The Well-Tempered Ear

Classical music: Performers should announce encores

March 25, 2016
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By Jacob Stockinger

All around The Ear, even very knowledgeable people were asking:

“What is that piece?”

“Who’s the composer?”

After a recent and superb performance of the Piano Concerto No. 4 by Ludwig van Beethoven with the Madison Symphony Orchestra under its longtime music director John DeMain, the renowned American pianist Emanuel Ax (below), who received a well-deserved standing ovation, played an encore.

And he played it beautifully.

Emanuel Ax portrait 2016

But he was negligent in one way.

He didn’t announce what the encore was.

So most of the audience was left wondering and guessing.

Now, The Ear knew the composer and piece because The Ear is an avid amateur pianist and knows the piano repertoire pretty well.

The encore in question was the Valse Oubliée No. 1 in F-sharp Major by Franz Liszt, which used to be more popular and more frequently heard than it is now. (You can hear it below played by Arthur Rubinstein in a YouTube video.)

On previous nights, Ax – who is a friendly, informed, articulate and talkative guy — also had apparently not announced the encores. But on Friday night it was the Waltz No. 2 in A minor by Frederic Chopin and on Saturday night is was the Nocturne in F-sharp major, Op. 15, No. 2, also by Chopin. Chopin is a composer who is a specialty of Ax, as you can hear in the YouTube video at the bottom, which features his encore in an unusual setting pertaining to the Holocaust.

It’s a relatively small annoyance, but The Ear really thinks that performers ought to announce encores. Audiences have a right to know what they are about to hear or have just heard. It is just a matter of politeness and concert etiquette, of being audience-friendly.

Plus it is fun to hear the ordinary speaking voice of the artist, even if it is only just briefly to announce a piece of music, as you can hear below with Ax discussing the three concerts in Carnegie Hall that he did to celebrate the bicentennials of Chopin and Robert Schumann.

And it isn’t just a matter of big names or small names.

Emanuel Ax is hardly alone.

A partial list this season of performers who did NOT announce encores include violinist Benjamin Beilman, who played with the Wisconsin Chamber Orchestra; violist Nobuko Imai, who performed with the Pro Arte Quartet; pianist Maurizio Pollini in a solo recital in Chicago; and a UW professor who played a work by Robert Schumann that even The Ear didn’t know.

Performing artists who DID announce encores — many of then by Johann Sebastian Bach — included pianist Joyce Yang at the Wisconsin Union Theater; violinist James Ehnes and cellist Sara Sant’Ambrogio, both with the Madison Symphony Orchestra; UW-Madison pianist Christopher Taylor, who played sick but nonetheless announced and commented humorously on his encore by Scott Joplin, “The Wall Street Rag”; and violinist Alexander Sitkovetsky, who played recently with the Wisconsin Chamber Orchestra.

So it seems like there is no consistent standard that concert artists learn or adopt about handling encores. The Ear’s best guess is that it is just a personal habit the performers get used to over time.

But the Ear sure wishes that all performing artists would announce encores, program changes or additions.

It just makes the concert experience more fun and informative as well as less frustrating.

Is The Ear alone?

Do you prefer that artists announce or not announce their encores?

Or doesn’t it matter to you?

The Ear wants to hear.


Classical music: This afternoon is your last chance to hear pianist Emanuel Ax and soprano Alisa Jordheim with the Madison Symphony Orchestra in Beethoven and Mahler. Plus, the Madison Bach Musicians will hold a chamber music workshop this summer for players of early music and Baroque music

March 13, 2016
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ALERT: Today at 2:30 p.m. in Overture Hall is your last chance to hear pianist Emanuel Ax perform the Piano Concerto No. 4 by Ludwig van Beethoven and soprano Alisa Jordheim in the Symphony No. 4 by Gustav Mahler.

