The Well-Tempered Ear

Classical music: What concerts or performances in 2019 did you most like, and do you most remember and want to praise?

January 12, 2020
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By Jacob Stockinger

The concert season’s winter intermission will soon draw to a close.

So this is a good time to recall favorite concerts and performances of last year.

But let’s be clear.

This is a not a request to name “The Best Concerts of 2019.”

Calling them the most memorable concerts doesn’t necessarily mean they were the best.

Perfection or “the best” sounds so objective, but can really be quite personal and subjective. So much can depend not only on the music and the performers, but also on your own mood and your taste or preferences.

So please share the concerts or performances that you most liked and enjoyed, the one that most still linger in your mind. And, if you can pin it down, tell us why you liked them so much and why they linger for you.

There are so many excellent groups and concerts, so much fine classical music, in the Madison area that there should be lots of candidates.

Here are several performances or complete concerts that The Ear remembers with special fondness.

The MADISON SYMPHONY ORCHESTRA (below, in a photo by Peter Rodgers) held a season-long celebration of the 25th anniversary of John DeMain’s tenure as its music director and conductor. The big event came at the end: Mahler’s massive Symphony No. 8 – the so-called “Symphony of a Thousand” – that brought together the MSO and the MSO Chorus as well as the Madison Youth Choirs and the UW-Madison Choral Union.

It proved an impressive, overwhelming and moving display of coordination and musicianship, a testament to how far DeMain (below, in a photo by Prasad) has brought the orchestra.

(Also memorable on the MSO season were pianist Marc-Andre Hamelin in Ravel’s jazzy Piano Concerto in G Major and UW-Madison pianist Christopher Taylor in the Leonard Bernstein’s “Age of Anxiety” symphony during the MSO tribute to Bernstein, with whom DeMain worked closely.)

The WISCONSIN CHAMBER ORCHESTRA (below, in a photo by Mike Gorski), under its veteran music director Andrew Sewell, continues to test its own limits and surpass them. Particularly impressive was the last concert of the winter season with Shostakovich’s Symphony No. 14 featuring two outstanding soloists: soprano Mary Mackenzie and bass Timothy Jones.

The playing of the difficult score was precise but moving, and the singing blended beautifully. It made one understand why during this season – when the orchestra marks 60 years and maestro Sewell (below, in a photo by Alex Cruz) marks his 20th season — the WCO has deservingly graduated to two performances of each Masterwork concert (one here on Friday nights followed by one in the Milwaukee suburb of Brookfield on Saturday night).

Also memorable was an impressive concert by the mostly amateur but critically acclaimed MIDDLETON COMMUNITY ORCHESTRA. The Ear likes amateur musicians, and for their 10th anniversary concert they really delivered the goods in Dvorak’s famous Symphony No. 9 “From the New World” and, with fabulous guest soloist J.J. Koh (below — principal clarinet of the Madison Symphony Orchestra — in Mozart’s sublime Clarinet Concerto.

But it wasn’t only large-scale works that The Ear remembers.

Three chamber music concerts continue to stand out.

During the summer, the WILLY STREET CHAMBER PLAYERS and guest UW-Madison pianist Christopher Taylor (both below) delivered a performance of Dvorak’s Piano Quintet in A Major that would be hard for any group to match, let alone surpass, for its tightness and energy, its lyricism and drama.

The same goes for the veteran PRO ARTE QUARTET at the UW-Madison, which this fall started its complete cycle of Beethoven’s 16 string quartets in the new Hamel Music Center to celebrate the Beethoven Year in 2020 when we mark the 250th anniversary of the composer’s birth.

The quartet played early, middle and late quartets with complete mastery and subtlety. Treat yourself. Don’t miss the remaining five concerts, which resume in February and take place over the next year at the Hamel center and also at the Chazen Museum of Art, from where they will also be live-streamed.

Finally, The Ear will always remember the wholly unexpected and thoroughly captivating virtuoso accordion playing he heard last summer by Milwaukeean Stas Venglevski (below) at a concert by the BACH DANCING AND DYNAMITE SOCIETY. Venglevski performed music by Johann Sebastian Bach, Igor Stravinsky and Astor Piazzolla in a new and enthralling way.

Unfortunately, for various reasons The Ear missed many other concerts – by the Madison Opera and the University Opera among others – that promised to be memorable performances.

