The Well-Tempered Ear

Classical music: A curmudgeon vents his complaints concerning the music scene in Madison, Plus, this Sunday Afternoon the Pro Arte Quartet plays Haydn and Dvorak in a FREE concert at the Chazen Museum of Art that will be streamed live

November 4, 2017
21 Comments

ALERT: The UW’s acclaimed Pro Arte Quartet will perform a FREE concert tomorrow, Sunday, Nov. 5, at 12:30 p.m., at the Chazen Museum of Art in Brittingham Gallery No. 3. The program features the String Quartet in E Major, Op. 53, No 3, by Franz Joseph Haydn and the String Quartet in A Minor, Op. 16, by Antonin Dvorak. The “Sunday Afternoon Live at the Chazen” concert will also be streamed live. Here is a link:

https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-pro-arte-quartet-november-5/

By Jacob Stockinger

Here is an essay by Larry Wells, a guest reviewer and a frequent concertgoer. He writes:

“As I have aged, I have become more of a curmudgeon. (My friends and family will readily attest to this.) It is in that spirit that I address some annoyances I have been experiencing over the past few years while attending musical events in Madison.

“I will start with a recent experience, attending University Opera’s performances of “A Kurt Weill Cabaret” at Music Hall (below). The two arms of any seat in the hall have two different numbers. Unless the guest was paying attention as he entered the row, it is unclear which number belongs to which seat. After attending a few shows there, I have figured it out. But I don’t believe I have ever been to a performance there when there hasn’t been confusion about which seat is which. I have routinely heard people asking others (who are generally equally clueless), and I have routinely seen blocks of people shift over one seat. You would think that someone at a great educational institution could figure out a way to make the seating less baffling.

“An equally annoying phenomenon occurs regularly at Mills Hall, also on campus. I discovered that, for choral concerts particularly, the sound in the balcony is far better than the sound on the main floor. However, the doors of the balcony are often locked and the ushers regularly say that the balcony is not open. Upon making further insistent inquiries, I usually manage to get someone to unlock the balcony, but I wonder why it is felt that unlocking it routinely is such an onerous task.

“I will also mention that, regardless of one’s seat location in Mills Hall, it is difficult not to notice that the sound clouds over the stage are in sore need of a dusting and cleaning.

Stephen Sondheim wrote a wonderfully amusing song for “The Frogs” called “Invocation and Instructions to the Audience.” In it the audience is reminded not to talk, cough, fart and so on. (You can hear the piece in the YouTube video at the bottom.)

“At the aforementioned performances in the Music Hall (I went twice), I saw people texting and video recording the performance even though the program has, in very small print, an admonishment not to photograph or film. At a recent choral concert in Mills Hall, texting was rampant during the performance, and there was no mention about turning off cell phones in the program. The bright screens immediately draw the eye away from the stage. I find it extremely distracting.

“At performances given by the UW Dance Department, a loud and forceful announcement at the beginning of each performance instructs the audience to turn off cell phones, no texting, no photos, etc. A similar announcement takes place not only at the beginning of the concert but also at the end of intermissions for performances at Overture Center. I think it is time for the UW Music Department to address the issue in a similar way.

“Another criticism of the way that things are done by the Music Department: Why is it so hard to find out what is being performed at a recital or concert? The Music Department has a good website with a calendar that lists the performances being given on any day, but many times the program is not included in that information. I am disinclined to go to a concert when I don’t know what the program is, and I often will go to a performance just to hear one work if it’s one I am anxious to hear. Thus, I often have to go roaming around the Music Building looking for posters or sometimes even going to the person sponsoring the performance to ask what the program is. It shouldn’t be that hard.

“An issue at Overture Center is whispering. I do not understand how people have lived to the ripe old ages that most of the audience members have and not come to realize that whispering is still audible.

“Two seats away from me at Overture Hall for my symphony subscription is a woman who, at every single performance, starts to cough as soon as the music begins, noisily unzips her purse, reaches in and fumbles around until she finds her cough drop, and then noisily unwraps its cellophane cover. Every time. It is a wonderment to me that she has not discovered that she could unwrap the cough drops in advance and have them at the ready.

