The Well-Tempered Ear
Ailing superstar maestro and pianist Daniel Barenboim, 80, quits longtime German opera post
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By Jacob Stockinger
Yesterday — Friday, Jan. 6, 2023 — superstar maestro and pianist Daniel Barenboim, 80, resigned his longtime post of over 30 years as director of the Berlin State Opera.
Barenboim (below) cited ill health — specifically a severe inflammation of blood vessels — as the reason for his resignation.
Local residents might recall his long tenure at the Chicago Symphony Orchestra, where many of them probably heard him conduct and perhaps even perform as a concert pianist.
Here is a long biographical entry in Wikipedia:
https://en.wikipedia.org/wiki/Daniel_Barenboim
Below are links to two news articles about Barenboim’s decision.
In them you can read a lot of details about: his philosophy of interpretation; his childhood as a Jewish child prodigy in Argentina; his training and early career as both pianist and conductor; his performances with marriage to British cellist Jacqueline du Pré, who died young; his love of German music and his role in Germany’s reunification; his controversial criticism of how Israel treats Palestinians; and the orchestra and music school he co-founded with the Palestinian activist and world-famous literary scholar Edward Said.
Here is a story from British newspaper The Guardian:
And here is the story from the German broadcasting network and media conglomerate Deutsche Welle:
https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.dw.com%2Fen%2Fconductor-daniel-barenboim-resigns-as-berlin-state-opera-director-over-ill-health%2Fa-63760683&data=05%7C01%7C%7Ceeb75c8f244542d0496e08daf02ed28b%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0e%7C638086381129033294%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=qmTwyPzkWpJKfAT4ohHJVWWnISE%2BxZS%2FxuM7hrC09zQ%3D&reserved=0
Finally, here is a recent compilation video from the outstanding arts website and streaming service medici.tv to celebrate Barenboim’s recent 80th birthday. It is called “80 Minutes with the Barenboim” and it features many other classical luminaries such as Itzhak Perlman, Pinchas Zukerman and Pierre Boulez who have been vital to his life and global career.
Do you know any of Barenboim’s many recordings?
Do you have a favorite recording to recommend?
Did you ever hear Barenboim in person conduct or play the piano?
What did you think of him? Of his conducting or playing?
The Ear wants to hear.
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This weekend, starting Friday night, the Wisconsin Chamber Orchestra finishes up its winter season of online chamber music
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By Jacob Stockinger
This is the time of the year when music groups generally announce their next season while finishing up the current one.
But of course the pandemic continues to shroud plans for the new upcoming season in uncertainty and whether it will be online or in-person.
Meanwhile, groups are in the final stretch of finishing up this season.
This Friday night, April 16, at 7:30 p.m., the Wisconsin Chamber Orchestra (WCO, below in photo by Mike Gorski) will debut the fourth and last online chamber music concert of its curtailed and substituted winter season.
The varied program includes works, both well-known and neglected, by four composers — from Italy, Russia, France and Austria — who come from the 18th, 19th and 20th centuries.
The concert begins with the complete Concerto for Four Violins in B minor, RV 580, by Antonio Vivaldi (below). The string accompaniment will be scaled down.
Then comes the complete Septet for Winds, Strings and Piano by Russian composer Igor Stravinsky (below).
The first and third movements of the Nonet by the rediscovered 19th-century French composer Louise Ferenc come next. (Here is the Wikipedia link to Ferenc (below):
https://en.wikipedia.org/wiki/Louise_Farrenc
The final music will be the first, fourth and fifth movements – including the famous theme-and-variations – of the famously tuneful “Trout” Piano Quintet by Franz Schubert (below).
In the YouTube video at the bottom, you can hear the namesake theme-and-variations movement — based on one of Schubert’s songs — played by Itzhak Perlman, Pinchas Zukerman, Daniel Barenboim, Jacqueline du Pre and Zubin Mehta, with a graphical depiction of the score.
The concert lasts 60-75 minutes.
Tickets are $30.
Here is a link to program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz) and to purchasing a ticket through the Overture Center box office.
The ticket is good for one viewing between Friday night and Monday night, April 19, at 7:30 p.m.
https://wcoconcerts.org/events/winter-chamber-series-no-iv
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Classical music: Autumn arrives today. What composers, works and instruments do you like to listen to in fall? The Ear favors late Brahms – specially the strings, the piano and the clarinet
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By Jacob Stockinger
Fall arrives today.
The autumn equinox will occur at 8:54 p.m. Central Daylight Time.
As the days get markedly shorter and the night longer, one’s mood often changes as do one’s listening preferences.
Many composers have written pieces about autumn, and you are sure to hear many of them on Wisconsin Public Radio or other media outlets.
But The Ear has his favorites.
Not for nothing is the late music of Johannes Brahms described as autumnal, both because it happens late in the composer’s life and because of its bittersweet sounds, its poignant harmonies and its melancholy melodies.
For The Ear, you will find it in most of late Brahms, especially in the slow movements. He loves the string music – the violin, the cello and especially the viola sonatas – as well as the clarinet sonatas and piano intermezzi.
Below are three samples.
Here is the slow movement from the Violin Sonata No. 3 in D Minor, played by violinist Itzhak Perlman and pianist Daniel Barenboim:
Here is the slow movement of the Sonata in F Minor, Op. 120, No. 1, for, in this case, clarinet or viola:
And here is a particularly moving piano intermezzo, Op. 117, No. 2, in B-flat minor, played by Arthur Rubinstein:
And should you still be unsure what music you like for the fall, here is a link to two hours of music for fall — vocal and instrumental music by Antonio Vivaldi, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Felix Mendelssohn Alexander Glazunov, Peter Tchaikovsky, Giuseppe Verdi, Edvard Grieg, Gustav Mahler and others — put together by Minnesota Public Radio:
Is there a special composer who evokes autumn for you?
What instruments most speak to you of fall?
Are there special works you like to listen to in autumn?
Leave your thoughts in the COMMENT section, along with a link to a YouTube performance if possible.
The Ear wants to hear.
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Classical music: How will Brexit affect classical music in Great Britain? Many musicians and audiences are preparing for the worst
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By Jacob Stockinger
London has long been a international hub of culture, with a special reputation as the home base of many of the great musicians who perform regularly on the Continent.
But how will “Brexit” affect the future of classical music and classical musicians in Great Britain?
Some pretty prominent, active and knowledgeable musicians, including the pianist-conductors Vladimir Ashkenazy and Daniel Barenboim, think it will be for the worst.
One sign is that the European Youth Orchestra (below, in a photo by Peter Adamik, and in the YouTube video at the bottom), which receives a subsidy from the European Union, is moving from London to the city of Ferrara in Italy before Great Britain exits from the European Union.
A particular cause of concern is what kind of confused logistics will happen if visas are required for British groups to tour and perform on the Continent, something that apparently has opera houses especially worried.
A recent story goes into more detail, including charges from Brexit defenders that musicians and representatives of the culture industries in general are being alarmist.
Here is the story, published by The Independent in the United Kingdom and then reproduced in the United States in The New York Times: https://www.independent.co.uk/arts-entertainment/classical/features/brexit-classical-music-musicians-europe-vladimir-ashkenazy-daniel-barenboim-eu-a8483271.html
What do you think?
Leave your opinion in the COMMENT section.
The Ear wants to hear.
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Classical music: New Yorker magazine music critic Alex Ross names his favorite performances, recordings and book of 2017
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By Jacob Stockinger
Many musicologists, musicians and music fans consider Alex Ross (below), of The New Yorker magazine, to be the best music critic in the U.S.
Besides the major awards his two books – “The Rest Is Noise” and “Listen to This” — have won, Ross has a reputation for emphasizing the new, the unknown and the neglected, and for deeply perceptive judgments and original observations.
Now, a lot of other critics, from The New York Times, National Public Radio (NPR) and Gramophone magazine as well as the Grammy nominations have named their Best of 2017.
Here is a link to a posting that contains other links to those different lists:
Yet it seems particularly important and enlightening to consider what Alex Ross has selected for his recommendations for one book, 10 performances and 20 recordings.
Here is a link to Ross’ list, which has many links to samples and reviews:
https://www.newyorker.com/culture/2017-in-review/notable-performances-and-recordings-of-2017
Tags: "Music After the Fall", Alex Ross, America, Arts, award, Bach, Baroque, Beethoven, Björk, Book, Cello, Chamber music, choral music, Classical music, Compact Disc, composer, concerto, critic, Daniel Barenboim, Du Yun, Early music, ECM, experimental, fan, Franz Schubert, Grammy, Hollywood, Hollywood Bowl, JACK Quartet, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, John Adams, John Eliot Gardiner, judgment, Kate Soper, Kurtag, list, Listen to This, Luciano Pavarotti, Ludwig van Beethoven, magazine, Margaret Bonds, Monteverdi, Mozart, Music, musicologist, musicology, New Music, New York City, New York Times, New Yorker, New Yorker magazine, NPR, observation, opera, Orchestra, Orson Welles, performance, Peter Sellars, Piano, recording, Samuel Coleridge-Taylor, Sibelius, Sonata, symphony, The Rest Is Noise, Thomas Demenga, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Wagner, War of the Worlds, William Grant Still, Wolfgang Amadeus Mozart, Yo-Yo Ma
Classical music: Today is the winter solstice. What music best captures or celebrates winter?
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By Jacob Stockinger
Today is the Winter Solstice.
Winter arrives at 10:28 a.m. Central Standard Time.
That means we are turning the corner. Starting today, nights will get shorter and days will get longer.
But there is still plenty of the year’s most blustery and bone-chilling weather ahead of us.
Lots of classical music celebrates winter.
Vivaldi’s “Four Seasons” is a popular choice.
So is the “Winter Dreams” symphony by Tchaikovsky.
Here are links to two compilations of winter music, lasting for a total of more than two hours, on YouTube:
https://www.youtube.com/watch?v=yNMIgZAx2gQ
https://www.youtube.com/watch?v=v2jAweLVLRk
But no music is more wintry than the celebrated song cycle “Winterreise” or “Winter Journey” by Franz Schubert (below).
Every year, The Ear uses the solstice and the coming of winter to listen once again to this deeply moving and surprisingly modern song cycle.
Many excellent recordings exist. Famed German baritone Dietrich Fischer-Dieskau (below left, with pianist Gerald Moore) made multiple recordings over many years.
In recent years Matthias Goerner, Thomas Quasthoff, Mark Padmore, Jonas Kaufmann and many others have already made acclaimed recordings, always with distinguished pianists including Gerald Moore, Alfred Brendel, Murray Perahia, Daniel Barenboim and Paul Lewis.
Yet I always find the most satisfying version to be the one made by English tenor Ian Bostridge with Norwegian pianist Leif Ove Andnes.
Bostridge’s tenor voice lends a lightness that has a certain clarity and almost speech-like quality to it.
And Bostridge, who wrote the excellent book “Schubert Winter Journey: Anatomy of an Obsession” – a song-by-song analysis of the cycle — knows the texts and contexts of the songs inside and out. His are well-informed and thoroughly thought-out interpretations.
The whole cycle takes about 70 minutes to listen to.
This year The Ear might do one of the 24 songs in the cycle each day and then the entire cycle in one sitting at the end.
The different approach might yield some new insights and new pleasure.
Anyway, choose your own artists and your own way of listening.
But it is a great and timely choice.
Here is “Good Night,” the first song of “Winterreise”:
And here is “The Organ Grinder,” the last song and a favorite of writer Samuel Beckett who found a shared sensibility in the lean austerity of the music of the music and the text:
What winter music would you listen to or recommend to mark the solstice and the coming of winter?
The Ear wants to hear.
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Classical music: Who are the best pianists of all time? And which ones do you think were left off the list by Classic FM?
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By Jacob Stockinger
The British radio station and website Classic FM recently published its list of the 25 greatest pianists of all time.
Plus, the website also included samples of the playing where possible.
It is an impressive list, if pretty predictable — and heavily weighted towards modern or contemporary pianists. You might expect that a list of “all-time greats” would have more historical figures — and more women as well as more non-Western Europeans and non-Americans, especially Asians these days.
Here is a link:
http://www.classicfm.com/discover-music/instruments/piano/best-pianists-ever/
So The Ear started what turned out to be a long list of others who should at least be considered and maybe even included.
Here, then, is the question for this weekend: What do you think of the list? Which pianists do not belong on the list? And which are your favorite pianists who are not included in the compilation?
Leave your candidate or candidates in the COMMENT section with a link to a YouTube link of a favorite performance, wherever possible.
Happy listening!
Tags: Alfred Brendel, America, American, Argerich, Arrau, Arthur Rubinstein, Arts, Artur Rubinstein, Ashkenazy, asian, Bach, Baroque, Beethoven, Chamber music, Clara Schumann, Classic FM, Classical music, Claudio Arrau, concerto, contemporary, Daniel Barenboim, England, Europe, European, Franz Schubert, Glenn Gould, great, Great Britain, histiry', historical, Horowitz, Jacob Stockinger, Jean-Yves Thibaudet, Johann Sebastian Bach, Johannes Brahms, John Ogdon, Lang Lang, Leif Ove Andsnes, Ludwig van Beethoven, Madison, Maria Joao Pires, Martha Argerich, Maurizio Pollini, Mitsuko Uchida, modern, Mozart, Murray Perahia, Music, Myra Hess, Orchestra, Pianist, Piano, Radio, Sergei Rachmaninoff, Sergei Rachmaninov, Sexism, sexist, Sonata, Stephen Hough, Sviatoslav Richter, time, UK, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Western Europe, Western European, Wolfgang Amadeus Mozart, women, YouTube
Classical music: Pianist Philippe Bianconi returns to solo in Rachmaninoff’s Piano Concerto No. 3 with the Madison Symphony Orchestra this weekend. The MSO premiere of the Concerto for Orchestra by Witold Lutoslawski is also on the program
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By Jacob Stockinger
Pianist Philippe Bianconi (below, in a photo by Bernard Martinez) returns this weekend to solo with the Madison Symphony Orchestra (MSO) in one of the most challenging works written for piano, Rachmaninoff’s Piano Concerto No. 3.
The program opens with Schumann’s dramatic Manfred Overture, followed by the MSO’s premiere performance of Lutoslawski’s Concerto for Orchestra.
Concluding the program is a performance of the notoriously difficult Piano Concerto No. 3 composed by Sergei Rachmaninoff (1973-1943). The performance features French pianist Bianconi, who won a silver medal at the Van Cliburn Competition and who has performed frequently with the MSO.
The concerts take place in Overture Hall of the Overture Center, 201 State St., on Friday night, April 7 at 7:30 p.m.; Saturday night, April 8, at 8 p.m. and Sunday afternoon, April 9 at 2:30 p.m. Ticket information is further down.
Robert Schumann (1810-1856, below) composed the Overture to Manfred in 1848 during a time of many revolutions throughout Europe, with political feelings running high across the continent.
In Bryon’s mystical poem, Manfred, Bryon’s hero, a “freedom fighter who is tortured by guilt and melancholy” perfectly suited the time and political environment of Europe.
Schumann once wrote in a letter to Franz Liszt (who directed the complete version in 1851): “I feel that it is one of the strongest of my artistic children, and I hope that you will agree with me.”
