings us closer to her roots and reflects the beauty and charm of her personality as well as her musicality.”
The Ear has listened to some of Thomas’ performances on YouTube and finds her tone, intonation and phrasing outstanding.
The performance by Camille Thomas is the start of the fall Concert Series events, which includes a concert with pianist Jeremy Denk (below, in a photo by Hiroyuki Ito for The New York Times) on Friday, Dec. 11.
In its 101st year, the Wisconsin Union Theater’s Concert Series is one of the oldest uninterrupted series of its kind in the United States.
The Wisconsin Union Theater (WUT) has served as a cultural center for community members and visitors for more than 75 years. The WUD Performing Arts Committee plans many of the Theater’s events, including the Concert Series.
While usually held in-person and most often in Shannon Hall, the Wisconsin Union Theater team will hold this fall’s theater events in a virtual format for the health and safety of patrons, artists and team members in light of the COVID-19 pandemic.
The team aims for all of its spaces, including online ones, to be accessible. Those that need accommodations can reach out to the Wisconsin Union Theater team at wisconsinuniontheater@union.wisc.edu.
The WUT team says it continues to evaluate what changes may need to occur related to the spring Concert Series events as well as other spring Theater season performances.
The Wisconsin Union Theater has made multiple commitments to take a stand against racial injustice, including being more than allies, being activists; using the arts to create social justice; remembering students are future leaders and must be part of the change; using its voice to influence leadership and being firm in its resolve; and making space, stepping back and learning how to give up undeserved or unnecessary power and privilege.
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Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?
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By Jacob Stockinger
Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others.
At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.
In some ways, it all seems inevitable.
Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom) – fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.
That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.
The assertion is food for thought. But not much.
In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:
https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/
The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.
Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.
Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.
Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.
No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.
Of course, there is elitism in the arts. People may be equal, but creative talent is not.
And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.
If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.
And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?
But these days being provocative can become its own reward.
You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.
Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop
What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?
Did you ever feel alienated from classical music because of Beethoven or know others who have?
What is your favorite Beethoven composition?
The Ear wants to hear.
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Classical music: What composer or piece of music would you like to hear once the coronavirus is contained and concert halls open again?
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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.)
Here is a link to that post: https://welltempered.wordpress.com/2020/08/11/classical-music-its-clear-to-the-ear-it-will-be-at-least-another-full-year-before-music-lovers-in-the-u-s-can-safely-attend-live-concerts-what-do-you-think/
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.
The Ear wants to hear.
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Classical music: During global protests against racism, a longtime fan of the Madison Symphony Orchestra writes a letter to ask for more diversity and African-American composers
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By Jacob Stockinger
During the ongoing global protests and demonstrations against police brutality, racism and white privilege, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) will hold its annual meeting next Tuesday, June 16, at 3:30 p.m.
The meeting is NOT open to the public — as erroneously stated in an earlier version — but just to season subscribers (not single ticket buyers) and members of MSO boards. The meeting will be virtual and held online via Zoom.
During the meeting, a statement about diversity and inclusion will be read, according to the MSO.
If you have questions, you can call Alexis Carreon at (608) 257-3734.
With both the symphony and current events in mind, a longtime MSO subscriber has written the following letter to Manager of Individual Giving Jeff Breisach.
Please read the letter and then let us know what you think.
Do you agree or disagree?
What else would you like to say about the role of MSO in adapting to concerns about racism, injustice and privilege?
Do you have any suggestions?
“Dear J. Breisach:
“Please share my following concerns with those planning the annual meeting of the Madison Symphony Orchestra:
“In light of the recent historic events, I hope MSO will add an item or two to deal with the economic and racial injustice prevalent in Madison, as well as elsewhere in our nation.
“Specifically:
- Empty seats should be made available as Rush Seats ($1 or $5) the day of the concert to open our halls to those facing economic disparity. Such disparity rests on a long history of racism and poverty injustice in our town and in our land. Our hall should always be full and should have a more multi-ethnic, multi-age audience than is currently the case. As our audiences stand, we are one of the most racially and economically privileged events in Madison. That must stop.