“When I subscribed to the San Francisco Symphony, there were bowls of wax paper wrapped cough drops at every entrance. Not a bad idea.

“And then there is the seemingly obligatory standing ovation syndrome that has become a standard feature of every performance in Madison. In the rest of the world a standing ovation is reserved for an extraordinary performance deserving special recognition. Here I think of Pavlov’s dog and sheep. The performance ends, one person leaps to his feet (that’s the Pavlov part) and everyone else stands (that’s the sheep). At the same time the sentiment has been lost, and it all seems rather provincial to me.

“I realize that these are all first-world problems of little importance. They are minor annoyances, but that is what a curmudgeon dwells on. And it feels great to vent.”

Do you agree with any of these complaints?

Do you have any major or minor complaints to add?

The Ear wants to hear.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Is it payback time for Russian musicians at the Winter Olympics in Sochi? Conductor Valery Gergiev is the official maestro of Vladimir Putin’s big show that opens tonight with grand ceremony.

February 7, 2014
1 Comment

By Jacob Stockinger

If you have been waiting for the start of the 2014 Winter Olympics (below is the official logo), tonight is the night it all begins for real –- at least officially because some preliminary rounds of sporting events like figure skating and snowboarding have already been held — even amid the terrorist threats, corruption, unfinished construction, dog roundups, authoritarianism and homophobia.

winter olympics 2014 logo

Many of us here in the U.S. will be tuning in at 8 p.m. EST to NBC-TV and streaming the games on-line. Here is a link to a schedule, to background stories and to other links.

http://www.nbcolympics.com

For a complete schedule of events, check out:

http://www.sochi2014.com

And tonight is the opening ceremonies, the March of Nations, where all the athletes will march into the main stadium.

Could it also be payback time for Russian superstar musicians?

The maestro of music for the Olympics is the ever busy, often unshaven and always critically acclaimed conductor Valery Gergiev (below), who guest conducts around the world and holds his own podium at the Mariinsky Theatre in St.Petersburg.

Gergievin NY

But ironically, the maestro is a very close friend and political supporter – as is superstar soprano Anna Netrebko (below), who may or may not show up at Sochi — of the heavy-handed and thuggish Russian President, and former KGB agent, Vladimir Putin. (Below is a photo of Vladimir Putin pinning a state decoration on Valery Gergiev.)

vladimir putin decorates valery gergiev

The combination of the two V-Men — Vladimir and Valery — creates certain ironies and some wariness or even dissatisfaction.

Here is a link to a fine story about Gergiev, Putin and the Olympics that aired in NPR. It also has links to some music.

http://www.npr.org/blogs/deceptivecadence/2014/02/03/271168650/valery-gergiev-the-powerful-and-polarizing-maestro

And The New York Times has also published a story about Gergiev that focuses on his role as an ambassador and defender of Russian culture’s rebirth under Putin, whom Gergiev endorsed in the last presidential election (both are below), despite the foreign political fallout.

Valery Gergiev and Putin

So, will Anna Netrebko (seen below in the Metropolitan Opera’s production of Tchaikovsky’s opera “Eugene Onegin”), who also endorsed Putin, show up to sing?

Met Eugene Onegin Anna Netrebko face

Will some of the famous ballet dancers from the famed but beleaguered Bolshoi company in Moscow also perform?

Tune in and see.

But while we wait for the Winter Olympics to reveal themselves and for their many cultural contradictions to surface — and to help warm you up in this cold, cold Midwest winter -– here is some of the best music ever composed for the Olympics or sports events: A YouTube video of Milwaukee-born composer Michel Torke’s “Javelin” written for the 1996 Summer Olympics Games in Atlanta, Georgia:

Enhanced by Zemanta

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,197 other followers

    Blog Stats

    • 2,054,679 hits
%d bloggers like this: