The Well-Tempered Ear

The UW-Madison Symphony Orchestra will provide a welcome break on Election Night

November 1, 2020
2 Comments

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

If you find yourself needing some relief or a short break from vote counting and the barrage of election news this coming Tuesday night, Nov. 3, the masked and socially distanced UW-Madison Symphony Orchestra (below) fits the bill.

The group’s refreshingly short, one-hour and intermission-free online video premiere begins at 7 p.m. CST on YouTube. There is no fee for watching the event in the Mead Witter Foundation Concert Hall in the Hamel Music Center, although donations are welcome.

No in-person attendance is allowed.

The program features “Strum” (1981) by Jessie Montgomery (below, in a photo by Jiyang Chen); the famous and familiar Adagietto from the Symphony No. 5 by Gustav Mahler (which you can hear with conductor Claudio Abbado in the YouTube video at the bottom); and the youthful Sinfonia No. 7 in D minor by Felix Mendelssohn, who wrote 13 of the string symphonies between the ages of 12 and 14.

 

Here is a direct link to the UW-Madison music school’s YouTube channel: https://youtu.be/TMNCy9qooCM

Just a personal note of appreciation and encouragement from The Ear: If you are a fan of orchestral music and pay attention to the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Middleton Community Orchestra, for example, then you owe to it yourself to become acquainted with the UW-Madison Symphony Orchestra if you don’t already know it.

It is that good, as you can hear for yourself in this virtual concert during the pandemic. You will probably find yourself wanting to hear more.

The programs are outstanding and often feature neglected, modern and contemporary music as well as classic repertoire, and the playing is usually first-rate.

The orchestra sounds exceptionally good, often even professional, under its new conductor Oriol Sans (below), a native of Spain who arrived here last season from a post at the University of Michigan-Ann Arbor.

Sans has provided remarkable leadership both in the orchestra’s programs and in accompanying the University Opera productions and the UW Choral Union.

For more information, including the names of the orchestra’s members, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-video-premiere/

If you listen to it, please let us know: What did you think?

Did the performances please or impress you?

Did you like or dislike the scheduling on Election Night?

The Ear wants to hear.

 


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Classical music: University Opera announces a new season that is politically and socially relevant to today. The two shows are a virtual revue of Marc Blitzstein and a live operatic version of “The Crucible.”

August 7, 2020
4 Comments

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

David Ronis (below), the director of the University Opera at the UW-Madison Mead Witter School of Music, has posted the following notice about its upcoming season on social media.

The award-winning Ronis is known for being creative both in programming and staging. The new season is yet another example of that. It features one virtual original production about an American composer to see and hear online, and two live performances of a mid-20th century American opera.

Both works seem especially pertinent and cautionary, given the times we currently live in in the U.S.

Here are the details:

FINALLY!!!

Things have fallen into place for the University Opera 2020-21 season and we are happy to announce our productions:

“I Wish It So: Marc Blitzstein — the Man in His Music”

“A biographical pastiche featuring songs and ensembles from Marc Blitzstein’s shows, spoken excerpts from his letters and working notes, and a narration. 

“Oct. 23, 2020

8 p.m. Video Release

____________________________________________________________________________________

“The Crucible” (1961)

Music by Robert Ward

Libretto by Bernard Stambler

Based on the 1953 play by Arthur Miller

March 19 and 21, 2021

Shannon Hall, Wisconsin Union Theater

_____________________________________________________________________________________

We will post more information as we get it. For now, we are very excited about both projects! Stay tuned.”

(Editor’s note: To stay tuned, go to: https://www.facebook.com/UniversityOpera/)

_____________________________________________________________________________________

And what does The Ear think?

The revue of Marc Blitzstein seems a perfect choice for Madison since his papers and manuscripts are located at the Wisconsin Historical Society. For details, go to: http://digicoll.library.wisc.edu/cgi/f/findaid/findaid-idx?c=wiarchives;view=reslist;subview=standard;didno=uw-whs-us0035an

Focusing on Blitzstein (1905-1964) also seems an especially politically relevant choice since he was a pro-labor union activist whose “The Cradle Will Rock, directed by Orson Welles,” was shut down by the Works Progress Administration of the federal government.

For more about Blitzstein (below in 1938) and his career, go to: https://en.wikipedia.org/wiki/Marc_Blitzstein

“The Crucible” also seems an especially timely choice. In its day the original play about the Salem witch trials was seen as a historical parable and parallel of McCarthyism and the Republican witch hunt for Communists.

Read about the Salem witch trials here: https://en.wikipedia.org/wiki/Salem_witch_trials

Now that we are seeing a time when Democrats and others with progressive ideas are accused of being radical leftists, socialists and destructive revolutionaries, its relevance has come round again. Like McCarthy, President Donald Trump relies on winning elections by generating fear and denigrating opponents.

For more about the operatic version of “The Crucible” (below, in a production at the University of Northern Iowa) — which was commissioned by the New York City Opera and won both a Pulitzer Prize and the New York Music Critics Circle Award in 1962 — go to this Wikipedia entry: https://en.wikipedia.org/wiki/The_Crucible_(opera)

You can hear the musically accessible opening and John’s aria, from Act II, in the YouTube video at the bottom. For more about composer Robert Ward (1917-2013, below), go to: https://en.wikipedia.org/wiki/Robert_Ward_(composer)

What do you think of the new University Opera season?

The Ear wants to hear.


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Classical music: Twin-sister pianists, the Naughtons return to their hometown this weekend to perform a Mozart concerto with the Madison Symphony Orchestra. The powerful Symphony No. 5 by Shostakovich is also on the program. On Election Day, what piece of music should be played for the new president-elect?

November 8, 2016
2 Comments

ALERT: Today is ELECTION DAY. Be sure to vote. Then leave a COMMENT and maybe a YouTube link telling The Ear what piece of classical music should be played for the new president-elect — Republican Donald Trump or Democrat Hillary Clinton.

By Jacob Stockinger

The Ear has received the following announcement:

This weekend, the Madison Symphony Orchestra (MSO, below), with music director John DeMain conducting, performs two early 20th-century works. One is neglected and rarely performed while the other one is considered a powerful masterpiece,.

John DeMain and MSO from the stage Greg Anderson

Madison’s very own Christina and Michelle Naughton (below) also return, for a performance of the witty and energetic Concerto for Two Pianos by Wolfgang Amadeus Mozart.

christina-and-michelle-naughton-2016

The concert begins with Le Printemps (“Spring”) by Claude Debussy, an Impressionist ode to the living.

The Naughton twins then perform the lyrical Mozart’s Concerto for Two Pianos, followed by a performance of the Symphony No. 5 by Dmitri Shostakovich. It showcases the composer’s artistic triumph over the forces of Soviet repression. This is also the piece conductor John DeMain (below, in a photo by Prasad) conducted for his impressive audition here over two decades ago.

John DeMain full face by Prasad

The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday night, Nov. 11, at 7:30 p.m.; Saturday night, Nov. 12 at 8 p.m.; and Sunday afternoon, Nov. 13, at 2:30 p.m.

An early version of Debussy’s Le Printemps was actually lost in a fire. The piece, originally written in Rome in 1886-87, premiered in Paris in 1913. Upon writing the score, Debussy (below) wrote to a friend, “…I’m calling it Printemps, not ‘spring’ from the descriptive point of view but from that of living things.”

Claude Debussy 1

The Naughtons will then play Mozart’s Concerto for Two Pianos. This piece, which is said to have been a favorite of Mozart (below, with his sister), was originally written for himself and his sister Maria Anna, nicknamed “Nannerl,” to perform. (The concerto was featured in the soundtrack to the Academy Award-Winning film “Amadeus” and you can hear the last movement in the YouTube video at the bottom.)

This is the first time this piece will be performed by the MSO. The listener will be able to imagine a smile, or at least a sly wink from Mozart to Maria Anna hidden within the harmonic score.

mozart-and-sister-maria-anna-nannerl

Dmitri Shostakovich’s Symphony No. 5 was originally completed in 1937. This will be the third time this piece has been performed by the MSO.

The Soviet Union oddly enough was a major influence for this work. In 1933 a doctrine was released, which was intended to control the content and style of Soviet literature and other various forms of art, including music. Soviet music was hence used to serve the propaganda needs of the state.

