The Well-Tempered Ear
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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WORT-FM 89.9 now has a Monday morning show of modern and contemporary classical music with Paul Baker
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By Jacob Stockinger
The listener-sponsored, community radio station WORT-FM 89.9 — long a home for classical music from all eras, from the earliest to the newest — has a new program to join its many others about music in all genres and all periods as well as news and commentary about public affairs.
It airs on Monday mornings from 5 a.m. to 8 a.m. with Paul Baker (below, in his WORT studio). He is well-known radio host, music critic and amateur musician.
Baker recently shared with The Ear some insights into his new show “Listen Adventurously”:
Are you still doing your show for WSUM, the student-run FM radio station at the University of Wisconsin-Madison?
I hosted Only Strings on WSUM-FM 91.7 to focus on chamber music at a time when I was taking cello lessons. I wanted to absorb as much chamber music as possible, and preparing for, and hosting, a radio program was one good way to do that. I ended the show in 2019 when I reached the five-year mark.
How did the new WORT show come about?
I’ve been a WORT fan for more than 30 years. I know many of the program hosts and have been in touch with the music director, Sybil Augustine, for some time.
I had hosted a WORT Sunday early morning show briefly about 20 years ago. The Monday morning classical slot recently became available when Christopher Delamarter stepped down, so I raised my hand.
What can you tell us about the content of the show?
The show has been billed as 20th-century classical music. I am extending that to include pieces from the 2000s as well — things written as recently as last year. There is just so much good material. Younger composers and performers deserve to be heard.
So the show will feature Bartok and Shostakovich and Samuel Barber, of course, but also Philip Glass and Arvo Pärt and Jennifer Higdon and Laura Schwendinger (below, who teaches at the UW-Madison’s Mead Witter School of Music and whose music is widely performed) and Chicago’s Third Coast Percussion Ensemble. In my opinion, there’s a lack of local availability to hear this music.
I enjoy sharing music with people. When I worked on campus, I programmed three shows for WSUM-FM. Now that I’m retired, I’m happy to have this opportunity on WORT. The only drawback is that I must get up at 4 a.m. for the 5 a.m. air time. But I’m a morning person, so it’s not that bad.
Editor’s note: If you want to see a sample playlist, as well as WORT’s daily show schedule, here a link to the one from this past Monday: https://www.wortfm.org/on-air-schedule/
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Ukraine’s most famous living composer is now a war refugee in Germany
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By Jacob Stockinger
He fights and defends his native country with beautiful sounds.
Ukraine’s most famous living composer has had to flee his war-torn country and — like some 3 million fellow Ukrainians in various other countries — is now living as a a war refugee in Germany.
He is Valentin Sylvestrov (below), 84, and has survived both World War II and the Nazi occupation as well as the Soviet rule experiencing democracy and freedom after the fall of the USSR and now the devastating Russian invasion five weeks ago.
The irony is that his music, which The Ear can’t recall ever hearing performed live in Madison — although Wisconsin Public Radio recently featured a beautiful choral work — seems calming and peaceful, even consoling.(Please correct me if I am mistaken.) Many people compare him to the style of Arvo Pärt, his Eastern European contemporary and colleague in Estonia.
Little wonder that his works have found a new popularity in worldwide concerts as the world hopes for the survival and victory of Ukraine — below is Ukraine’s flag — over Vladimir’s Putin’s army and war crimes.
His works have been particularly popular at fundraisers and memorials. They underscore the long history and importance of Ukraine’s tradition of making music, which has been recounted in the news features you find in the press, on TV, on radio and elsewhere in the media including live streams and recorded videos other media, especially the Internet.
As far as The Ear can tell, his most popular work in the concert hall these days is his hauntingly beautiful 1937 “Prayer for Ukraine.” You can hear it, in an orchestra version, in a YouTube video at the bottom.
As background here are two different interviews with the distressed and saddened Sylvestrov in exile.
The first interview, from The New York Times, is by a professor at Arizona State University who has published a book on postwar Eastern European composers and offers links to more works: https://www.nytimes.com/2022/03/30/arts/music/valentin-silvestrov-ukraine-war.html
The other interview is from the German media outlet Deutsche Welle, translated into English and featuring current photos: https://www.dw.com/en/ukrainian-composer-valentin-silvestrov-what-are-you-kremlin-devils-doing/a-61158308
The tragic occasion of the war in Ukraine could be the event that brings the soul-stirring music of Sylvestrov to a larger global public.
He certainly deserves it — along with some live performances here — and The Ear certainly plans on posting more of his music.
Have you heard the music of Valentin Sylvestrov?
Do you have favorite works from his piano music, chamber music, choral music and many symphonies?
The Ear wants to hear.
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Critics for The New York Times name their Top 10 online classical concerts for May
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By Jacob Stockinger
Even as we wait to see whether concerts in the next season will be mostly streamed or live, the critics for The New York Times have named their Top 10 classical concerts to stream and hear online in May.
The Times critics have been doing this during the pandemic year. So perhaps if and when they stop, it will be a sign of returning to concert life before the pandemic.
Then again, maybe not, since The Ear suspects that many listeners have liked the online format, at least for some of the times and for certain events. So maybe there will be a hybrid format with both live and online attendance.
As the same critics have done before, they mix an attention to contemporary composers, world premieres and up-and-coming performers, including the Finnish conductor Susanna Maliki (below top) in a photo by Hiroyuki Ito for The New York Times).
In a welcome development, the recommendations for this month also seem to mention more Black composers, performers and pieces than usual, including the rising star bass-baritone Davon Tines (below, in a photo by Vincent Tullo for The New York Times).
But you will also find many of the “usual suspects,” including Haydn, Mozart, Schubert, Bartok, Benjamin Britten, Olivier Messiaen and Shostakovich. (On the play list is Schubert’s last song, “The Shepherd on the Rock,” which you can hear in the YouTube video at the bottom.)
You will also find dates and times (all are Eastern), links to the event and some short commentaries about what makes the concerts, programs and the performers noteworthy.
Here is a link to the story: https://www.nytimes.com/2021/04/29/arts/music/classical-music-streaming.html
Do you know of local, regional, national or international online concerts that you recommend? Leave word with relevant information in the Comment section.
Happy Listening!
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The Wisconsin Union Theater closes its 2020-21 season with only one online concert this weekend. Sō Percussion on Saturday night has been CANCELED. The Wisconsin Sound all-Beethoven concert with the Pro Arte Quartet will take place at noon on Sunday.
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By Jacob Stockinger
Two online concerts this weekend were supposed to close the 2020-21 season at the Wisconsin Union Theater.
On Saturday night at 7:30 p.m., the usual subscriber season was supposed to wind up with an online concert by the Sō Percussion Ensemble with the contemporary Pulitzer Prize-winning American composer Caroline Shaw.
That concert has been CANCELED. No reason is listed.
On this Sunday, May 2, at noon CDT, however, the University of Wisconsin-Madison’s acclaimed string quartet, the Pro Arte Quartet (below top), will by joined by pianist and UW-Madison graduate Thomas Kasdorf (below bottom) in an all-Beethoven concert.
This will be the last concert of the WUT’s innovative Wisconsin Sounds – they feature local performers– this season.
Here are more details:
PROGRAM and PERFORMERS
The “Beethoven in C Minor” program will feature two works:
String Trio in C minor, Op. 9, No. 3 (1797-98). Performers are Sally Chisholm, viola; Parry Karp, cello; and David Perry, violin.
Piano Trio in C Minor, Op. 1, No. 3 (1793-4). Performers are: Suzanne Beia, violin; Parry Karp, cello; and Thomas Kasdorf, piano. You can hear the opening movement in the YouTube video at the bottom.
The Pro Arte Quartet’s performance of early works by the young Beethoven (below) is part of the Wisconsin Sound Series, which showcases and supports local musicians and artists during the coronavirus pandemic.
Learn more about the series.