- We need more racially diverse composers included in our regular programming–at the very least during the month of February, but even better throughout the year. And I’m not just thinking of “Porgy and Bess” tunes. Samuel Coleridge-Taylor (below top) also comes to mind as a composer we need to hear more often. Le Chevalier de Saint-Georges — Joseph de Boulogne (1745-1799, below bottom) — is another. (Editor’s note: You can hear the Romance for violin and orchestra by Coleridge-Taylor in the YouTube video at the bottom.) There are more. Having a local black chorus in for Christmas is not enough!
“It is time for MSO to acknowledge its history of white privilege and take some steps to more widely acknowledge the richness of a diverse local audience and classical music history.
Sincerely,
Carol Troyer-Shank
“PS: I have been a MSO ticket holder in the economically denigrated balcony for more than 20 years.
“PS2: The architect and designers clearly thought about making more money — not about safety of attendees — when they designed a balcony to squeeze in more people instead of to allow ease of movement for lower-cost ticket holders. Shame on them! So, of course, all those seats should be filled every time. Even at $5 a ticket, the MSO would gain enormous improvement in their local image.”
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Classical music: What will the fall concert season will look like? And what will the post-pandemic concert world be like?
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By Jacob Stockinger
This past week, The Ear listened to and read a lot of news about COVID-19 and the arts.
And it got him thinking: What will happen this fall with the new concert season? And even later, what will a post-pandemic concert world look like? (Below is the Madison Symphony Orchestra in a photo by Peter Rodgers.)
As you may have heard, the Tanglewood Festival, the summer home of the Boston Symphony Orchestra, has been canceled this year. So too has the Ravinia Festival, the summer home of the Chicago Symphony Orchestra.
Locally, American Players Theatre in Spring Green also just canceled its summer season.
So far, the summer season seems to be one big cancellation for the performing arts.
True, there are some exceptions.
The Token Creek Chamber Music Festival has yet to announce its plans for August.
One also has to wonder if crowds of up to 20,000 will feel safe enough to attend the Concerts on the Square (below), now postponed until late July and August, by the Wisconsin Chamber Orchestra?
Will people still want to attend the postponed Handel Aria Competition on Aug. 21 in Collins Recital Hall at the UW-Madison’s new Hamel Music Center, assuming the hall is open?
Fall events seem increasingly in question.
Last night on CBS’ “60 Minutes,” Jerome Powell, chairman of the Federal Reserve, said that sports events and concerts will be among the last mass gatherings to take place safely, probably not until next spring or summer or even later, depending on when a vaccine becomes available.
Some public health experts also offer dire predictions about how easing up lockdown restrictions too soon might lead to an even worse second wave of the coronavirus virus pandemic this autumn and winter, despite all the happy talk and blame-shifting by Team Trump.
So, what do you think will happen beyond summer?
The Ear wonders what the fallout will be from so many music groups and opera companies turning to free online performances by solo artists, symphony orchestras and chamber music ensembles.
Will season-opening concerts be canceled or postponed? What should they be? Will you go if they are held?
Will at-home listening and viewing become more popular than before?
Will the advances that were made in using streaming and online technology (below) during the lockdown be incorporated by local groups — the UW-Madison especially comes to mind — or expected by audiences?
In short, what will concert life be like post-pandemic and especially until a vaccine is widely available and a large part of the population feels safe, especially the older at-risk audiences that attend classical music events?
Will larger groups such as symphony orchestras follow the example of the downsized Berlin Philharmonic (below, in a photo from a review by The New York Times) and play to an empty hall with a much smaller group of players, and then stream it?
Will some free streaming sites move to requiring payment as they become more popular?
Live concerts will always remain special. But will subscriptions sales decline because audiences have become more used to free online performances at home?
