The Well-Tempered Ear

Classical music: Was Bernard Herrmann’s love theme in Alfred Hitchcock’s “North by Northwest” influenced by Antonin Dvorak’s “American Suite”?

July 8, 2019
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By Jacob Stockinger

The Ear spent an interesting and enjoyable Fourth of July holiday weekend.

Two of the most enjoyable things seemed to overlap unexpectedly.

On Wednesday night, I tuned into Turner Classic Movies. That’s when I watched, once again and with great pleasure, Alfred Hitchcock’s masterful “North by Northwest (1959.”

The next morning, on Independence Day, I tuned in to Wisconsin Public Radio and heard a lot of music by American composers and by composers who were inspired by America.

That’s when I heard the “American Suite” (1895) by Czech composer Antonin Dvorak (below), who directed a conservatory in New York City and liked to spend summers in a Czech community in Spillville, Iowa, where he was captivated by American music of Native Americans and African-Americans.

What overlapped was the music, the love theme between Cary Grant and Eva Marie Saint — called “Train Conversations” — by Bernard Herrmann (below) in the film and the opening of the suite by Dvorak.

But The Ear needs a reality check: Is the Ear the only one to hear striking similarities between the two?

Take a listen to the two works in the YouTube video below, decide for yourself and let us know if you hear the same influence.

To be sure, The Ear is not saying that Herrmann – a sophisticated American composer who knew classical music and who is perhaps best known for his edgy score to “Psycho,” which is often played in concert halls – completely lifted the music or stole it or plagiarized it.

But it certainly is possible that Herrmann was influenced or inspired by Dvorak – much the same way that Leonard Bernstein’s song “Somewhere” from “West Side Story” seems remarkably close to an opening theme in the slow middle movement of the Piano Concerto No. 5 – the famous “Emperor” Concerto — by Ludwig van Beethoven. The same goes for Sir Andrew Lloyd Webber, who, some say, borrowed tunes more than once from Franz Schubert.

Well, if you’re going to borrow, why not do it from the best? And Dvorak was among the great melodists of all time, in company with Johann Sebastian Bach, Wolfgang Amadeus Mozart, Franz Schubert, Frederic Chopin, Robert Schumann, Peter Ilyich Tchaikovsky, Sergei Rachmaninoff, Maurice Ravel and Francis Poulenc, to name a few of the best known.

Anyway, listen to the two scores and let us know what you think.

Can you think of other music that was perhaps influenced by a work of classical music? If so, leave a comment, with YouTube links if possible, in the Comment section.

The Ear wants to hear.


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Classical music: Remembering Rudolf Serkin

January 18, 2018
6 Comments

By Jacob Stockinger

Among 20th-century pianists, Rudolf Serkin (below, in a photo by Yousuf Karsh) was a giant.

The Ear heard him live only twice.

Once was in New York City when Serkin played the “Emperor” Piano Concerto by Beethoven with Leonard Bernstein and the New York Philharmonic.

The second time was years later in Madison at the Wisconsin Union Theater, when he played an all-Beethoven program of sonatas during the Beethoven bicentennial.

Then there were his many recordings, no less wondrous and captivating. They set standards hard to equal, let alone surpass.

The Ear especially loved his Beethoven concertos and sonatas, but also his Mozart and Schubert, his Schumann and Brahms. One of The Ear’s favorite recordings was Serkin playing both the Piano Concerto and the Piano Quintet by Robert Schumann. (You can hear the opening of the Piano Quintet in the YouTube video at the bottom.)

Serkin was a complete musician who excelled in solo music, chamber music and concertos.

Recently, The Ear saw the finest essay he has ever read about Serkin — who often seems overlooked or forgotten these days when the spotlight usually falls on his contemporaries Arthur Rubinstein and Vladimir Horowitz — in The New Yorker magazine.

Richard Brady, who usually writes about movies, captures the special magic that was Serkin’s.

In addition, the story offer 12 carefully chosen samples of Serkin’s playing, taken from solo recordings, concertos and chamber music, from older standard composers and classic works to more modern composers and works.

Here is a link:

https://www.newyorker.com/culture/2017-in-review/my-favorite-classical-music-release-of-2017

Did you ever hear Rudolf Serkin live?

What did you think?

Do you have a favorite work, live or recorded, played by Rudolf Serkin?

The Ear wants to hear.


Classical music: Longtime NPR host Robert Siegel brought his love of classical music to “All Things Considered.” Here are 10 interviews and some background to mark his recent retirement

January 8, 2018
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By Jacob Stockinger

If you are a fan of “All Things Considered” on National Public Radio – and The Ear certainly is – you probably already know not to listen for veteran host Robert Siegel (below) on this afternoon’s broadcast.

Or any other ATC broadcast in the future.

That is because last Friday afternoon Siegel had his last sign-off. He retired after spending 41 years with NPR – the first 10 as a reporter, including as a London correspondent, and the last 31 as a host of the prize-winning afternoon news and features magazine “All Things Considered,” which, by the way, was created by Jack Mitchell, who later came to teach Mass Communications at the UW-Madison.

There will be much to miss about Siegel. His qualities included a calming voice, a ready laugh, fairness and objectivity, a convivial studio presence and sharp but respectful interviewing skills.

One of the things that The Ear hopes will survive Siegel’s departure is the much-needed public attention he brought to classical music, which he loved and which the other media today so often ignore.

The mark his retirement, NPR classical music blogger Tom Huizenga compiled a list of 10 important interviews that Siegel conducted over the years. Then he put links to those interviews on an NPR blog.

Huizenga also got Siegel to open up about the formative influences that sparked his love for classical music. They included his young love for the Piano Concerto No. 5 in E-flat Major, Op. 73, by Ludwig van Beethoven — the so-called “Emperor” Concerto, which you can hear played by Alfred Brendel in the YouTube video at the bottom.

Siegel went on to cover big stars like superstar soprano Renee Fleming; medium stars like violinist Gil Shaham (below), who performs with the Madison Symphony Orchestra this month; and smaller and new stars like the iconoclast harpsichord virtuoso Mahan Esfahani.

He also covered a U.S. Army rifleman who performed a violin recital for Churchill and Truman, and the role that music by Beethoven played in Communist China.

And there are many, many more, for which classical music and we listeners owe a debt to Siegel.

Check it out and enjoy! Here is a link to that posting on the Deceptive Cadence blog:

https://www.npr.org/sections/deceptivecadence/2018/01/05/575906745/10-interviews-celebrating-robert-siegels-love-for-classical-music


Classical music: What are the best classical music pieces for beginners to listen to? And why?

September 9, 2017
6 Comments

By Jacob Stockinger

The Ear needs your help.

Recently a good friend said: “I don’t listen to or know much about classical music, but I wish I did. You know a lot. What would be good pieces for me to begin with?”

I said I would think about it.

So many composers and works come to mind.

But it is so subjective.

So The Ear thought: Why not turn to readers?

Why not ask readers what pieces got them started on listening to classical music?

And what pieces they would recommend to others?

There are of course some proven and popular standards such as the Symphony No. 5 and the  Piano Concerto No. 5 “Emperor” by Beethoven; the Piano Concerto No. 1 in B-flat minor by Tchaikovsky (played and recorded by Van Cliburn in a way that influenced a whole generation); and the Piano Concerto No. 2 by Rachmaninoff.

But there is so much more to choose from, as you can tell from the YouTube video at the bottom.

String music, wind music and brass music.

Big pieces and small pieces.

Solo music, chamber music and orchestral music.

Vocal music and choral music, including operas.

So what would you tell my friend?

Leave a suggestion and why you chose it in the COMMENT section with a link to a YouTube performance if possible.

The friend is waiting.

And The Ear wants to hear.


Classical music: Why is Beethoven so popular? And why do all-Beethoven concerts work so well? Conductor Andrew Sewell answers these questions even as he prepares to perform the all-Beethoven concert tonight by the Wisconsin Chamber Orchestra.

May 1, 2015
2 Comments

By Jacob Stockinger

Tonight at 8 p.m. in the Capitol Theater of the Overture Center, conductor Andrew Sewell (below top) will lead the Wisconsin Chamber Orchestra (below bottom) and guest pianist Bryan Wallick, who won the Vladimir Horowitz Prize and is returning to Madison, in an all-Beethoven concert to wrap up this season of the WCO indoors Masterworks programs.

AndrewSewellnew

WCO lobby

The program includes the “Leonore” Overture No. 1, the Piano Concerto No. 5 “Emperor” and the Symphony No. 7.

Tickets are $15-$62. For more information, visit: http://www.wcoconcerts.org/performances/masterworks-v

The Ear asked the guest pianist Bryan Wallick and WCO’s longtime music director and conductor Andrew Sewell to explain why all-Beethoven concerts work so well and why Beethoven remains so popular with the general public. (Coincidentally, the Madison Symphony Orchestra will also close its season with Beethoven, specifically the Symphony No. 9 (“Choral” or “Ode to Joy”) on May 8, 9 and 10.

Wallick’s answers appeared here on Wednesday and offered the perspective of an instrumentalist. Here is a link to his answers:

https://welltempered.wordpress.com/2015/04/29/classical-music-why-is-beethoven-so-popular-and-why-do-all-beethoven-concerts-works-pianist-bryan-wallick-explains-these-questions-even-as-he-prepares-to-play-the-emperor-concerto/

And here are the answers by conductor Andrew Sewell (below), who kindly responded to an email Q&A:

andrewsewell

Beethoven (below), along with a handful of other composers, including Mozart and Tchaikovsky, is one of the few composers who can make up a single-composer concert that also attracts the public. What accounts for that, do you think?

I think his name is synonymous with classical music. His music defines it — the working out of themes, melody and development — from his overtures, symphonies, concertos, piano sonatas and string quartets.

Beethoven big

What role has Beethoven played in your career? Are there works in particular that you were drawn to as a student or a performing professional?

As a young concertgoer, at the age of 8, I heard his Symphony No. 9 “Choral” and fell in love with the “Ode to Joy.” I was captivated by his life and biography, about his deafness overtaking him, and stories of his inner personal struggles. I remember reading all about his life as a youngster, and I loved playing his music.

As a violinist, I loved getting to know his violin sonatas and symphonies. One of my first significant orchestral experiences at age 16 was playing his “Leonore” Overture No. 3 with the New Zealand Youth Orchestra, and a year later, the Fifth Symphony. Beethoven’s overtures and symphonies are the bread and butter of any orchestra.

Andrew Sewell BW

Beethoven consistently ranks as the general public’s favorite classical composer. Why is that, do you think? The consistently high quality of the music? The diversity of works and forms that his creativity expressed itself in? The sense of overcoming struggle and personal hardship you find in his works?

All of the above. You said it in the wide variety of forms he used –- symphonies, overtures, sonatas, chamber music. The string quartets alone, like Mozart’s Piano Concertos, are a lifetime testament in which we see his development as a composer and inner struggles.

His personal life is intertwined with the complexities of his later works, as he stretched the boundaries of form and development. His Ninth Symphony and the late string quartets testify to this. Overcoming struggle and personal hardship give the music its triumphal drive.

beethoven BW grim

Is there an aspect of Beethoven that you think the public needs to pay more attention to and that you intend to emphasize in your interpretations?

The “Leonore” Overture No. 1 is probably the least played of the four overtures related to his one and only opera, “Fidelio.” Inadvertently he created a new form, known as the Concert Overture, and which Mendelssohn later took up.

This overture, does not include the off-stage trumpet reverie, as in Nos. 2 and 3. For some reason, Beethoven was not satisfied, and continued to refine it in later compositions. What I find intriguing about this overture is the way he transitions from slow to fast sections and back again so seamlessly and how he experimented with a continuous form.