To learn more about the Pro Arte Quartet, go to the group’s Website or page on Facebook
TICKETS
Tickets cost $15 and are available at the Wisconsin Union Theater box office. You can purchase tickets and also see more information about the program and performers here: https://union.wisc.edu/events-and-activities/event-calendar/event/pro-arte-quartet/
For ticket buyers who purchase a ticket less than two hours before the event start time, the link to view the concert will be in the confirmation email you will receive immediately following your purchase. This link will be accessible for seven days following the initial broadcast.
For all other purchases, all emails will come from https://union.wisc.edu/visit/wisconsin-union-theater/theater-tickets/
If you do not receive your email to your inbox, please check your junk or spam folder in case it was filtered there. If you have questions or problems, the box offices phone number is (608) 265-ARTS (2787).
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Edgewood College will live-stream its FREE Spring Celebration concert this Friday night
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By Jacob Stockinger
At 8 p.m. CDT this Friday night, April 30, the music department at Edgewood College will live-stream its FREE online Spring Celebration concert.
Here is the link: music.edgewood.edu
Here is the program:
The Edgewood Chamber Orchestra (below) will perform music by the Austrian composer Johann Nepomuk Hummel, who studied with Mozart and knew Haydn, Beethoven and Schubert (see the Wikipedia bio at https://en.wikipedia.org/wiki/Johann_Nepomuk_Hummel; Krzysztof Penderecki, a Polish composer who died a year ago March; and the Argentinean “new tango” composer Astor Piazzolla, whose birth centennial was last month. Soloists include Gwyneth Ferguson on trumpet, and Malia Huntsman on oboe.
The Chamber Singers (below) will offer selections from Broadway musicals and contemporary choral arrangements, including Lord of the Rings by Enya, works from Josh Groban, and the Polish composer Henrik Gorecki.
The Guitar Ensemble will perform Haru no Umi (The Sea in Spring) by the Japanese composer Michio Miyagi (below), and a medley from the 1970s rock group Chicago: 25 or 6 to 4/Saturday in the Park, by Mark Lamm.
The Chamber Winds will perform selections from Crooner’s Serenade; Josef Rheinberger’s Evening Song (Abendlied, in the YouTube video at the bottom); and an arrangement of John Williams’ movie score for Star Wars: The Force Awakens.
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The UW Symphony strings and Pro Arte Quartet team up Thursday night for a free online MUST-HEAR concert of Shostakovich, Elgar and Caroline Shaw. TONIGHT you can hear free piano and percussion recitals
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All times are Central Daylight Time.
ALERTS: Tonight from 6:30 to 8 p.m. in Collins Recital Hall of the Hamel Music Center, the UW-Madison Mead Witter School of Music will present a departmental piano recital with undergraduate and master’s students. There is no listing of performers and pieces yet. One assumes they will be announced during the live-stream. Here is the link to take you to the YouTube video: https://www.youtube.com/watch?v=-7muCH_gupA
Then from 7:30 to 9 p.m., the UW Chamber Percussion Ensemble will live-stream a concert from the Mead Witter Foundation Concert Hall. Here is the YouTube link. If you click on Show More, you will find the details of the program and composers: https://www.youtube.com/watch?v=xWv285nZutI
By Jacob Stockinger
This Thursday night, April 22, you can hear two of the musical groups that The Ear found most impressive and consistently excellent during the Pandemic Year.
At 7:30 p.m., the UW-Madison Symphony Orchestra’s string section (below) and the Pro Arte Quartet will team up to perform a free 90-minute, live-streamed concert online.
It is one of the last major concerts of this school year and will be conducted by the outstanding music director and conductor of the orchestra, Professor Oriol Sans (below).
For The Ear, it is a MUST-HEAR concert.
Here is a link to the YouTube site where you can see and hear it: https://youtu.be/TN2PftBJ4yg. If you click on Show More, you can see the members of the orchestra’s strings along with a list of the graduating seniors.
All the works on the innovative program are closely informed by the string quartet.
The program includes the darkly dramatic five-movement Chamber Symphony, Op. 110a, based on the famous and popular String Quartet No. 8, by Dmitri Shostakovich; the orchestral version of the entrancing and quietly hypnotic “Entr’acte” — heard in the YouTube video at the bottom — that was originally written for string quartet by the Pulitzer Prize-winning contemporary American composer Caroline Shaw (below, in a photo by Kait Moreno); and the Introduction and Allegro for String Quartet and String Orchestra by Sir Edward Elgar.
The UW-Madison’s acclaimed Pro Arte Quartet (below) is the soloist and will join forces with the orchestra for the Elgar work. Quartet members are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.
And here is a link to more information about the program and to more extensive program notes: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-8/
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The Madison Bach Musicians host a virtual online Baroque Tour starting this Saturday, April 24, and lasting through May 8
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By Jacob Stockinger
The Ear has received the following notice from Trevor Stephenson, the founder and artistic director of the Madison Bach Musicians (MBM), who will debut their season-closing concert live and online this coming Saturday night, April 24:
Stephenson (below) writes:
Since travel has been so very limited during the pandemic, Madison Bach Musicians is elated to conclude its 2020-21 season with a musical journey through both space and time, and invites you to join us from the intimacy and safety of your own home.
A Baroque Tour is a musical travelogue of instrumental masterworks from 17th- and 18th-century Europe. Luminaries like Handel, Vivaldi, Purcell and Buxtehude are in the mix on this program with their brilliant though lesser-known contemporaries such as Louis-Gabriel Guillemain (below top), Marc-Antoine Charpentier, Andrea Falconieri (below bottom) and Francisco Jose de Castro.
A Baroque Tour will explore the glorious sonic landscapes of Italy, Spain, France, England and Germany.
Our ensemble for this program consists of five strings plus harpsichord, and we are thrilled that baroque bassoon virtuoso Marc Vallon (below, in a photo by James Gill), who teaches at the UW-Madison’s Mead Witter School of Music, will join us for Vivaldi’s exuberant Bassoon Concerto in B-Flat Major. (You can hear the opening movement in the YouTube video at the bottom.)
A Baroque Tour will be broadcast via live-streaming from the acoustically spectacular sanctuary of Grace Episcopal Church on this Saturday evening, April 24. (Rebroadcasts will be available on demand through May 8.)
Tickets are $15 and available online at: https://madison-bach-musicians.square.site/product/a-baroque-tour-april-24-2021-livestream-on-demand-until-may-8/57?cs=true&cst=custom
If you wish to purchase tickets through the mail, use this downloadable form: https://madisonbachmusicians.org/wp-content/uploads/2021/03/MBM-2020-21-Live-Stream-Ticket-Form-A-Baroque-Tour.pdf
Here is the schedule for the concert and related events:
From 7:30-8 p.m., in a pre-concert lecture, MBM artistic director Trevor Stephenson will discuss the composers, the repertoire and the historical instruments.
The performance will run from 8 p.m. until approximately 9:15 p.m.
The evening will then conclude with a live Question-and-Answer session with the musicians who will be socially distanced on the concert platform.
Listeners should submit their questions—in advance or during the broadcast—via email to Karen Rebholz at madisonbachmusicians.manager@gmail.com.
THE MUSICIANS are:
Marc Vallon – baroque bassoon soloist
Kangwon Kim (below) – baroque violin
Emily Dupere – baroque violin
Micah Behr – baroque viola and baroque guitar
Martha Vallon – baroque cello and viola da gamba
James Waldo – baroque cello (and tambourine)
Trevor Stephenson – harpsichord
THE PROGRAM is:
HANDEL – Sonata in A major for Violin and Continuo, HWV 361
CHARPENTIER – Concerto for Four Viols, H 545
PURCELL – Trio Sonata in C major, Z 795
VIVALDI – Bassoon Concerto in B-flat major, RV 503
GUILLEMAIN – Sonata in A minor for Two Violins, Op. 5, No.1
BUXTEHUDE – Trio Sonata in G major, BuxWV 271
DE CASTRO – Trio Sonata in C major, Op. 1, No. 6
FALCONIERI – La Folia (Folías de España)
Here is a link to some brief biographies and interesting facts about these remarkable composers: https://madisonbachmusicians.org/april-24-a-baroque-tour-a-livestream-event/
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New York Times critics choose 10 online classical music concerts to stream in February, starting this Thursday
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By Jacob Stockinger
As they have done for previous months during the coronavirus pandemic, the classical music critics for The New York Times have named their top 10 choices of online concerts to stream in February, which is also Black History Month, starting this Thursday, Feb. 4.