Will most fall concerts be canceled? Both on stage and in the audience, it seems pretty hard to maintain social distancing (below is a full concert by the Madison Symphony Orchestra). Does that mean the health of both performers – especially orchestras and choral groups – and audiences will be put in jeopardy? Will the threat of illness keep audiences away?
Even when it becomes safe to attend mass gatherings, will ticket prices fall to lure back listeners?
Will programs feature more familiar and reassuring repertoire to potential audiences who have gone for months without attending live concerts?
Will expenses be kept down and budgets cut so that less money is lost in case of cancellation? Will chamber music be more popular? (Below is the UW-Madison’s Pro Arte Quartet during its suspended Beethoven cycle.)
Will fewer players be used to hold down labor costs?
Will imported and expensive guest artists be booked less frequently so that cancellations are less complicated to do?
Will many guest artists, like much of the public, refrain from flying until it is safer and more flights are available? Will they back out of concerts?
Will all these changes leave more concert programs to be canceled or at least changed?
There are so many possibilities.
Maybe you can think of more.
And maybe you have answers, preferences or at least intuitions about some the questions asked above?
What do you think will happen during the fall and after the pandemic?
What do you intend to do?
Please leave word, with any pertinent music or news link, in the comment section.
The Ear wants to hear.
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The Well-Tempered Ear 
NPR names relevant classical albums in a musical Diary of the Plague Year of the pandemic, racial protests, wildfires and hurricanes
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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
For an unusual and difficult year, NPR (National Public Radio) and critic Tom Huizenga have found a new and unusual way to recommend this past year’s top classical music recordings.
On the “Deceptive Cadence” blog for NPR, Huizenga kept a personal month-by-month diary of “music and mayhem.”
For last February, for example, this ancient image of The Dance of Death inspired contemporary composer Thomas Adès to compose his own “Totentanz” or Dance of Death. (You can hear an excerpt from the work in the YouTube video at the bottom.)
Some of the thematically-related music is modern or contemporary, some of it is from the Baroque or Classical era.
In June, as protests against the death of George Floyd (below top) flared up and spread worldwide, NPR names a recording of the “Negro Folk Symphony” by African-American composers William Dawson and Ulysses Kay (below bottom), thereby helping to rediscover Black composers whose works have been overlooked and neglected in the concert hall and the recording studio.
Devastating wildfires on the West Coast, Presidential impeachment and hurricanes on the Gulf Coast also found their way into the choices of music to listen to.
It is an unusual approach, but The Ear thinks it works.
See and hear for yourself by going to the sonic diary and listening to the samples provided.
Here is a link to the NPR album diary: https://www.npr.org/sections/deceptivecadence/2020/12/21/947149286/music-and-mayhem-a-diary-of-classical-albums-for-a-troubled-2020
But many roads, if not all, lead to Rome, as they say.
What is also interesting is that a number of the NPR choices overlap with ones listed by music critics of The New York Times as the 25 best classical albums of 2020.
Some choices also are found on the list of the nominations for the Grammy Awards that will be given out at the end of January.
In other words, the NPR diary can also serve as yet another holiday gift guide if you have gift cards or money to buy some new and notable CDs, and are looking for recommendations.
Here is a link to the Times’ choices, which you can also find with commentary and a local angle, in yesterday’s blog post: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html
https://welltempered.wordpress.com/2020/12/27/the-new-york-times-names-the-top-25-classical-recordings-of-2020-and-includes-sample-tracks/
And here is a list to the Grammy nominations: https://welltempered.wordpress.com/2020/11/28/for-holiday-shopping-and-gift-giving-here-are-the-classical-music-nominations-for-the-63rd-grammy-awards-in-2021/
What do you think of the NPR musical diary of the plague year?
Do you find it informative? Accurate? Interesting? Useful?
Would you have different choices of music to express the traumatic events of the past year?
The Ear wants to hear.
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