Here is a rave review for Madison Magazine by Greg Hettmansberger:

https://whatgregsays.wordpress.com/2016/03/12/madison-symphony-dealt-a-pair-of-4s-and-makes-it-a-winning-hand/

And here is another rave review for Isthmus by John W. Barker:

http://isthmus.com/music/madison-symphony-orchestra-with-soloist-emanuel-ax/

And here is third rave review by Jessica Courtier for The Capital Times and the Wisconsin State Journal:

http://host.madison.com/ct/entertainment/arts-and-theatre/concert-review-pianist-emanuel-ax-highlights-a-madison-symphony-program/article_deba2728-e86f-11e5-a953-97da4b10222f.html

Emanuel Ax portrait 2016

By Jacob Stockinger

The Ear has received the following information to pass along:

The Madison Bach Musicians will offer a Summer Chamber Music Workshop July 26-29 focusing on historically-informed performance of baroque and classical music.

This workshop is co-directed by MBM founder and director, harpsichordist Trevor Stephenson (below top, in a photo by Kent Sweitzer), and MBM member, violinist Kangwon Kim (below bottom). There will also be guest instructors.

Trevor Stephenson at harpsicord CR Kent Sweitzer

Kangwon Kim close up

The workshop, which costs $400, is open to intermediate and advanced players who are high school age and older.

The public can attend master classes and concerts. Four-day passes for auditors are available for $75. A single-day pass costs $25.

Instruments included are: violin, viola, cello, harpsichord, fortepiano, piano, flute, recorder and oboe.

BrandenburgsHarpsichord

Participants will be assigned to an ensemble group, and music will be sent in advance to allow musicians to learn their parts beforehand.

The workshop will include personalized coaching, master classes, a faculty concert, community lunches and a final closing concert for a supportive and appreciative audience.

All of this will take place in the beautiful and acoustically rich spaces of First Unitarian Society of Madison (below, in a photo by Kent Sweitzer), located at 900 University Bay Drive.

FUS by Kent Sweitzer USE

Applications are being be accepted on a first-come, first-served basis since Jan. 1, 2016. (There is an early application discount until March 15.)

For information, including the local and guest faculty members, and an online application, visit: http://madisonbachmusicians.org/education-and-outreach/summer-workshop/

A spokesperson for the Madison Bach Musician adds:

“Some people might ask how this workshop relates to the Madison Early Music Festival. The MBM workshop stands independent of the Madison Early Music Festival, and we do not intend to compete with the festival but to just add another great music option for Madison-area musicians. We intentionally set the dates for our workshop well after the Early Music Festival so as not to compete with it.

“The focus of the Madison Bach Musicians Summer Chamber Music Workshop is to create a supportive music community where participants can further develop their appreciation and playing ability of baroque and early classical chamber music through personalized coaching and performance experience.”

 


Classical music: In a MUST-HEAR concert, pianist Emanuel Ax solos this weekend in Beethoven with the Madison Symphony Orchestra, which will also perform Mahler’s Symphony No. 4

March 9, 2016
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CORRECTION: Yesterday’s post about the University Opera’s production of “Transformations” this weekend and early next week contained an error in the performance times. The correct times for performances in Music Hall are Friday night at 7:30 p.m.,  Sunday afternoon at 3 p.m. (NOT 3:30) and Tuesday night at 7:30 p.m. The Ear apologizes and regrets the error.

By Jacob Stockinger

Talk about great performers making great music! This weekend’s concerts by the Madison Symphony Orchestra are a MUST-HEAR program of all masterpieces.

A Madison favorite — world-renowned pianist Emanuel Ax (below) — reunites for the third time with the Madison Symphony Orchestra (MSO) and its music director and conductor John DeMain for three concerts this weekend in Overture Hall.

Emanuel Ax portrait 2016

The concerts will feature music by Ludwig van Beethoven, beginning with his Coriolan Overture. Ax will then perform Beethoven’s Piano Concerto No. 4 with the orchestra. The concert will end with Gustav Mahler’s Symphony No. 4.

The program will begin with Ludwig Van Beethoven’s brief but stormy Coriolan Overture. The concert will continue with Beethoven’s lyrical and impressive Piano Concerto No. 4.

Gustav Mahler’s light and sunny Symphony No. 4, with its famous finale featuring a soprano singing folk poetry, will bring the program to an elegant conclusion with the help of soprano Alisa Jordheim (below).

alisa jordheim 2016

The concerts are in Overture Hall on Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m. in Overture Hall of the Overture Center for the Arts, 201 State Street.

Born in Lvov, Poland, and raised in Winnipeg, Canada, pianist Emanuel Ax (below) first came to the public’s attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. Ax concertizes extensively with the world’s top orchestras, and has been awarded seven Grammy Awards. He also teaches at the Juilliard School in New York City, where he himself studied.

A devoted chamber musician, Ax has worked regularly with artists such as cellist Yo-Yo Ma, pianist Peter Serkin, violinist Jaime Laredo, and the late violinist Isaac Stern. He has often performed solo recitals, chamber music and concertos in Madison with the MSO and at the Wisconsin Union Theater.

Emanuel Ax playing LA Times

Beethoven’s Coriolan Overture reflects the struggle of Roman general Coriolanus as he debates whether or not to invade Rome, a story told in William Shakespeare’s tragedy Coriolanus. The first part is introduced by explosive chords and almost violent strings representing the fires of war, while the second theme is much more graceful, inspired by the voice of his mother.

Piano Concerto No. 4 written by Beethoven in 1806 was one of the first piano concertos where the piano begins alone. Beethoven’s innovation of this concept was noted by scholars as was the rapidly developing technology behind pianos at the time. (You can hear Emanuel Ax discuss Beethoven’s Piano Concerto No. 4 in a YouTube video at the bottom.)

The Symphony No. 4 by Mahler (below) represents a kind of peaceful interlude in his series of works as it is almost completely upbeat and joyful. Scored for a fairly small orchestra by Mahler’s standards, the work is built around the song, “Das himmlische Leben” (The Heavenly Life), which is finally sung in its entirety by a solo soprano in the fourth movement.

Gustav Mahler big

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

More background on the music can also be found in the Program Notes at: http://www.madisonsymphony.org/ax

Single Tickets are $16 to $85 each, available at www.madisonsymphony.org/ax 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, www.madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture 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: www.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.

There will also be a Club 201 event for this concert on Saturday night. For $35, young professionals between 21 and 39 get a ticket and are invited to a post-concert party. Reservations must be made by TOMORROW, Thursday, March 10. For information, visit:

http://www.madisonsymphony.org/club201

Find more information at www.madisonsymphony.org.

Major funding for the March concerts is provided by The Madison Concourse Hotel & Governor’s Club, Stephen Morton, University Research Park, UW Health & Unity Health Insurance, and Marvin J. Levy. Additional funding is provided by James Gallegos and George Anglin, JP Cullen, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: Two FREE concerts at the UW-Madison this Friday evening offer Brahms fans music for piano, cello and clarinet.

March 2, 2016
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ALERT: This week’s FREE Friday Noon Musicale, which takes place from 12:15 to 1 p.m. at the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature Leslie Damaso, mezzo-soprano; Shannon Farley; Jason Kutz, piano; Beth Larson, violin and viola; Morgan Walsh, cello; Chris Allen, guitar; and Gregg Punswick, piano. The program includes music by George Philipp Telemann, Antonio Vivaldi, Johannes Brahms and Gustav Mahler. No word on specific pieces, sorry.

By Jacob Stockinger

Aimez-vous Brahms?” asked the famous French novelist Francoise Sagan in a title of a bestselling novel.

Well, yes, The Ear does indeed love the music of Johannes Brahms (below).

brahmsBW

And if you too love Brahms, this week features two concerts that sound very promising and offer a big dose of Brahms.

Call it Brahms Day.

Or, more appropriately, Brahms Night.

Unfortunately or fortunately – depending on your point of view and your power of endurance — both concerts are on Friday evening and may even overlap, although The Ear hopes not.

It is a pretty heavy and intense dose of Brahms, especially of the beautifully introspective late or “autumnal” music he composed shortly before he died.