The Symphony No. 7  — below is a page of the work’s manuscript from Beethoven’s almost illegible notebooks — is among his most energetic symphonies. It never lets up and is physically demanding on all sections of the orchestra. One needs stamina for this music. It is also extremely exciting to play and to listen to, hence it is a very popular symphony. (At the bottom,  in a popular YouTube video with almost 8 million hits, you can hear the famous and well-known Allegretto movement from the Symphony No. 7 with an intriguing bar graph score.)

Beethoven Symphony no 7 MS

Is there anything you would like to say or add?

An all-Beethoven program is a great way to end the season, especially when you have pianist Bryan Wallick (below) returning to perform with us. We are most excited to hear and share his performance of the mighty “Emperor” Piano Concerto.

Bryan Wallick mug

 


Classical music: Why is Beethoven so popular? And why do all-Beethoven concerts work so well? Pianist Bryan Wallick answers these questions even as he prepares to play the “Emperor” Concerto this Friday night in the all-Beethoven concert by the Wisconsin Chamber Orchestra.

April 29, 2015
3 Comments

By Jacob Stockinger

This Friday night at 8 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) and pianist Bryan Wallick, who won the Vladimir Horowitz Prize and is returning to Madison, will perform under longtime WCO music director and conductor Andrew Sewell an all-Beethoven concert to end the WCO’s indoors Masterworks season.

WCO lobby

The program includes the “Leonore” Overture No. 1, the Piano Concerto No. 5 “Emperor” and the Symphony No. 7.

Tickets are $15-$62.

For more information, visit: http://www.wcoconcerts.org/performances/masterworks-v

The Ear asked Bryan Wallick to explain why all-Beethoven concerts work so well and why Beethoven remains so popular with the general public. (The Madison Symphony Orchestra will also close its season with Beethoven, specifically the Symphony No. 9 (“Choral” or “Ode to Joy”) on May 8, 9 and 10.)

Wallick (below) kindly responded to an email Q&A:

Bryan Wallick mug

Beethoven, along with a handful of other composers, including Mozart and Tchaikovsky, is one of the few composers who can make up a single-composer concert that also attracts the public. What accounts for that?

Beethoven had the luxury of living a longer life than many of the famous composers, so his compositional output is larger than that of many other composers.

His compositional style also changed dramatically over the course of his life, and there aren’t too many composers whose music is so categorically defined as early, middle and late works.

At the Juilliard School, the famous Beethoven class taught by the late Jacob Lateiner (below) described five different categories of musical progression in Beethoven’s career. This diversity gives many different variations and possibilities of programmatic combinations that are stimulating and exciting.

However most all-Beethoven programs often program works from his middle or late period, and the music is just that good that we are happy to only hear Beethoven. He was perhaps the greatest genius to ever put his pen to music, in a different capacity than Mozart.

Jacob Lateiner

What role has Beethoven played in your career? Are there works in particular that you were drawn to as a student or a performing professional?

Beethoven has been a huge influence in my career, and probably most any pianist’s career as he wrote so much music for the piano.  His 32 sonatas are one of the greatest musical achievements ever produced, so there is always an unending supply of great piano music that most pianists never even get to in their careers unless they become Beethoven specialists.

As a student, I remember a general rule that I was given that I should always be learning some Beethoven sonata while learning everything else that I was working on. As a child, I often listened to Beethoven sonatas before I went to bed, and this music was very motivational in driving me to develop my technique to the level where I could perform these pieces.

Bryan Wallick at piano

Beethoven (below) consistently ranks as the general public’s favorite classical composer. Why is that, do you think?

As I said earlier, the diversity of works is enormous, but I think the general public isn’t that aware of the huge diversity of works. Those are mostly precious gems for musicians to savor, but the tonal language is very acceptable to a wide audience. Plus, the stories of his fiery temper and his deafness add a certain mystery to his genius that can interest a wide audience.