But perhaps you can fill him in as we start 2020 concerts next weekend.

What concerts in 2019 did you like most and do you most remember and praise? Why?

The Ear wants to hear.


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Classical music: This Saturday night, Russian pianist Ilya Yakushev returns to the Salon Piano Series at Farley’s House of Pianos to perform popular works by Beethoven, Liszt and Gershwin

January 6, 2020
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By Jacob Stockinger

This coming Saturday night, Jan. 11, at 7:30 p.m., the acclaimed Russian-born pianist Ilya Yakushev (below) will make his fourth recital appearance at the Salon Piano Series.

The concert will be held at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Yakushev — who studied in his native St. Petersburg and at the Mannes School of Music in New York City — has also performed several times with the Wisconsin Chamber Orchestra.

He never fails to impress with both his virtuosic technique and his insightful interpretations, whether he is playing Russian repertoire by Mussorgsky, Rachmaninoff and Prokofiev or jazzy American classics like Gershwin.

“Yakushev is one of the very best young pianists before the public today,” said the American Record Guide about Yakushev who has also won major  international competitions.

For more information about Yakushev, including critics’ reviews, a biography, concert dates and a discography, go to his website: http://www.ilyayakushev.com

The Madison program includes:

Beethoven – Sonata “Pathetique,” Op. 13

Liszt – “Six Consolations” (You can hear the famous Consolation No. 3, often learned by students and played as an encore by concert artists, in the YouTube video at the bottom.)

Gershwin – music from the opera “Porgy and Bess” in an arrangement for solo piano

An artist’s reception will follow the concert.

Tickets are $45 in advance ($10 for students) or $50 at the door. Service fees may apply. Student tickets can only be purchased online and are not available the day of the event.

You can purchase tickets on line at: https://www.brownpapertickets.com/producer/706809

For more information, go to: https://salonpianoseries.org/concerts.html

This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

The Salon Piano Series is a nonprofit founded to continue the tradition of intimate salon concerts featuring exceptional artists. For more information about the series, including upcoming concerts and how to support it, call (608) 271-2626 or go to: https://salonpianoseries.org.

 


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Classical music: In 2019 who died? What recordings won prizes? What music had its premiere? Here is a comprehensive and detailed worldwide retrospective from Wikipedia

January 2, 2020
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By Jacob Stockinger

A new year is always a good time to do a review and take a look backward to assess the previous year.

Many local publications – newspapers and magazines — do Best of the Year round-ups.

But The Ear has never seen a more comprehensive list with major news and almost daily entries around the world than he found in Wikipedia, which has retrospectives going back to 2009 and looking forward to 2029.

In short, all the reviws are well worth exploring for the reminders they hold that, as the proverb goes, “Ars longa, vita brevis” or “Art is long, life is short.” (It is usually quoted in Latin translation from the original ancient Greek that was written by Hippocrates.)

There are seven different categories to click on, each with long entries. If you hover the cursor over the names or words that are spelled in blue, you will see more text and often a photograph. The categories are:

EVENTS

NEW WORKS

NEW OPERAS

ALBUMS

DEATHS

MAJOR AWARDS

REFERENCES

There are so many details that you may want to check out just one or two categories at a time over several days.

Here is a link: https://en.wikipedia.org/wiki/2019_in_classical_music

Do you know of someone or something – especially of local importance, such as the death in October of longtime Madison music critic John W. Barker (below, in a photo by Mark Golbach) – that did not make the list? Please leave word in the Comment section.

And here’s hoping that 2020 brings us even more important and memorable new and old music, but less loss.


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Classical music: Famed radio station WQXR names the best 100 recordings of 2019. Listen to samples of them here

December 28, 2019
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By Jacob Stockinger

Did you get a gift card for the holidays?

Are you looking how to spend it by either purchasing CDs or subscribing to a streaming service?

Help and guidance are available.

Few names in the airing of classical music carry more prestige than the famed radio station WQXR in New York City.

To check out the radio station’s choice of the best recordings of 2019 is also to see where the worlds of recording and concertizing are heading.

Such trends include rediscovering neglected composers and championing new music as well as women composers, such as Clara Schumann, and composers of color, such as the American composer Florence Price (below), who has often been featured on Wisconsin Public Radio this past year.

But you will also find noteworthy recordings of such classics as Johann Sebastian Bach – and two of his rarely heard cousins instead of his sons – and well as outstanding recordings of symphonies and piano sonatas (below, the set by Igor Levit) for the upcoming Beethoven Year to mark the 250th anniversary of the birth of the composer.

And you will also find names of outstanding performers you may not have heard of — such as the exceptional Chinese pianist Haochen Zhang (below), a Van Cliburn Competition gold medalist whom The Ear would like to see perform here.

Here is a link to 25 picks with commentaries– plus another 75 titles and samples, without commentary, to round out a Top 100.

Happy listening!

https://www.wqxr.org/story/best-classical-recordings-2019/


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Classical music: The Middleton Community Orchestra and violinist Naha Greenholtz perform this Wednesday night in the new Hamel Music Center at the UW-Madison. At noon, the FREE Just Bach concert celebrates Christmas

December 17, 2019
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ALERT 1: This Wednesday, Dec. 18, at noon in Luther Memorial Church, 1021 University Avenue, Just Bach wraps up its FREE one-hour period-instrument concerts for this semester. The program features “joyous selections” from the Christmas Oratorio, the Magnificat, and the Advent Cantata 36. For more information about the program and the performers, go to: https://justbach.org

ALERT 2: The Madison Symphony Orchestra, which just gave three sold-out performances of its Christmas concert, is holding its annual holiday ticket sale. It started Monday and runs through Dec. 31. You can save up to 50 percent on tickets to the remaining concerts of the season. For more information and to order, go to: https://madisonsymphony.org/holidaysale/

By Jacob Stockinger

Looking for a break from holiday music?

This Wednesday night, Dec. 18, the mostly amateur but critically acclaimed Middleton Community Orchestra (below) will perform in the Mead Witter Foundation Concert Hall of the new Hamel Music Center at the UW-Madison – NOT at its usual venue, the Middleton Performing Arts Center that is attached to Middleton High School.

The appealing program under guest conductor Kyle Knox starts at 7:30 p.m. It features the dramatic Overture to “Die Meistersinger” (The Master Singers) by Richard Wagner (you can hear the Overture in the YouTube video at the bottom); the popular and virtuosic Symphonie Espagnole (Spanish Symphony) by French composer Edouard Lalo, with violin soloist Naha Greenholtz; and the lovely Suite from the opera “Der Rosenkavalier” by Richard Strauss.

There will be a post-concert reception in the lobby.

Admission is $15; free for students. Tickets are available at the door – student tickets are available at the door only — and at the Willy Street Coop West. The hall is at 740 University Avenue with parking in the nearby Lake Street Ramp. The box office opens at 6:30 p.m. and doors to the hall open at 7 p.m.

The Ear asked the co-founders and co-directors of the group – Mindy Taranto and Larry Bevic — why they chose to play in the Hamel Music Center this time. He recieved the following reply:

“We decided to rent the Mead Witter Foundation Concert Hall (below top, in photo by Bryce Richter for University Communications) in the Hamel Music Center (below bottom) for several reasons.

“This is our 10th anniversary season and we wanted to give our musicians a really special experience. Many of us are curious about the new hall and are really excited to be playing there.

“Also, Kyle Knox (below) – a UW-Madison graduate and the music director of the Wisconsin Youth Symphony Orchestras — is a phenomenal conductor and this program is exceptionally difficult and beautiful.

“It is an honor to get to perform at the UW-Madison with Kyle conducting such a beautiful program. He has brought this orchestra along so far, and for that we are incredibly grateful. He is a brilliant musician and our work with him has improved the orchestra so remarkably over the eight years he has been regularly working with us.

“We also thought that so many of our patrons enjoy our concerts when violinist Naha Greenholtz (below, in a photo by Chris Hynes) – the concertmaster of the Madison Symphony Orchestra — is our soloist, and with the MSO connection, holding the concert at Hamel will hopefully boost attendance at the concert.

Naha sounds amazing and if you could see how much our musicians enjoy her annual appearance with MCO, you’d know why we want to play with her every year.

“As we conclude the first half of our 10th season, we are grateful to the musicians in MCO and to the community that supports us.

“We are probably one of the few organizations on the Madison arts scene that puts literally every dollar into music. As the two co-founders, we run the organization on a volunteer basis and we don’t spend any money on advertising.

“All of our resources go to hiring astonishing local musicians, renting performance space, and buying music to provide meaningful musical experiences for our musicians and our patrons.”

For information about how to join the orchestra, how to support it and what its remaining concerts are this season, go online to: http://middletoncommunityorchestra.org or call 608-212-8690.

 


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Classical music: The Wisconsin Chamber Orchestra and guest soloists will give a FREE public concert on Friday, Dec. 27, in the new Hamel Music Center at the UW-Madison to honor arts patrons Sandy and Jun Lee

December 15, 2019
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By Jacob Stockinger

If you are looking for a non-holiday concert to go to during Christmas week, the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) — which just performed a sold-out “Messiah” and is about to play the score for Madison Ballet’s production of “The Nutcracker” — has a surprise gift for you.

On Friday, Dec. 27, at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., at the UW-Madison, the WCO and three guest soloists will give a FREE “Winter Celebration” concert that is open to the public. (Donations to the WCO are suggested.)

The occasion is to celebrate the 50th wedding anniversary of Sandy and Jun  Lee (below), who are generous patrons of the arts in Madison.

The three guest artists for the concert are:

UW-Madison piano graduate Jason Kutz (below), who performs with the Willy Street Chamber players and other groups, will play the Introduction and Allegro Appassionato, Op. 92, by Robert Schumann.

Local mezzo-soprano opera star Kitt Reuter-Foss (below), who has sung at the Metropolitan Opera, will sing the “Habanera” from Bizet’s “Carmen” and “What a Movie” from Leonard Bernstein’s “Trouble in Tahiti.” (You can hear the famous “Habanera” in the YouTube video at the bottom.)

Renowned Chicago violinist Rachel Barton Pine, who has played several times with the WCO and just two months ago performed with the Madison Symphony Orchestra, will play the Violin Concerto No. 3 in B Minor, Op. 61, by Camille Saint-Saens.

In addition, the WCO, under the baton of music director Andrew Sewell (below, in a photo by Alex Cruz), will perform the “Poet and Peasant” Overture by Franz von Suppe; and the Overture to “Orpheus in the Underworld” by Jacques Offenbach.

Although the concert is free, tickets are required. You can go to this link to register by putting in your name and other required information: https://wisconsinchamberorchestra.org/performances/winter-celebration/

 


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Classical music: The Madison Symphony Orchestra performs its annual gala Christmas concert this weekend and also offers a FREE community carol sing this Saturday morning

December 12, 2019
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By Jacob Stockinger

As Charles Dickens might say, the Madison Symphony Orchestra knows how to keep Christmas well.

Over many years, “A Madison Symphony Christmas” has become a  popular and major annual kickoff to the holiday season in the Madison area by embracing the season with Christmas classics and new music.

Much of the event’s appeal derives from the diversity and range of the performers. This year it again features the full orchestra plus the Madison Symphony Chorus, the Madison Youth Choirs and the Mount Zion Gospel Choir.

In addition, two opera stars who have performed with the Madison Opera — tenor Mackenzie Whitney (below top) and soprano Michelle Johnson (below bottom)– return to the stage for this annual family-friendly tradition. For biographies of the two singers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/

MSO principal harpist Johanna Wienholts (below) is a featured soloist in a concerto by George Frideric Handel.

“A Madison Symphony Christmas” takes place in Overture Hall, 201 State Street, on this Friday night, Dec. 13, at 7:30 p.m.; Saturday night, Dec. 14, at 8 p.m.; and Sunday afternoon, Dec. 15, at 2:30 p.m.

Tickets are $19 to $95 with discounts available. See below for details.

NOTE: On this coming Saturday morning, Dec. 14, at 11 a.m., Greg Zelek (below, in a  photo by Peter Rodgers) — the Madison Symphony Orchestra’s Principal Organist and Curator of the Overture Concert Organ — leads a FREE Community Carol Sing in Overture Hall. All ages are welcome, and no tickets or reservations are needed. Learn more at: https://madisonsymphony.org/event/free-community-carol-sing-2019/

Music director and conductor John DeMain (below) offers the following preview of the MSO concert:“This is the biggest celebration of the season in Madison and beyond. It has four different choruses and choirs as well as amazing soloists from the orchestra, the world of opera and Broadway.

“The huge Madison Symphony Orchestra will play your favorite Christmas music, and there is a great carol sing-along featuring the Overture Hall organ playing with the MSO. After this concert, you’ll want to celebrate Christmas all year long.”

The program begins with classical styles in the first half, culminating in Handel’s “Hallelujah” Chorus (heard in the YouTube video at the bottom.) The concert climaxes with a Gospel music finale, and a chance for the audience to sing along.

Works to be performed include John Rutter’s version of “O Come, O Come Emmanuel”; the “Magnificat” by Johann Sebastian Bach; Franz Schubert’s “Wiegenlied” (“Lullaby”); and music by Charles Gounod, J. S. Bach, Felix Mendelssohn, Adolphe Adam, Dan Goeller and Randol Alan Bass.

The older voices of the Madison Youth Choirs (below) are featured in works by composer Stephen Hatfield, including a version of the traditional English “Apple-Tree Wassail.”

The Madison Symphony Chorus (below, in a photo by Greg Anderson) and soloists present of medley of familiar holiday favorites, including “Let It Snow! Let It Snow! Let It Snow!”

Finally, the Mount Zion Gospel Choir (below, in a photo by Bob Rashid) sings arrangements for choir and orchestra by co-director Leotha Stanley, including “The Joy of Christmas,” Stanley’s version of “Silent Night,” and a newly composed song by Stanley, “Christmas Hope.”

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations — and participate in singing carols with the Madison Symphony Chorus that take place in the Overture Hall lobby (below) 45 minutes before the concerts.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msodec19programnotes

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
  • Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Flex-ticket booklets of 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

Discounted seats are subject to availability, and discounts may not be combined. 

 


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Classical music: The Madison Bach Musicians will perform its ninth annual Baroque Holiday Concert this coming Saturday night

December 1, 2019
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By Jacob Stockinger

On this coming Saturday night, Dec. 7, the Madison Bach Musicians will present its ninth annual Baroque Holiday Concert (below, in  2014, in a photo by Kent Sweitzer).

The concert, using period instruments and historically informed performance practices, is again at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall Stadium. A pre-concert lecture by MBM founder and director Trevor Stephenson is at 7:15 p.m. followed by the concert at 8 p.m.

Advance-sale tickets are $35 at Orange Tree Imports and the Willy St. Co-op (East and West). Online advance-sale tickets are available at https://madisonbachmusicians.org. Tickets at the door at $38 for general admission and $35 for seniors. Student Rush tickets are $10 at the door and go on sale 30 minutes before the lecture.

The program features masterworks by Bach, Handel, Purcell and Torelli which, in their appealing Baroque way, explore the fusion of celebration, reflection and ultimate renewal often felt as the year’s end approaches.

MBM welcomes baroque trumpet virtuoso Kathryn Adduci (below), who will show how wonderfully vintage brass resounds in the magnificent Old World acoustics of the church.

Other performers are: Ariadne Lih, soprano (below); Lindsey Meekhof, alto; Ryan Townsend Strand, tenor; Michael Hawes, bass; Christine Hauptly Annin and Nathan Giglierano, violins; Micah Behr, viola; James Waldo, cello; and Trevor Stephenson, harpsichord.

Here are a couple of fun facts, provided by Stephenson, about each piece on the program.

Sound the Trumpet, by Henry Purcell (1659−1695, below)
1. This piece was composed in 1694, the year before Purcell died at the age of just 36. It is part of a birthday ode — Come Ye Sons of Art, Away! — for Queen Mary II of England, wife of King James II.
2. There is no trumpet in it at all, but the two voices implore the trumpet to play and they emulate trumpet-style writing with long, swelling notes mixed in with brilliant decorative flourishes.


Trumpet Concert in D major 
by Giuseppe Torelli (1658−1709, below)
1. Torelli was one of the most prolific trumpet composers of all time.
2. The baroque trumpet has no valves and is designed to play in one tonality at a time. Favorite baroque keys were D major and C major.

Comfort Ye and Every Valley from Messiah, by George Frideric Handel (1685−1759, below)
1. After the instrumental Overture to Messiah, this Recitative and Aria are the work’s first sung pieces.
2. Handel was 56 years old when he composed Messiah in 1741 in London; the work was premiered, however, in Dublin in 1742, much to the chagrin of Handel’s librettist Charles Jennens.

Cantata BWV 51, Jauchzet Gott in allen Landen (Exult in God in Every Land), by Johann Sebastian Bach (1685−1750, below)
1. Composed around 1730, this is one of the very few Bach cantatas requiring only one singer.
2. In Bach’s Leipzig church, where the work was probably first heard, the soloist would have been either a male falsettist (or castrato) or an exceptionally skilled boy soprano.

Contrapunctus XIX and Vor deinen Thron tret ich hiermit (Before Thy throne I stand), from The Art of Fugue, BWV 1080, by J.S. Bach
1. According to Bach’s son Carl Philipp Emanuel (CPE), this fugue is the last piece his father wrote — though scholars hotly contest this claim.
2. In measure 195, Bach’s own name appears suddenly as a musical motive: B (B-flat in the German scale) – A – C – H (B natural) and the fugue has no ending but simply trails off in measure 239.

Grosser Herr, o starker König (Great Lord, O Powerful King) from Christmas Oratorio,BWV 248, by J.S. Bach
1. It features dance-like melodic figures in dialogue between trumpet and solo bass voice. (Heard in the YouTube video at the bottom.)
2. Text celebrates the birth of the savior, which makes the powers of the Earth irrelevant.

Cantata BWV 196, Der Herr denket an uns (The Lord thinks of us),by J.S. Bach
1. With its textual focus on blessings (from Psalm 115), the work is likely a wedding cantata.
2. Written probably when Bach was only 22 years old, the work is absolutely perfect in its structure and easy concision; its high-energy but quiet final cadence has a curiously modern, neo-Classical charm that might have made Stravinsky smile.

Chorale: Wohl mir, dass ich Jesum habe (What joy for me that I have Jesus),from Cantata, BWV 147, Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life)by J.S. Bach
1. The famous opening figure in the strings is really just Bach’s ingenious obligato lead-in to a chorale tune that parishioners in his church would have instantly recognized.
2. This work has enjoyed tremendous popularity as “Jesu, Joy of Man’s Desiring” since it was arranged for one and then two pianos in 1926 and 1934 respectively by English pianist Myra Hess. It has since been arranged for myriad combinations of instruments and voices.


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Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
2 Comments

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By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)
  • AEQUA – ANNA THORVALDSDÓTTIR
    Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
  • BRUCKNER: SYMPHONY NO. 9
    Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
  • RILEY: SUN RINGS
    Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)
  • BLANTON ALSPAUGH
  • Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
    • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
    • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
    • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
    • Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
    • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
    • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
    • Visions Take Flight (Mei-Ann Chen & ROCO)
  • JAMES GINSBURG (below)
  • Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
    • Silenced Voices (Black Oak Ensemble)
    • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
    • Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
    • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
  • MARINA A. LEDIN, VICTOR LEDIN
  • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
    • The Orchestral Organ (Jan Kraybill)
    • The Poetry Of Places (Nadia Shpachenko)
    • Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
  • MORTEN LINDBERG
  • Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
    • Kleiberg: Do You Believe In Heather? (Various Artists)
    • Ljos (Fauna Vokalkvintett)
    • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
    • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
    • Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
  • DIRK SOBOTKA
  • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

 75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

  • BRUCKNER: SYMPHONY NO. 9
    Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • COPLAND: BILLY THE KID; GROHG
    Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • NORMAN: SUSTAIN
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)
  • TRANSATLANTIC
    Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • WEINBERG: SYMPHONIES NOS. 2 and 21
    Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

  1. Best Opera Recording
    Award to the Conductor, Album Producer(s) and Principal Soloists.
  • BENJAMIN: LESSONS IN LOVE & VIOLENCE
    George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
  • BERG: WOZZECK
    Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
  • CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
    Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
  • PICKER: FANTASTIC MR. FOX
    Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
  • WAGNER: LOHENGRIN
    Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

  1. Best Choral Performance
    Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
  • BOYLE: VOYAGES
    Donald Nally, conductor (The Crossing)
  • DURUFLÉ: COMPLETE CHORAL WORKS
    Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
  • THE HOPE OF LOVING
    Craig Hella Johnson, conductor (Conspirare)
  • SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
    Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
  • SMITH, K.: THE ARC IN THE SKY
    Donald Nally, conductor (The Crossing)

  1. Best Chamber Music/Small Ensemble Performance
    For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • CERRONE: THE PIECES THAT FALL TO EARTH
    Christopher Rountree and Wild Up
  • FREEDOM & FAITH
    PUBLIQuartet
  • PERPETULUM
    Third Coast Percussion
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Hermitage Piano Trio
  • SHAW: ORANGE
    Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • THE BERLIN RECITAL
    Yuja Wang
  • HIGDON: HARP CONCERTO
    Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
    Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
  • THE ORCHESTRAL ORGAN
    Jan Kraybill
  • TORKE: SKY, CONCERTO FOR VIOLIN
    Tessa Lark; David Alan Miller, conductor (Albany Symphony)

 80. Best Classical Solo Vocal Album  Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
    Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
  • HIMMELSMUSIK
    Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
  • SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
    Matthias Goerne; Leif Ove Andsnes, accompanist
  • SONGPLAY
    Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
  • A TE, O CARA
    Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

  

  1. Best Classical Compendium
    Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
  • AMERICAN ORIGINALS 1918
    John Morris Russell, conductor; Elaine Martone, producer
  • LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
    Giancarlo Guerrero, conductor; Tim Handley, producer
  • MELTZER: SONGS AND STRUCTURES
    Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
  • THE POETRY OF PLACES
    Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
  • SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
    Hannu Lintu, conductor; Laura Heikinheimo, producer

  

  1. Best Contemporary Classical Composition
    A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
    Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
  • HIGDON: HARP CONCERTO
    Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO IN D MAJOR
    Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
  • NORMAN: SUSTAIN
    Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
  • SHAW: ORANGE
    Caroline Shaw, composer (Attacca Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

 


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Classical music: Friday night, the UW Concert Choir marks the assassination of JFK and the opening of Hamel Music Center. Plus, WYSO gives a Wisconsin premiere with a returning alumna as soloist

November 21, 2019
1 Comment

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ALERT: This Friday night, Nov. 22, at 7 p.m. in Mills Hall, the Wisconsin Youth Symphony Orchestra’s Youth Orchestra, under conductor Kyle Knox, will present a concert with two guest artists performing the Wisconsin premiere of the Double Concerto for Clarinet and Bassoon composed for them by American composer Jonathan Leshnoff, who is known for his lyricism. (Sorry, there is no word about other works on the program.) Tickets are $10, $5 for 18 years and under, and are available at the door starting at 6:15 p.m.)

The two soloists are principals with the Pittsburgh Symphony Orchestra. The bassoonist is Nancy Goeres, a Lodi native who is a returning WYSO alumna. If you want to read an interview with her and get more background, you can’t do better for a preview than the piece by Greg Hettmansberger for Madison Magazine and Channel 3000. Here is a link: https://www.channel3000.com/madison-magazine/arts-and-culture/wisconsin-youth-symphony-welcomes-two-special-guests/1143372727

By Jacob Stockinger

At 8 p.m. this Friday, Nov. 22, in the Mead Witter Foundation Concert Hall, the UW-Madison Concert Choir (below) will perform its first solo concert in the new Hamel Music Center.

Conductor Beverly Taylor (below), the director of choral activities at the UW-Madison who will retire at the end of this academic year, sent the following announcement:

“The a cappella program is entitled “Fall Favorites: Houses and Homecomings.”

“This year I’m particularly picking some of the pieces I like the best from my years here, although I’ll still add a few new things.

“The “Houses” part is primarily “Behold I Build an House” by American composer Lukas Foss (below), which was written for the dedication of Marsh Chapel at Boston University, and which I thought was a good piece for the opening of the Hamel Music Center.

“We’re also performing the wonderful -and difficult —“Take Him, Earth, for Cherishing,” which British composer Herbert Howells (below top) wrote in memory of John F. Kennedy (below bottom). You’ll notice our concert is also on Nov. 22, the same day in 1963 when JFK was assassinated in Dallas, Texas. (You can hear the Howells work in the YouTube video at the bottom.)

“Besides these two big works are wonderful motets by Orlando di Lasso, Maurice Duruflé, Heinrich Schütz and Melchior Vulpius, plus some African, American and African-American folk songs.”

 


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