At 6:30 p.m. in Morphy Recital Hall is a recital by doctoral student and collaborative pianist Satoko Hayami (below top), who will be joined by her fellow graduate students, clarinetist Kai-Ju Ho (below middle) and cellist Kyle Price (below bottom), in performing late music by Brahms.

The program includes the Sonata in E-flat for Clarinet and Piano, Op. 120, No. 2, which is often played on the viola, although it was originally composed for the clarinet; the Zigeunerlieder, Op. 103; and the Trio for Clarinet for Piano, Clarinet and Cello.

Satoko Hayami

Kai-Ju Ho

Kyle Price cellist

Then at 8 p.m. in Mills Hall, UW-Madison cello professor Uri Vardi (below top) and guest pianist Uriel Tsachor (below bottom), from the University of Iowa, will perform BOTH cello sonatas by Brahms – The Ear loves them both — plus six art songs transcribed for cello and piano. (You can hear the haunting second movement of the last Cello Sonata, in F major, by Brahms played by cellist Jian Wang and pianist Emanuel Ax in a YouTube video at the bottom.)

Vardi is something of a specialist in Brahms and has just released a performance on the Delos record label of the three Piano Trios, which included Pro Arte Quartet violinist and UW-Madison violin professor David Parry.

Uri Vardi with cello COLOR

uriel tsachor

So it all sounds very promising. And very Brahmsian.


Classical music: Today is Super Bowl Sunday, so The Ear asks: Who are the winners and champions in the concert hall? Here are the most popular pieces, composers and soloists. Plus, on Tuesday night, violist Elias Goldstein returns to perform Paganini’s fiendish Caprices in a FREE recital

February 7, 2016
1 Comment

ALERT: The Ear has received the following note from University of Wisconsin-Madison School of Music viola professor Sally Chisholm, who also plays with the Pro Arte Quartet: “Elias Goldstein, who has a doctorate from UW-Madison (2011) and was a Collins Fellow, is playing a concert of all 24 Caprices, originally composed for solo violin by Niccolo Paganini, on VIOLA this Tuesday night at 7:30 p.m. in Morphy Hall. Admission is FREE and OPEN TO THE PUBLIC.

“On March 9, he will perform this program at Carnegie Hall in New York City, as the first violist ever to perform all 24 Caprices in one concert. This is such a feat that it is difficult to believe one of our own is accomplishing it. I was with him in Krakow, Poland when he performed 6 of them. He got standing ovations. He is professor of viola at Louisiana State University, won top prizes at the Primrose International Viola Competition and the Yuri Bashmet Viola Competition in Moscow in 2011.”

Elias Goldstein big

By Jacob Stockinger

Today is the 50th Super Bowl of the NFL, and will be played by the Carolina Panthers and the Denver Broncos in the Levi’s Stadium in Santa Clara, California, near San Francisco.

It starts at 5:30 p.m. CST.

Lady Gaga will sing the national anthem. Coldplay, Beyoncé and Bruno Mars will perform in the half-time show. The Super Bowl will be broadcast live on CBS-TV.

super bowl 50 logo

So, one might ask in a society that loves competition, what constitutes The Super Bowl of classical music?

It is a source of endless discussion and often disagreement.

What classical music is the most mainstream, if not best?

Who are the big winners and champions in the concert hall?

A survey, compiled by a student at the UW-Milwaukee, of the most popular or frequently performed composers, works and soloists was recently conducted by the League of American Orchestras. The rest are for the 2010-11 season.

The No. 1 work is a YouTube video at the bottom. It is the Symphony No. 1 in C Minor by Johannes Brahms and is performed by the Chicago Symphony Orchestra under its late music director and conductor Sir George Solti.

And on March 11, 12 and 13 the Madison Symphony Orchestra hosts TWO of the Top 10 winners: Pianist Emanuel Ax performing the Piano Concerto No. 4 by Ludwig van Beethoven. (The Symphony No. 4 by Gustav Mahler completes the program.)

Emanuel Ax Philharmonia

Here is a link to the complete results along with the method used to gather data:

http://www.classicalmpr.org/story/2014/04/08/league-american-orchestras-performance-data

See what you think and leave a COMMENT.

Do they match up with your preferences and your choices of favorites?

In your opinion, what makes them so popular?

The Ear wants to hear.


Classical music: Amazon’s “Mozart in the Jungle” wins two Golden Globe awards. But Season 2 — which is now available for streaming and features real-life famous longhairs — gets a mixed review from The New York Times

January 17, 2016
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By Jacob Stockinger

“Sex, drugs and classical music”?

It was easy to underestimate the Amazon comedy sitcom “Mozart in the Jungle” as just a commercial low-brow, rock and roll take on the high-brow world of classical music.

Mozart in the Jungle poster

Until two weeks ago.

That when the TV comedy series, which portrays the trials and tribulations of being a classical musician in today’s pop-oriented culture, won two Golden Globe awards.

golden globes 2016

One award went to the accomplished Mexican actor, director and producer Gabriel Garcia Bernal (below) for the Best Actor in a TV Series, Comedy or Musical. He plays Rodrigo, an orchestra conductor.

Gael Garcia Bernal as conductor Rodrigo Mozart in the Jungle CR Amazon Studios

The second award went to the show as Best TV Series for Comedy or Musical.

Will any Emmys follow?

The second season has been ready for streaming since Dec. 30. And winning the two Golden Globe awards is sure to spike viewer interest. (You can see the trailer for Season 2 in a YouTube video at the bottom.)

Although there are some fine things to admire in Season 2, apparently it loses steam and gets repetitive.

At least that is the assessment of music critic Zachary Woolfe, who writes for The New York Times.

One interesting sidelight of Season 2 is that several big-name classical musicians make a cameo appearance on the show.

They include the conductor Gustavo Dudamel, the phenom music director of the Los Angeles Philharmonic:

DudamelChris Christodoulou

The flamboyant Chinese superstar pianist Lang-Lang:

Lang Lang so expressive

And mainstream American piano star Emanuel Ax, who will perform with the Madison Symphony Orchestra in March. (NOTE: Ax was to play the Symphonic Variations by Cesar Franck and the Burleske by Richard Strauss. That program has now been changed to the Piano Concerto No. 4 by Ludwig van Beethoven.)

Emanuel Ax Philharmonia

To The Ear, the show still sounds like fun – if you can get past or overlook the endless sense of crisis.

Which, curiously, also just happens to be how one might feel about the real-life, non-fiction world of classical music these days with its focus on declining attendance, fewer recordings, labor strife and programming.

Here is a link to the review:

http://www.nytimes.com/2016/01/03/arts/television/mozart-in-the-jungle-where-classical-music-meets-soap-opera.html?_r=0

Tell us in the COMMENT section what you think of either the first season or the second season, if you have already started to watch it.

The Ear wants to hear.

 


Classical music: University Opera wins a national award for its 2014 production of Benjamin Britten’s “Albert Herring.” Plus, Emanuel Ax will perform Beethoven, instead of Franck and Strauss, with the Madison Symphony Orchestra.

January 16, 2016
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ALERT: Pianist Emanuel Ax has changed his program with the Madison Symphony Orchestra on March 11-13. He will perform the Piano Concerto No. 4 in G Major, Op. 58, by Ludwig van Beethoven instead of the Symphonic Variations by Cesar Franck and the Burleske by Richard Strauss. Also on the program, to be conducted by MSO music director John DeMain, is the “Colas Breugnon” Overture by Dmitry Kabalevsky and the Symphony No. 4 by Gustav Mahler with soprano soloist Alisa Jordheim.

By Jacob Stockinger

This Sunday afternoon at 3:30 p.m., in the Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, there will be an Opera Props benefit to help support University Opera.

Here is a link with more information about the event, the performers — including UW alumnus and guest Broadway “Barihunk” Christiaan Smith-Kotlarek (below) as well as UW students — and the program, which includes a reception:

https://welltempered.wordpress.com/2016/01/14/classical-music-broadway-star-and-uw-madison-alumnus-joins-students-for-the-university-opera-benefit-this-sunday-afternoon/

Christiaan Smith-Kotlarek baritone

If you are wondering how good the cause is, you might want to know that the University Opera just won a national award from the National Opera Association for its 2014 production of Benjamin Britten’s operaAlbert Herring” (below, in a photo by Michael R. Anderson). 

University Opera Albert Herring Michael R. Anderson

The production was directed by visiting guest opera director, from New York City, David Ronis (below, in a photo by Luke Delalio), who is an applicant in the current search for a permanent full-time head of the opera program at the University of Wisconsin-Madison School of Music. Kyle Knox, a graduate student, was the conductor and music director.

This is the first such award for the UW-Madison but the fourth for David Ronis.

David Ronis color CR Luke DeLalio

Here is a link to a past posting with more about Ronis and the prize-winning production:

https://welltempered.wordpress.com/2014/10/20/classical-music-qa-meet-opera-director-david-ronis-who-makes-his-local-debut-in-the-university-operas-production-of-benjamin-brittens-albert-herring-this-frid/

Here is a link to the UW-Madison‘ s “A Tempo” blog that has the full story about the award and other links as well as a lot of photos:

https://uwmadisonschoolofmusic.wordpress.com

 


Classical music: Here is what superstar violinist Itzhak Perlman has to say about turning 70, about dealing with his disability and about receiving the National Medal of Freedom.

November 29, 2015
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By Jacob Stockinger

This past week, superstar violinist Itzhak Perlman (below) and 16 other major figures from the arts, entertainment, sports and politics received the National Medal of Freedom from President Barack Obama.

Izthak Perlman gets the Medal of Freedom

This year, Perlman also turned 70.

To mark the two events, National Public Radio (NPR) featured an interview with Perlman that shows his always self-deprecating humor and his insights into living and performing.

And in a second NPR interview Perlman, who had polio as a child and walks with braces or crutches and uses a scooter,  talked about his championing by example the cause of people with disabilities.

http://www.npr.org/2015/11/27/457419476/itzhak-perlman-im-not-on-the-stage-to-walk-im-on-it-to-play

The piece also has some interesting personal background about Perlman (below, in a photo from Getty Images) that you may not know. And it has some wise advice about getting older and appreciating one’s own accomplishments.

It is hard to name a major composer whose works, sonatas and concertos alike, he has not performed and recorded: Johann Sebastian Bach, Antonio Vivaldi, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Hector Berlioz, Felix Mendelssohn, Johannes Brahms, Niccolo Paganini,Peter Ilych Tchaikovsky, Edward Elgar, Richard Strauss, Alban Berg and so many more — some 77 CDs in all, done for several labels.

Itzhak Perlman Getty Images

Here is a link:

http://www.npr.org/sections/deceptivecadence/2015/11/23/456781573/my-goal-is-to-not-be-bored-by-what-i-do-itzhak-perlman-at-70

The Ear hopes you enjoy it and learn from it, as he did on both scores.

And here, in a YouTube video, is an excerpt from his latest recording — of two sonatas by Richard Strauss and Gabriel Faure with pianist and his longtime friend pianist Emanuel Ax.

 


Classical music: Superstar cellist Yo-Yo Ma turns 60. NPR offers a capsule biography and generous sound samples from throughout his varied career.

October 11, 2015
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By Jacob Stockinger

Have cello. Will play.

Any style. Any place.

Last Wednesday, superstar cellist Yo-Yo Ma, turned 60.

The unquestionable quality, astounding diversity and enviable longevity of his career will come as no surprise to Madison audiences.

