The Well-Tempered Ear

Classical music: Why does Pavarotti – the man and now the movie – fascinate us?

June 8, 2019
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By Jacob Stockinger

This weekend a lot of people nationwide will go see the movie “Pavarotti,” the documentary by Ron Howard about the legendary Italian tenor who died 12 years ago.

Luciano Pavarotti (below) was and remains a superstar, a major cultural phenomenon, which is why Decca Records is cashing in by releasing not only the soundtrack to the documentary film but also a new 3-CD compilation of Pavarotti’s best singing.

It’s all so curious, especially if you compare Pavarotti’s artistic accomplishments against those of, say, Placido Domingo.

Pavarotti couldn’t read music.

He couldn’t act very convincingly.

The roles he learned were relatively limited in number.

He made major personal and professional missteps.

Yet we remain deeply drawn to Pavarotti.

Why?

It certainly has to do with his extraordinary voice, the tone and power of which could make your neck hairs stand on end, give you goosebumps, bring tears to your eyes and make you sob out loud.

Just listen to his singing of Puccini’s “Nessun dorma,” the crowd-pleasing signature aria from “Turandot” that Pavarotti performed over and over again in concerts, operas and at the famous “Three Tenors” stadium concerts. (You can hear it in the YouTube video at the bottom.)

But there is more to Pavarotti as a cultural phenomenon, much more, that tells us about ourselves and about the appeal of opera in general.

Without question, the best cultural analysis of Luciano Pavarotti that The Ear has ever seen or heard came recently from the critic Zachary Woolfe in The New York Times.

As Woolfe deconstructs “this hulking, sweaty man with stringy hair, a patchy beard and an unforgettable sound,” you learn much about the popular appeal – both high and low — of opera as well as the commercial and artistic appeal of Pavarotti.

Here is a link to Woolfe’s “Critic’s Notebook” analysis, which is well worth reading on its own or either before or after you see the new film.

https://www.nytimes.com/2019/06/03/arts/music/pavarotti-ron-howard.html

And here is the official trailer for the film, with comments from many of his colleagues, which gets mixed reviews:

What do you think of Zachary Woolfe’s analysis of Pavarotti?

Why do you think the singer was so popular?

What is your favorite performance of his?

And if you saw the film, what did you think of it? Do you recommend seeing it?

Leave a comment.

The Ear wants to hear.


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Classical music: Pianist Ilya Yakushev returns to play Russian jazz with the Wisconsin Chamber Orchestra on Friday night, then a recital of piano classics at Farley’s House of Pianos on Saturday night

February 21, 2019
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ALERT: The second of two FREE Friday Noon Musicales — devoted to the music of John Harbison on the occasion of his 80th birthday — will take place this Friday at the First Unitarian Society of Madison, 900 University Bay Drive. The Mosaic Chamber Players will perform. The concert runs from 12:15 to 1 p.m. The composer will be there to sign copies of his new book “What Do We Make of Bach?”

By Jacob Stockinger

Although he has heard the jazz suites by Dmitri Shostakovich many times, The Ear was surprised to learn how many modern Russian composers fell under the spell of American jazz.

Cultural difference combined with cultural exchanges might be one explanation.

But he also wonders if perhaps living in a state of psychological and emotional distress and danger – the Stalinist Terror facing composers in the Soviet Union and the Jim Crow racism facing African-American jazz artists in the United States – created a certain affinity between such apparently different musical traditions.

One thing is certain: the program that Ilya Yakushev (below), who was born and trained in Russia and now teaches at the Mannes College of Music in New York City – promises to be one of the most interesting programs of this season.

During his return to Madison, the Russian virtuoso pianist – who has his own interest in jazz and played a solo version of George Gershwin’s “Rhapsody in Blue” when last here — will perform two programs at venues where he has proven to be a sensational audience favorite.

This Friday night, Feb. 22, at 7:30 p.m. in the Capitol Theater of the Overture Center, Yakushev will once again team up with the Wisconsin Chamber Orchestra (below) and its music director and conductor Andrew Sewell, to perform two rarely heard Russian works that demonstrate the influence of American jazz.

Those two Russian works are “Ten Bagatelles for Piano Orchestra” by Alexander Tcherepnin (below top) and the “Jazz Suite for Piano and Small Orchestra by Alexander Tsfasman (below bottom).