Also predictably, they focus on new music – including a world premiere — new conductors and new composers, although “new” doesn’t necessarily mean young in this context.
For example, the conductor Fabio Luisi (below) is well known to fans of Richard Wagner and the Metropolitan Opera. But he is new to the degree that just last season he became the new conductor of Dallas Symphony Orchestra and its digital concert series.
Similarly, the Finnish composer Magnus Lindberg (below top, in a photo by Saara Vuorjoki) and the American composer Caroline Shaw (below bottom, in a photo by Kait Moreno), who has won a Pulitzer Prize, have both developed reputations for reliable originality.
But chances are good that you have not yet heard of the young avant-garde cellist Mariel Roberts (below top) or the conductor Jonathon Heyward (below bottom).
Nor, The Ear suspects, have you probably heard the names and music of composers Angélica Negrón (below top), who uses found sounds and Tyshawn Sorey (below bottom). (You can sample Negrón’s unusual music in the YouTube video at the bottom.)
Of course, you will also find offerings by well-known figures such as the Berlin Philharmonic and its Kurt Weill festival; conductor Alan Gilbert; pianists Daniil Trifonov and Steven Osborne; violinist Leonidas Kavakos; and the JACK Quartet.
Tried-and-true composers are also featured, including music by Beethoven, Schnittke, Weber, Ravel and Prokofiev. But where are Bach, Vivaldi, Telemann and Handel? No one seems to like Baroque music.
Here is a link to the events with links and descriptions. All times are Eastern: https://www.nytimes.com/2021/01/28/arts/music/classical-music-streaming.html
Do you have other virtual and online concerts to suggest? Please leave details in the Comment sections.
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The Well-Tempered Ear 
To celebrate Pride month, here are lists of LGBTQ+ composers, performers and musical ensembles
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By Jacob Stockinger
June is Pride month.
And this weekend will see Pride marches and celebrations in some major cities including New York City, Chicago, Paris and Rome.
As time passes, scholars are finding out more about the LGBTQ+ composers, performers and musical groups that have been hidden by history.
And some ironies emerge. One can only imagine the response of conservative, right-wing Evangelical Christians who find out that the composer of “Messiah” – George Frideric Handel (below) — was queer, at least according to some researchers.
For most listeners, surprises abound.
Here is a good place to start. It is the very large Wikipedia entry of LGBTQ+ composers and performers, both contemporary and historical. The Ear finds it very informative. It is organized by the kind of musicians they are and the category of their sexual identity. https://en.wikipedia.org/wiki/Category:LGBT_musicians
If you want to be more selective, try these: https://www.classicfm.com/discover-music/greatest-lgbtq-conductors-you-should-know/. They include Marin Alsop (below top) and her teacher and mentor Leonard Bernstein (below bottom).
Here is longer essay that focuses on lesbian conductors as well as gay men and reaches back to the Middle Ages: http://www.glbtqarchive.com/arts/conductors_A.pdf
And here is one with some great photos or pictures of the individuals: https://www.classicfm.com/discover-music/great-classical-composers-who-were-gay/
Finally, here are some of the international music ensembles – with audio samples of their performances — made up of LGBTQ+ singers and instrumentalists, including the Rainbow Symphony of Paris (in the YouTube video at the bottom, performing the beautiful Gloria by the gay French composer Francis Poulenc in a benefit Concert Against Homophobia for UNESCO): https://www.classicfm.com/discover-music/best-lgbtq-classical-music-ensembles/
Inevitably, some readers will react by asking: What difference does the sexual identity of composer or performer make? All that matters, they argue, is the music.
Here is a reply to that specious argument that focuses on Yannick Nézet-Séguin (below), the music director of the Metropolitan Opera, the Philadelphia Orchestra and the City Symphony of Montreal. It appeared in The New York Times: https://www.nytimes.com/2019/01/15/arts/music/yannick-nezet-seguin-met-opera-gay.html
Happy Pride – this month and every day of the year!
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