In the work which I will play, the “Emperor” Piano Concerto, it is harmonically very simple, he often just moves between a I chord and a V chord, but how he does it is so interesting and the emotional depths which he contemplates with these very simple chords is astounding. How he is able to encapsulate his struggles and personal hardship in his music is perhaps the reason why his genius could exceed that of Mozart.

Beethoven big

Is there an aspect of Beethoven that you think the public needs to pay more attention to and that you intend to emphasize in your interpretations?

I wish the public had the time and opportunity to become more familiar with a broader range of Beethoven’s music. They often get to hear the famous works, but when one understands and sees the connections between the famous pieces and the ones written in between, the appreciation for what he does in the famous works only becomes greater.

One can always strive to hear more things in the music, and the great experience of performing these works is that even though we’ve played this music many, many times, we as musicians still keep finding new things in this music, and the experience always keeps growing and changing.

Is there anything you would like to say or add?

I love this concerto for many reasons, but one of the most interesting aspects of this piece is how simple it is, and I believe it is a struggle for many pianists to leave this piece alone and not to do too much with it. (Below is the notebook manuscript of the opening of the “Emperor” Concerto from measure 3 until the second theme enters.)

emperor concerto ms from measure 3

The phrasing is very logical, well written, and if a pianist tries to do too much with it, somehow the music doesn’t work.  For example, I feel there is a lot of room for a pianist to manipulate and turn phrases 1,000 different ways in the fourth piano concerto.

But this piece has a structure, logic and direction that I feel a pianist must just accept, appreciate, respect; and they must find a simple way to bring this to an audience. (You can hear the acclaimed Beethoven interpreter and pianist Rudolf Serkin and conductor Eugene Ormandy with the Philadelphia Orchestra perform the “Emperor” Concerto in a YouTube video at the bottom.)

I’ve heard many performances of this piece where pianists try to over-interpret things, so my goal is to just let this great music speak on its own with just little “comments” here and there from myself.


Classical music: This will be an outstanding semester for piano fans in the area. But it starts with a “train wreck” this Friday night with dueling piano concerts by Christopher Taylor and Ilya Yakushev.

January 20, 2015
1 Comment

By Jacob Stockinger

For piano fans, the first semester in Madison proved a bit underwhelming, even disappointing when compared to many past falls.

But that is about to change this semester, starting this weekend.

Of course this piano-rich week comes complete with the inevitable piano “train wreck,” as The Wise Critic terms such scheduling conflicts and competition.

Farley's House of PIanos MMM 20141

CHRISTOPHER TAYLOR OR ILYA YAKUSHEV

For many area listeners, the big annual piano event is on this Friday night at 8 p.m. in Mills Hall. That is when the UW-Madison School of Music virtuoso Christopher Taylor (below) — whom The Ear hears other schools are trying to lure away from the UW — performs his annual solo faculty recital.

Taylor, famed for his prodigious technique and fantastic memory, has won praise nationwide and even internationally for his performances of all kinds of difficult music, from Johann Sebastian Bach and Ludwig van Beethoven to Olivier Messiaen and Gyorgi Ligeti as well as contemporary musicians like Derek Bermel.

ChristopherTaylorNoCredit

Taylor’s program this time is an unusual one that mixes old and new.

It features another of the dazzling two-hand transcriptions by Franz Liszt of the symphonies by Ludwig van Beethoven, which Taylor has been performing elsewhere in a cycle. This time he will perform the famous Symphony No. 6 in F Major, “Pastoral.”

Also on the program are seven of the 12 etudes by the contemporary American composer William Bolcom, who taught at the University of Michigan-Ann Arbor, and the Sonata No. 3 in F minor, Op. 5, by Johannes Brahms — a wondrously dramatic and beautiful work that you can hear performed by Van Cliburn International Piano Competition winner Radu Lupu in a YouTube video at the bottom.

Tickets are $10 and benefit the UW-Madison School of Music Scholarship Fund.