Polish composer Witold Lutoslawski (1913-1994, below), began work on Concerto for Orchestra in 1950. This is the first time this piece will be performed by the Madison Symphony Orchestra. (You can hear the dramatic opening of the work, performed by Daniel Barenboim conducting the Chicago Symphony Orchestra in the YouTube videos at the bottom.)
Originally from Warsaw, Poland, the Lutoslawski family fled to Russia to escape the German occupation of World War I. After the Russian Revolution in 1917, Lutoslawski’s father and uncle were executed by the Bolsheviks for their political activism and the family returned to Warsaw. Lutoslawski had studied piano and composition between the wars, but was then drafted into the Polish army and captured by the Nazi’s in 1933.
He escaped captivity and found his way back to Warsaw where he worked as a cabaret pianist. Lutoslawski fled Warsaw a second time, just months before the Nazis leveled the city in 1945 – “losing most of his scores in the process.” He then returned to Warsaw when it was controlled by the Soviets.
Lutoslawski’s Concerto for Orchestra is based in part on folk styles – apparently at the request of conductor Witold Rowicki, to whom it is dedicated. It is his most popular piece.
Sergei Rachmaninoff (below) composed his Piano Concerto No. 3 in 1909. He spent the summer in the Russian countryside, relaxing on his wife’s family’s estate, while also writing one of the most challenging works for piano in the repertoire. This piece is a “fiery display of piano technique” that has been called “The Mt. Everest of piano concertos.”
One hour before each performance, John DeMain (below, in a photo by Prasad), music director of the MSO, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, visit the Program Notes, written by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot), at: http://www.allsenmusic.com/NOTES/1617/7.Apr17.html
Single Tickets are $16 to $87 each, available at madisonsymphony.org/bianconi and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, 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 $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Exclusive funding for the April concerts is provided by the Pleasant T. Rowland Foundation.
For more information about the Madison Symphony Orchestra, go to madisonsymphony.org
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Classical music: This Friday night, the Wisconsin Chamber Orchestra performs Rodrigo’s “Concierto de Aranjuez” with guest guitarist Ana Vidovic as well as the Symphony No. 3 by Bruckner and the Symphony No. 30 by Mozart
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By Jacob Stockinger
This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.
Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:
http://www.wisconsinchamberorchestra.org/performances/masterworks-ii-2/
As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.
The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.
This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)
Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.
The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.
For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.
So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.
This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.
Here is a link to the interview and story in The New York Times:
Tags: Ana Vidovic, Andrew Sewell, Arts, Baroque, Berlin, Bruckner, Capitol Theater, Carnegie Hall, Chicago Symphony Orchestra, Classical music, composer, concerto, Concierto de Aranjuez, conductor, Daniel Barenboim, drama, dramatic, guitar, Jacob Stockinger, Jazz, Keyboard, Late Romantic, lyrical, lyricism, Madison, Mahler, Miles Davis, Mozart, Music, Music director, New York City, New York Times, Orchestra, Overture Center for the Arts, Piano, review, Rodrigo, Romantic, soloist, Staatskapelle, symphony, Trumpet, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, YouTube
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The Well-Tempered Ear 
Classical music: Here are many more FREE online and streamed concerts to follow and listen to as you quarantine during the COVID-19 pandemic
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By Jacob Stockinger
During the COVID-19 public health crisis and coronavirus pandemic, live streaming of concerts has taken off. It started with daily broadcasts of past productions by the Metropolitan Opera and the Berlin Philharmonic.
Local organizations have followed suit. They include the Madison Symphony Orchestra; the “couchertos” of the Wisconsin Chamber Orchestra; the twice weekly “tiny desk concerts” by the Bach Dancing and Dynamite Society sent to email newsletter subscribers and other recorded audiovisual performances; and local recordings made by Rich Samuels and aired on WORT-FM 89.9.
Here is a compilation, from the British radio station Classic FM with many other FREE listings that also get updated: https://www.classicfm.com/music-news/live-streamed-classical-music-concerts-coronavirus/
Here is another listing of FREE live streams and archived performances from Minnesota Public Radio (MPR): https://www.classicalmpr.org/story/2020/03/16/free-online-classical-concerts
And below are several more that The Ear has checked out and recommends:
CARNEGIE HALL LIVE
Carnegie Hall (below), America’s premier concert venue, has started a series of live streams that include world music, jazz and of course classical music.
The format includes conversation and remarks from homes as well as first-rate live performances from the past. (You can also hear many of the concerts on radio station WQXR in New York City: https://www.wqxr.org)
This past week, The Ear heard an outstanding concert with three pianists, all of whom appeared in Madison last season: Emanuel Ax, who performed an all-Beethoven recital at the Wisconsin Union Theater, played the piano and acted as host; Orion Weiss, who performed a Mozart concerto with the Wisconsin Chamber Orchestra; and Shai Wosner, who gave a terrific master class and a memorable recital on the Salon Piano Series at Farley’s House of Pianos. If you missed it, it is still archived and accessible.
On this Thursday, April 30, at 1 p.m. CDT you can hear violinist Joshua Bell with pianist Jeremy Denk and cellist Steven Isserlis.
Here is a link: https://www.carnegiehall.org/Explore/Watch-and-Listen/Live-with-Carnegie-Hall?sourceCode=31887&gclid=EAIaIQobChMIsYigzumB6QIVjIbACh061Qz2EAAYASABEgJE3fD_BwE
DEUTSCHE GRAMMOPHON
Deutsche Grammophon, the world oldest record label, which was established in 1898, has several online series of live streams and archived concerts.
They include “Moment Musical” (Musical Moment) by Daniel Barenboim and guest artists, broadcast from the Pierre Boulez Saal (concert hall) in Berlin.
Barenboim, who started as a child prodigy pianist and ended up being a world-class conductor who once headed the Chicago Symphony Orchestra, has done solo piano and chamber music concerts with the Piano Quintet and two solo pieces by Robert Schumann; the epic Diabelli Variations by Beethoven; and an all-Chopin program of encores. You can also find individual ones on YouTube.
Along more promotional lines, DG also offers a “Best of” series that features movements and excerpts from their newer recordings by some of the best known artists – including pianists Lang Lang, Danill Trifonov, Yuja Wang, Vikingur Olafsson, Jan Lisiecki and Seong-Jin Cho; conductors Gustavo Dudamel, Yannick Nézet-Séguin and Andris Nelsons; opera singers Anna Netrebko and Elina Garanca.
Here is a link to DG’s homepage from where you can get to the various series: https://www.youtube.com/channel/UC34DbNyD_0t8tnOc5V38Big
MILWAUKEE SYMPHONY ORCHESTRA
Closer to home, every Friday you can listen to weekly concerts by the Milwaukee Symphony Orchestra called “Musical Journeys.”
Performers include the MSO’s new music director Ken-David Masur as well as guest conductors like Jeffrey Kahane and the past conductor Edo de Waart.
You can hear the past five episodes, and join new ones. You can also hear past concerts by the Milwaukee Symphony Orchestra (below) on Wisconsin Public Radio. Broadcast time is Sunday at 2 p.m.
Here is a link to Musical Journeys: https://www.mso.org/about/music/mso-musical-journeys-5/
VIOLINIST DANIEL HOPE AT HOME
British violinist Daniel Hope – who has performed with the Madison Symphony Orchestra — has been streaming chamber music concerts from the living room of his home in Berlin.
A prolific concert artist and 25 recordings and four Grammy Award nominations to his credit, Hope (below) has many invited guests and offers a wide range of repertoire.
Here is a link with past episodes. You can also click in upcoming episodes: https://www.arte.tv/en/videos/RC-019356/hope-home/
Are there other sites and streamed performances that you recommend?
Please leave the name and a link in the Comment section.
The Ear wants to hear.
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