By Jacob Stockinger
Such an occasion and its artistic celebration assumes even greater importance now that we are on the verge of the Trump Era, which starts this coming Friday with the Inauguration of President-elect Donald J. Trump.
Once again The Ear looked for classical music to mark the occasion and the holiday. But the results he found were limited. Do we really need to hear Samuel Barber’s famous and sadly beautiful but overplayed “Adagio for Strings” again on this day?
So The Ear asks the same question he asked two years ago: Why hasn’t anyone written an opera about the pioneering civil rights activist and Nobel Peace Prize winner Martin Luther King Jr., who was assassinated in 1968 and would today be 88?
Here is a link to that more extended post that asks the same question:
If you know of such an opera, please let The Ear know in the COMMENT section.
And if there is classical music that you think is appropriate to mark the occasion, please leave word of it, with a YouTube link if possible.
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,.
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.
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.”
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.
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.
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.
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.
By Jacob Stockinger
For generations, the conquests of the legendary Don Juan were treated as seductions.
But were they really rape?
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).
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:
What do you think about the essay and its main argument or point?
The Ear wants to hear.