After all, Ma (below, in a photo by Jason Bell for Sony Classical) has performed here many times, mostly at the Wisconsin Union Theater – he reopened the renovated Shannon Hall — but also at the Overture Center.

yo-yo ma CR Jason Bell:Sony Classical

Ma has performed solo here. But he also has played with his longtime chamber music partner pianist Emanuel Ax and with the acclaimed Silk Road Ensemble and the bluegrass or roots music by violinist-composer Mark O’Conner.

And Ma has commissioned many works – including some by composers Osvaldo Golijov and John Adams – that have entered the mainstream repertoire. His influence on contemporary music will be felt for a very long time.

The Ear has met Ma in person a couple of times and found him to be as congenial and humorous as he is talented and original.

An iconic figure on TV and radio, Ma is a master of using the mass media although he never seems a crass self-promoter.

He is a veritable American cultural institution who also enjoys going on PBS for “Sesame Street” and “Live From Lincoln Center” as well as doing a cameo appearance playing unaccompanied Bach in the drama “The West Wing.” (You can hear him play the same piece in a YouTube video at the bottom that has more than 12 million hits.)

Perhaps you have also heard him live, maybe even more than once.

One thing is important but is overlooked by the NPR piece: The ever-reliable Ma is outstandingly successful at the box office. He is probably the most bankable and commercially successful American classical musician on the scene today. Ma’s career bodes well for the future of classical music that otherwise worries so many observers and participants.

You surely will appreciate the eminently readable and listenable post that Tim Huizenga wrote for the “Deceptive Cadence” blog on NPR or National Public Radio.

Here is a link:

http://www.npr.org/sections/deceptivecadence/2015/10/07/446364616/the-diverse-world-of-yo-yo-ma

Do you have a birthday greeting for or memory of cellist Yo-Yo Ma?

Leave it in the COMMENT section.

The Ear wants to hear.

 


Classical music: The 37th annual Karp Family Labor Day Concert is this Monday night and includes works by Bach, Beethoven and Britten as well as Shakespeare.

September 4, 2015
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By Jacob Stockinger

If there is a better embodiment of the saying “The show must go on,” I don’t know who it would be.

I am speaking of the Karp Family (seen below in an old photo), long considered Madison’s First Family of Music. (Members, from left, are Christopher Karp, Katrin Talbot, Howard Karp, Parry Karp and Frances Karp.)

karps 2008 - 13

For 37 years – and without repeating a piece — the Karps have given a Labor Day concert at the University of Wisconsin-Madison School of Music, where the event traditionally marks the opening of the new concert season.

This year, the FREE concert is at 7:30 p.m. in Mills Hall.

It is quite the achievement that a Labor Day concert will even take place this year.

Last summer, patriarch pianist Howard Karp – a longtime professor at the UW-Madison – died at 84 while on vacation in Colorado.

Then this summer, the matriarch pianist Frances Karp had an accidental fall that put her out of commission. (She has recovered well, but had to to give up performing temporarily.)

Yet the rest of the family came together and changed the program to carry on the tradition. (The original program for this year is now scheduled to be performed next year with Frances Karp back at the piano.)

The performers this year are Isabel Karp (seen below top left with her sister Natasha Karp), narrator; Katrin Talbot, the wife of Parry Karp, viola; son Parry Karp, cello; and son Christopher Karp, piano.

Karp Memorial Isabel, Natasha smiling better

The program includes: “Elegy and Vision for Solo Cello” (1993) by Laurence Sherr; Two Chassidic Dances for Viola and Cello (1941-2) by Zigmund Schul; “Thoughts Tending to Ambition” (2015) by Katrin Talbot and Isabel Karp — a setting of the final soliloquy of William Shakespeare’sRichard II” for narrator, viola and cello; and the Second Suite for Solo Cello, Op. 80 (1967) by Benjamin Britten.

After intermission comes the Suite No. 2 in D Minor for Solo Cello (ca. 1720) by Johann Sebastian Bach. And the well-known Sonata in A Major for Piano and Cello, Op. 69 (1808) by  Ludwig van Beethoven. (You can hear the Beethoven sonata performed by cellist Yo-Yo Ma and pianist Emanuel Ax in the YouTube video at the bottom.)


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