For more information, including some national reviews of Taylor, here is a link to the UW website:

http://www.music.wisc.edu/events/christopher-taylor-piano-faculty-recital/

But, as I said, there is a problem.

At exactly the same time on Friday night, in the Capitol Theater of the Overture Center, is a terrific concert by the Wisconsin Chamber Orchestra with Russian pianist Ilya Yakushev (below), who last performed Prokofiev and Gershwin concertos with the WCO.

This Friday night’s program includes Yakushev in two well-known concertos: the keyboard concerto in D Minor by Johann Sebastian Bach and the Piano Concerto No. 1 in G minor by Felix Mendelssohn.

ilya yakushev 3

Also on the program – typically eclectic in the style that conductor Andrew Sewell (below) favors — is the English Suite for Strings by British composer Paul Lewis and the Chamber Symphony No. 2 by Arnold Schoenberg.

For information, go to: http://wcoconcerts.org/performances/masterworks/77/event-info/

andrewsewell

But this piano weekend doesn’t stop there.

On Sunday afternoon at 4 p.m., Ilya Yakushev will open the new season of the Salon Piano Series when he plays a solo recital in the concert room (below) at Farley’s House of Pianos, on Madison’s far west side.

The program includes the famous Sonata in C minor “Pathétique,” Op. 13, by Ludwig van Beethoven; the Sonata No. 2 by Russian composer Sergei Prokofiev and “Carnival” by Robert Schumann. A reception will follow the recital.

Farley Daub plays

Here is a link with more information:

http://salonpianoseries.org/concerts.html

And as background, here is a Q&A that The Ear did in 2011 with Ilya Yakushev:

https://welltempered.wordpress.com/2011/10/03/classical-qa-russian-pianist-ilya-yakushev-discusses-prokofiev-and-gershwin-which-he-will-play-at-the-opening-concert-of-the-wisconsin-chamber-orchestra-on-friday-night/

ilya yakushev mug

MORE TO COME

Of course this is just the beginning of Piano Heaven.

There is still the concerto competition for the Wisconsin Youth Symphony Orchestras (WYSO) to come, along with the UW-Madison concerto competition, the Bolz “Final Forte” Concerto Competition of the Madison Symphony Orchestra and others.

Later this semester, the Wisconsin Chamber Orchestra will also feature two other returning pianists –- Shai Wosner (below top) and Bryan Wallick (below bottom). They will perform, respectively, two concertos by Franz Joseph Haydn and the Piano Concerto No. 5 in E-flat Major “Emperor” by Ludwig van Beethoven.

Shai Wosner Photo: Marco Borggreve

Bryan Wallick mug

Here is a link to the WCO website:

http://wcoconcerts.org/performances/masterworks/

And let’s not forget the Madison Symphony Orchestra.

In addition to the above piano events and others, the Madison Symphony Orchestra will feature the Irving S. Gilmore Competition winner Ingrid Fliter (below), a native of Argentina, in the lusciously Romantic Piano Concerto No. 2 in F Minor by Frederic Chopin on Feb. 13-15 – perfect fare for Valentine’s Day weekend.

Ingrid Fliter playing

That program which also includes the Symphony No. 4 by Robert Schumann and British composer Benjamin Britten’s “Variations on a Theme by Frank Bridge” -– Bridge was Britten’s teacher — promises to be a memorable performance by a renowned Chopin specialist who last played a solo recital here ay the Wisconsin Union Theater.

And if you know of more. just add them in a Reader’s Comment for others to see,

 

 


Classical music: Is there more to say about Beethoven and his music? Acclaimed musicologist Jan Swafford thinks so, and says so in his new biography of The Ludwig.

August 9, 2014
7 Comments

By Jacob Stockinger

By most polls and surveys, the most popular composer of classical music remains Ludwig van Beethoven (below). The surly, willful and influential musician bridged the Classical and Romantic eras, and his music retains much of its power and universal appeal even today.

All you have to do is mention the names of works in virtually all the various musical genres and forms — solo sonatas, chamber music, symphonic music, concertos, vocal music — that Beethoven mastered and pushed into new realms of expression:

The “Eroica” Symphony.

The Fifth Symphony.

The “Pastoral” Symphony.

The Ninth Symphony with its “Ode to Joy.”

The “Emperor” Concerto for piano.

The “Razumovsky” and “Late” String Quartets.

The “Ghost” and  “Archduke” piano trios, and the “Triple” Concerto.

The “Moonlight,” “Pathetique,” “Tempest,” “Appassionata,” “Waldstein” and “Hammerklavier” piano sonatas.

The “Spring” and “Kreutzer” violin sonatas.

The “Missa Solemnis.”

“Fidelio.”

And on and on.

Such nicknames and so many! Talk about iconic works!

Beethoven big

What more is there to be said about Beethoven?

Well, quite a lot, apparently, according to the acclaimed music historian Jan Swafford (below), who did his undergraduate work at Harvard University and his graduate work at Yale University and who now teaches composition and music history at the New England Conservatory of Music.

Jan Swafford color

Swafford, who has also written biographies of Johannes Brahms and Charles Ives, has just published his 1,000-page biography of Beethoven with the subtitle “Anguish and Triumph.”

It is getting some mixed or qualified reviews. But before you look into that, better check into the pieces that NPR (National Public Radio) did on Swafford and his takes on Beethoven, some of which defy received wisdom and common sense.

Here is a summary of some common perceptions about Beethoven that may -– or may NOT –- be true, according to Swafford. It i s an easy and informative read.

http://www.npr.org/blogs/deceptivecadence/2014/08/05/337857557/ask-us-anything-about-beethoven

And here is another piece on NPR’s Deceptive Cadence blog that deals with how the powerful Symphony No. 3 “Eroica” reveals Beethoven’s personality. (You can hear the opening, played by the Vienna Philharmonic under Leonard Bernstein, in a YouTube video at the bottom.)

http://www.npr.org/2014/08/03/336656578/beethovens-eroica-a-bizarre-revelation-of-personality

Some critics have questioned whether the book (below) is too long, whether it repeats things that are already well known and whether the writing style is accessible to the general public.

But nobody is ignoring it.

Jan Swafford Beethoven cover

Here are two reviews by reputable media outlets.

From The Wall Street Journal:

http://online.wsj.com/articles/book-review-beethoven-anguish-and-triumph-by-jan-swafford-1406927297

From The New York Times:

http://www.nytimes.com/2014/08/03/books/review/beethoven-by-jan-swafford.html?_r=0

Have you read Jan Swafford’s other work?

What do you think of his music histories and biographies?

Or of his new Beethoven book, if you have read it?

And what is your favorite  work by Beethoven?

The Ear wants to hear.

 


Classical music Q&A: Pianist Yefim Bronfman, who mixes power and poetry, talks about his stamina and the two piano concertos he will perform during this weekend’s all-Beethoven concerts by the Madison Symphony Orchestra.

March 4, 2014
2 Comments

By Jacob Stockinger

He may not yet be a household name like Arthur Rubinstein, Vladimir Horowitz or Van Cliburn, but pianist Yefim Bronfman (below) — a prolific recitalist, concerto soloist and chamber music partner — commands great respect from critics and his fellow musicians.

Yefim Bronfman portrait

And with good reason.

“Fima,” as he known to friends and even his loyal followers, possesses a technique that other pianists envy plus a total commands of style, ranging from early period works through Romanticism and Modernism to new music.

He also is renowned for his stamina and power, but, at the same time, for subtle playing without banging. Combining power and poetry seems to be his signature.

Yefim Bronfman hansd in air

Here is a link to his website with his full biography — he emigrated to Israel from his native Tashkent — and critical reviews plus a discography, sound samples and other information:

http://www.yefimbronfman.com

People in the Madison area can hear Yefim Bronfman’s talents for themselves this weekend. That is when he joins the Madison Symphony Orchestra under its longtime music director and conductor John DeMain in a MUST-HEAR all-Beethoven program.