You can hear the Lyrical Waltz from Tsfasman’s Suite in the YouTube video at the bottom.

The WCO complements that with two jazz-influenced works by Igor Stravinsky (below): Suite No. 2 for Small Orchestra and “Ragtime.”

Then the concert concludes with one of the most iconic and well-known pieces of all classical music: the Symphony No. 40 in G minor, K. 550, by Wolfgang Amadeus Mozart.

For much more information about Yakushev and the program as well as to a link to buy tickets ($15-$80) go to:

https://wisconsinchamberorchestra.org/performances/masterworks-ii-4/

SATURDAY

Then on this Saturday, Feb. 23, at 7:30 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall, Yakushev will perform a program of impressive tried-and-true classics as part of the Salon Piano Series.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets can also be purchased at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event. Tickets can be purchased in advance from:

https://www.brownpapertickets.com/producer/706809brownpapertickets.com

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

Yakushev’s recital program is:

Adagio in B minor, K. 540 (1788), by Mozart

Sonata in F minor “Appassionata,” Op. 57 (1804), by Ludwig van Beethoven

Vallée d’Obermann, S. 160 (1855), from “Années de pèlerinage, Première année” (Years of Pilgrimage, First Year), by Franz Liszt

The song “Widmung” (Dedication) by Robert Schumann as transcribed for solo piano by Liszt, S.566 (1848)

“Mephisto Waltz No. 1,” S. 514 (1862), by Liszt (below, in an 1886 photo, the year before he died, when Liszt was teaching many students, by Nadar)

In addition, on Saturday at 4 p.m., Yakushev will teach a FREE and PUBLIC master class at Farley’s House of Pianos, where he will instruct local students.

The master class program will include:

Sonata No. 1 in F Minor, Op. 2, No. 1, First Movement by Beethoven; performed by Kevin Zhang who studies with Kangwoo Jin.

Six Variations on “Nel cor piu non mi sento” (In My Heart I No Longer Feel) by Beethoven, performed by Daniel Lee who studies with Irmgard Bittar.

Etude in G-Flat Major (“Black Key”) Op. 10, No. 5,by Frederic Chopin; performed by Alysa Zhou, who studies with Denise Taylor.

Master classes for the 2018-19 season are supported by the law firm of Boardman & Clark LLP.

The 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. To become a sponsor of the Salon Piano Series, please contact Renee Farley at (608) 271-2626 or email renee@salonpianoseries.org


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Classical music: This weekend, the Madison Symphony Orchestra celebrates the legacy and works of Leonard Bernstein

November 5, 2018
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By Jacob Stockinger

This coming weekend, Leonard Bernstein (below, in a photo by Jack Mitchell) will be remembered, honored and celebrated by his friend and Madison Symphony Orchestra music director John DeMain in a “Remembering Lenny” concert that explores Bernstein’s musical contributions as an American composer and conductor.

Original works by Bernstein will be performed by the MSO on the first half of the concert. The MSO starts with the Overture to Candide, then moves on to On The Town, and, finally, performs his Symphony No. 2 “The Age of Anxiety,” featuring Van Cliburn Competition bronze medal winner and UW-Madison pianist Christopher Taylor.

The second half of the program features Ludwig van Beethoven’s Symphony No. 7, the last work that Bernstein (1918-1990) ever conducted during a concert at the summer Tanglewood Festival of the Boston Symphony Orchestra.

Performances will be held in Overture Hall, 201 State Street, on this Friday night, Nov. 9, at 7:30 p.m.; this Saturday night, Nov. 10, at 8 p.m.; and this Sunday afternoon, Nov. 11, at 2:30 p.m. Ticket information is below.

Says DeMain (below, in a photo by Greg Anderson): “To have my 25th anniversary with the MSO coincide with the 100th anniversary of Leonard Bernstein’s birth is special for me personally because of the unique opportunities I had to work with this great American musician.” 

DeMain, who premiered Bernstein’s opera “A Quiet Place” in Houston, adds: “The first half of the concert celebrates Lenny the composer, culminating in the first performance by the MSO of his second symphony, The Age of Anxiety, which has a dazzling and at times jazzy part for the piano, and carries with it, still, a timely social statement. Christopher Taylor (below), a Madison favorite with whom I have often enjoyed collaborating, will perform the challenging and exciting piano part.”

DeMain describes the final work in the program: “The second half of the concert pays tribute to Lenny the conductor, and his life-long love of Beethoven. Since the Symphony No. 7 in A Major, Op. 92, was the last piece Lenny conducted, I thought it would be the perfect way to celebrate Lenny and his great contribution to American musical life.” (NOTE: You can hear Bernstein conduct the famous second movement of Beethoven’s Symphony No. 7 during his last public performance, just two months before he died, in the YouTube video at the bottom.)

Here is some more background:

Bernstein’s operetta Candide is based on the 1759 novella by French philosopher Voltaire. The well-known Overture is quick-paced, with a feverish excitement that begins from the first breath of sound. Many of the meters are in seven beats, or of other non-traditional types, and quickly change. Each player of the ensemble is required to perform with simultaneously the utmost virtuosity and togetherness.

On the Town is a dance-centric musical scored by Leonard Bernstein based on Jerome Robbins’ idea for the 1944 ballet “Fancy Free.” The story depicts three American sailors on a 24-hour shore leave in New York City during wartime, where each man meets and quickly connects with the woman of their dreams. The musical is the source of the ubiquitously popular show tune New York, New York.

The Age of Anxiety was composed between 1948 and 1949, and is inspired by a poem of the same name by W.H. Auden (below). The 80-page poem follows four lonely strangers who meet in a wartime New York bar and spend the evening ruminating on their lives and the human condition. Subtitled “a baroque eclogue” (a pastoral poem in dialogue form), the characters speak mostly in long soliloquies of alliterative tetrameter, with little distinction among the individual voices.

Composed from 1811–1812, Beethoven’s Symphony No. 7 premiered with Beethoven (below) himself conducting in Vienna on December 8, 1813 at a charity concert for soldiers wounded in the Battle of Hanau.

The symphony’s dance elements, vitality and sense of celebration are conveyed principally through rhythm. It is not the melodies that are so striking and memorable as the general sense of forward movement.

The Overture lobby opens 90 minutes prior to each concert. One hour before each performance, Randal Swiggum (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends that concert attendees arrive EARLY for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online. Go to: http://bit.ly/nov2018programnotes

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/bernstein\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.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-Ticket booklets of 10 vouchers for 2018-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Find more information at madisonsymphony.org

The Presenting Sponsor for the November concerts is Steinhauer Charitable Trust. Underwriting for Christopher Taylor is provided by Sharon Stark, “to Peter Livingston with love.” Major funding is provided by: Stephen D. Morton, The Gialamas Company, Inc., Myrna Larson, Madison Symphony Orchestra League, and Nancy Mohs. Additional funding is provided by Robert Benjamin and John Fields, Godfrey & Kahn, S.C., and Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical Music: Today is Memorial Day 2018. What music would you play to honor those who died in service to their country?

May 28, 2018
4 Comments

By Jacob Stockinger

Today is Memorial Day 2018, when those soldiers who died in war and military service to their country — in the Army, Navy, Air Force, Marines, Coast Guard or whatever other branch — are honored. (Below is an Associated Press photo of Arlington National Cemetery in Washington, D.C.)

Many blogs, newspapers and radio stations list classical music that is appropriate for the occasion.

But one of the very best overviews and compilations that The Ear has seen comes this year from Capital Public Radio in Sacramento, California.

Here is a link:

http://www.capradio.org/music/classical/2018/05/25/classical-selections-in-honor-of-memorial-day/

Another very good selection dates from last year and comes from Nashville Public Radio.

Perhaps that makes sense because Nashville is such a musical city.

Perhaps it has to do with other reasons.

Whatever the cause, this playlist gives you modern and contemporary composers and music (John Adams, Joseph Bertolozzi and Jeffrey Ames) as well as tried-and-true classics (Henry Purcell and Edward Elgar— the famous and moving “Nimrod” Variation that you can hear in the YouTube video at the bottom — Franz Joseph Haydn and Frederic Chopin).

It even features some music that The Ear is sure you don’t know.

Take a look and many listens:

http://nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Finally, you can also hear some appropriate music for today on Wisconsin Public Radio.

Do you agree with the choices?

Do you like them or at least some of them? Which ones?

Which music would you choose or add to mark today’s holiday?

Leave a title and, if possible, a link to a YouTube performance in the COMMENT section.

The Ear wants to hear.


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