Symphony No. 5, which the composer subtitled “The practical answer of a Soviet artist to criticism,” is a composition that was written to save Shostakovich (below) from imprisonment. You can hear the personal anxiety of an artist being controlled by the State in this historic symphony.

dmitri shostakovich

One hour before each performance, Anders Yocom (below), Wisconsin Public Radio Host, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

anders yocom studio head shot cr Jim Gill

For more background on the music, visit the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1617/3.Nov16.html

Single Tickets are $16 to $87 each, available online at madisonsymphony.org/naughtons, in person at the Overture Center Box Office, 201 State Street, or by calling 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 Box Office, 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is available at: 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.

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


Classical music: Does Mozart’s opera “Don Giovanni” reveal anything about Republican Presidential candidate Donald Trump”?

October 29, 2016
1 Comment

By Jacob Stockinger

For generations, the conquests of the legendary Don Juan were treated as seductions.

But were they really rape?

The question is important in considering the masterpiece opera “ Don Giovanni” by Wolfgang Amadeus Mozart.

don-giovanni-met-2016-simon-keeleyside

One blog writer for slate.com – Bonnie Gordon, who teaches a class on music and gender at the University of Virginia — draws a link between the charismatic historic nobleman and the current charges of “womanizing” and allegations of sexual assault made against Republican presidential candidate Donald Trump (below).

Donald Trump thumbs up

She doesn’t bring up whether the same discussion applies to former Democratic President Bill Clinton, but it doesn’t seem a stretch.

She raises questions about what is sexual assault, seduction and rape – and how the definitions of a “rape culture” have changed over time and depending on whether it comes from a man’s or a woman’s point of view.

She pegged her essay to LAST weekend’s broadcast performance of the opera by “Live From the Met in HD” with Simon Keenlyside in the title role. In the YouTube video at the bottom, with English subtitles, Don Juan’s servant Leporello sings an aria about his master’s thousands of “conquests.”

But despite the week that has passed since the broadcast of the production, to The Ear the essay still seems relevant as the national election approaches.

Here is a link to that essay:

http://www.slate.com/blogs/browbeat/2016/10/21/what_don_giovanni_an_opera_about_a_charismatic_rapist_can_teach_us_about.html

What do you think about the essay and its main argument or point?

The Ear wants to hear.


Classical music: Women conductors speak out about breaking the glass ceiling with a baton

September 10, 2016
1 Comment

By Jacob Stockinger

The time has finally come!

It has been, in fact, long overdue.

The candidacy of Hillary Clinton as the Democratic nominee to be President of the United States is a historic first.

And it is generating a lot of buzz about breaking glass ceilings in politics and elsewhere.

So it seemed very timely when The New York Times reported on women conductors at a conference-festival in Lucerne, Switzerland. The pioneering American woman conductor Marin Alsop (below), who heads the Baltimore Symphony Orchestra, is among them.

Marin Alsop marching

Among the younger generation included is the Finnish conductor Susanna Malkki (below), who is taking over as the Chief Conductor of the Helsinki Philharmonic Orchestra this month. (You can hear her discuss her inaugural season in the YouTube video at the bottom.)

finnish-conductor-susanna-malkki

Here is a link to the story and interviews with four female conductors. They offer some terrific advice and many memorable anecdotes:

http://www.nytimes.com/2016/09/04/arts/music/female-conductors-lucerne-festival.html?_r=0


Classical music: What piece of classical music best embodies Hillary Clinton?

August 28, 2016
11 Comments

By Jacob Stockinger

Today The Ear has a simple question:

What piece of classical music best embodies Hillary Clinton, the Democratic nominee for president of the United States?

hillary clinton thumbs up

Maybe an aria — by either a villain or a hero — from an opera by Giuseppe Verdi, Giacomo Puccini or Richard Wagner?

Maybe an instrumental piece?

Maybe a song?

Yesterday, the same question was posed for Donald Trump.

Here is a link if you want to read that post:

https://welltempered.wordpress.com/2016/08/27/classical-music-what-piece-of-classical-music-best-embodies-donald-trump/

Think about it.

Listen to some choices.

And let us know what you think with a COMMENT and a YouTube link to a performance.

The Ear wants to hear.


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