Bronfman will play the Piano Concerto No. 2 in B Flat Major, Op. 19, AND the famous Piano Concerto No. 5 in E-flat Major, Op. 73, also known as  “The Emperor.” Also on the program are the Symphony No. 1 in C Major, and “The Creatures of Prometheus” Overture that Beethoven incorporated into his epic Symphony No. 3 “Eroica.”

Performances are in Overture Hall on Friday at 7:30 p.m; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

Tickets are $16.50-$82.50. Call the Overture Center box office at (608) 258-4141.

For more information, including audio samples of the various pieces and of playing by Bronfman, visit:

http://madisonsymphony.org/bronfman

For program notes by MSO trombonist and UW-Whitewater professor J. Michael Allman, visit:

http://facstaff.uww.edu/allsenj/MSO/NOTES/1314/6.Mar14.html

Yefim Bronfman recently agreed to an email Q&A with The Ear:

Yefim Bronfman playing a concerto

You are known for your stamina and power, as your cycle of the complete sonatas and concertos by Sergei Prokofiev and this Madison Symphony Orchestra concert with two Beethoven concertos prove. Are there special tricks or secrets you have to cultivate that kind of “marathon” playing and also avoid injury? Or is it just a natural gift?

It certainly helps to be in good physical shape, but recitals require the same kind of stamina and no one really questions that. Playing two concertos is actually less effort than playing a full solo recital.

Yefim Bronfman emotional

What are your current plans and future projects, both for live concerts and recordings, especially of works by living composers?

I just played a lot of new music in a chamber program with members of the New York Philharmonic, including the world premiere of a solo piano piece written for me by Marc Neikrug and a trio commissioned by Carnegie Hall several years ago by Marc-Andre Dalbavie. In Asia, on tour with the New York Philharmonic, we performed the Piano Concerto No. 2 by Magnus Lindberg (below, in a  photo by Saara Vuorkjoki), which is a co-commission with the Concertgebouw Orchestra of Amsterdam and Gothenburg Symphony of Sweden. (Editor’s note: Bronfman’s recording of it was nominated for a Grammy Award.)

I’m always on the lookout for talented composers. My natural curiosity makes me wonder about the language of composers of today who often give me ideas that contribute to playing the music of composers who are no longer alive.

Magnus Lindberg Saara Vuorjoki

You frequently perform Beethoven concertos and have made outstanding recordings of them with David Zinman and the Zurich Tonhalle Orchestra on the Arte Nova budget label. What would you like to say to the general public about Beethoven (below), about his Piano Concertos No. 2 and No. 5, the “Emperor”?

These two pieces belong to very different worlds. The first one belongs to the Mozartean period of Beethoven, very classical in structure and texture. But a lot happened between concertos No. 2 and No. 5.

They come from a composer with a great deal of desire to experiment, so those two concertos are like works of two different composers. Yet we never stop to wonder at the genius of someone able to do that. (At bottom is a YouTube video in which Yefim Bronfman, as Artist-in-Residence at the New York Philharmonic, and conductor Alan Gilbert discuss the complete cycle of Beethoven’s piano concertos they performed together.)

Beethoven big

I first heard you here years ago at the Wisconsin Union Theater in Beethoven’s Piano Concerto No. 1.  Do you have any special memories of or thoughts about Madison?

Madison and this particular theater have some wonderful memories from my youth because I played here some of the earliest concerts of my career. Playing Beethoven 1 with the St. Paul Chamber Orchestra in Madison could have been one of the first Beethoven 1’s I ever performed.

What advice would you give today to young pianists and young musicians in general about pursuing a career in music? And how can classical music reach more young people and new audiences?

Arts and culture in general enrich our lives, and we have to give that understanding to the young generation. Without it our lives diminish greatly, and we have to learn to cherish what past artists have left to us.

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