PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FOWARD 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
What did the holidays bring you?
Did Hanukkah, Christmas or Kwanzaa bring you a gift card?
A subscription to a streaming service?
Maybe some cash?
Or maybe you just want to hear some new music or new musicians or new interpretations of old classics?
Every year, the music critics of The New York Times list their top 25 recordings of the past year. Plus at the end of the story, the newspaper offers a sample track from each recording to give you even more guidance.
This year is no exception (below).
In fact, the listing might be even more welcome this year, given the coronavirus pandemic with the lack of live concerts and the isolation and self-quarantine that have ensued.
The Ear hasn’t heard all of the picks or even the majority of them. But the ones he has heard are indeed outstanding. (In the YouTube video at the bottom, you can hear a sample of the outstanding Rameau-Debussy recital by the acclaimed Icelandic pianist Vikingur Olafssen, who scored major successes with recent albums of Philip Glass and Johann Sebastian Bach.)
You should also notice that a recording of Ethel Smyth’s “The Prison” — featuring soprano Sarah Brailey (below), a graduate student at the UW-Madison’s Mead Witter School of Music and a co-founder of Just Bach — is on the Times’ list as well as on the list of Grammy nominations.
What new recordings – or even old recordings — would you recommend?
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
Last Monday, Aug. 31, superstar violin virtuoso Itzhak Perlman (below, in a photo by Yael Malka of The New York Times) turned 75.
To celebrate, Sony Classical released a boxed set of 18 CDs (below) with many performances by Perlman – solo, chamber music and concertos – recorded over many years.
On the occasion of Perlman’s birthday, critic Corinna da Fonseca-Wollheim of The New York Times wrote a retrospective review of Perlman’s long career. (You can hear his most popular performance ever — with more than 6 million hits — in the YouTube video at the bottom.)
The Ear finds the opinion piece both brave and truthful, pointing out Perlman’s mastery of the Romantic repertory but also criticizing his stodgy treatment of Vivaldi and other Baroque music that has benefitted from the period-instrument movement and historically informed performance practices
Yet the essay, which also touches on ups and down of Perlman’s career, always remains respectful and appreciative even when discussing Perlman’s shortcomings.
Offering many historical details and photos as well as sample videos, the critical assessment of Perlman seems perfectly timed.
If you have heard Itzhak Perlman either on recordings or live – at the Wisconsin Union Theater, the old Civic Center or Overture Hall — let us know what you think.
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
Have you or someone in your family used the COVID-19 lockdown and staying at home to practice, play or learn the piano?
You’re not alone.
A year ago, stories in the media tracked how pianos were quickly becoming a thing of the past in American homes. People were giving pianos away for free and for the cost of moving.
But then the coronavirus pandemic arrived, along with lockdowns, online learning and sheltering at home.
National news media discovered some unexpected good news, especially since public concerts have been canceled: The pandemic has brought a renewed interest in playing the piano at home – and in buying them.
The Ear wanted to find out if that same trend holds true in Madison.
“It does,” says Tim Farley, who — with his wife Renee — owns and operates Farley’s House of Pianos on the far west side near West Towne Mall. (The top photo from the store is from the Better Business Bureau. The two owners are seen below bottom in a photo from Isthmus newspaper).
“It’s weird,” he adds. “We had to close. When we re-opened, we cut back on hours and staff. Like many others, we figured there would be an end to business for a while.”
But just the opposite happened.
“Our sales are up about 34 percent compared to a year ago,” Farley adds. “We’re happy how things are going.”
Most of the sales increase has been in digital pianos, Farley says, although a lot of excellent acoustic pianos have also been sold, including a Hamburg Steinway.
Part of what accounts for the increase, he speculates, is that teachers inspire students to want better instruments.
Farley’s sells new and restored pianos (below), and also has an extensive teaching program, with online lessons during the pandemic. (For isolation practicing ideas and advice, see the YouTube video at the bottom.)
The Ear wonders if the same trend is happening in Europe and especially Asia — particularly China, Taiwan, South Korea and Japan — where so many great young pianists are coming from and winning international competitions.
For more about the national picture in the U.S., including background history, information about prices, increases in online sales and the demographics of buyers, you should read this oustanding story by music critic Corinna da Fonseca-Wollheim in The New York Times: