The Well-Tempered Ear
Check out the 2022 classical music Grammys for trends and suggested listening
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By Jacob Stockinger
No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.
But chances are you haven’t heard much about the classical music Grammys.
That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.
But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.
You can also get a good idea of trends in classical music.
Contemporary or new music is big again this year, dominating the old standard classics.
Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.
You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.
Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.
Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.
If you want to see the nominations and winners in other categories, here is a link:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
- Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
- Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)
76. Producer Of The Year, Classical
- Blanton Alspaugh
- Steven Epstein
- David Frost
- Elaine Martone
- Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)
CLASSICAL
77. Best Orchestral Performance
- “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
- “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
- “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
- “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)
78. Best Opera Recording
- “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
- “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
- “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
- “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
- “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
79. Best Choral Performance
- “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
- “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
- “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
- “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)
80. Best Chamber Music/Small Ensemble Performance
- “Adams, John Luther: Lines Made By Walking” — JACK Quartet
- “Akiho: Seven Pillars” — Sandbox Percussion
- “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
- “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
- “Bruits” — Imani Winds
81. Best Classical Instrumental Solo
- “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
- “An American Mosaic” — Simone Dinnerstein
- “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
- “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
- “Mak Bach” — Mak Grgić
- “Of Power” — Curtis Stewart
82. Best Classical Solo Vocal Album
- Confessions — Laura Strickling; Joy Schreier, pianist
- Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
- Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
- Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
- Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
- Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
- Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)
84. Best Contemporary Classical Composition
- “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
- “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
- “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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TONIGHT at 7:30 the UW-Madison offers free but conflicting online concerts of opera and percussion music
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By Jacob Stockinger
Tonight – Tuesday, Nov. 24 – at 7:30 p.m. the University of Wisconsin’s Mead Witter School of Music will offer two FREE but competing events online.
You would think with so many empty spots in the events calendar due to the coronavirus pandemic that such conflicts could be avoided.
In any case, whichever concert you choose to watch – or perhaps to toggle back and forth between the two – here are the details:
OPERA SCENES
The first concert, done by University Opera, is Opera Scenes.
According to the website description: “What was to be Opera Workshop’s Fall Opera Scenes program has morphed in a delightful way.
“This term, each singer undertook an in-depth study of one particular operatic role. We’ll be presenting the fruits of that study – excerpted recitatives and arias from The Coronation of Poppea, Don Giovanni and Orfeo ed Euridice – staged in each student’s adapted habitat, and filmed by the students themselves.”
Here is the program with specifics about the singers and the selections as well as other aspects such as direction and accompaniment:
UW-Madison Opera Workshop: Professors Mimmi Fulmer, Thomas Kasdorf and University Opera head David Ronis (below) are the directors; William Preston and Molly Schumacher are the TAs.
“Batti, batti” and “Vedrai carino” from “Don Giovanni” by Wolfgang Amadeus Mozart
Zerlina: Maria Steigerwald
Directors: Molly Schumacher and David Ronis
Pianist: William Preston
“Chiamo il mio ben così” and “Che farò senza Euridice” from “Orfeo ed Euridice” by Christoph Willibald Gluck
Orfeo: Emily Quartemont
Director: David Ronis
Pianist: Thomas Kasdorf
“Or sai chi l’onore” and “Non mi dir” from “Don Giovanni” by Wolfgang Amadeus Mozart
Donna Anna: Sachie Ueshima
Director: Mimmi Fulmer
Pianist: Thomas Kasdorf
Excerpts from Act I, Scenes 3, 4, and 10 from “L’incoronazione di Poppea”by Claudio Monteverdi. (Below is a photo by Michael R. Anderson of a previous fully staged production in 2018 by University Opera of the Monteverdi opera.)
Poppea: Molly Schumacher
Director: Mimmi Fulmer
Pianist: William Preston
Here is a direct link to the one-hour production: https://www.youtube.com/watch?v=ANcPY9sLGls
UW CHAMBER PERCUSSION ENSEMBLE
Also tonight is a concert by the UW-Madison Chamber Percussion Ensemble (below), directed by Anthony Di Sanza and Thomas Ross.
It takes place in the Mead Witter Foundation Concert Hall of the Hamel Music Center, and will run from 7:30 p.m. to 9 p.m. No in-person attendance is allowed.
The UW-Madison Chamber Percussion Ensemble is dedicated to the performance of significant and engaging works for the Western percussion ensemble tradition. Repertoire from diverse trends in 20th and 21st century chamber composition is explored with an emphasis on new compositions for percussion.
Here is a direct link to the live-streamed concert, with more information about the program and the names of the players if you click on “Show More”: https://youtu.be/iZKO8pZmomA
And here is the program of the mostly new music:
Living Room Music (in the times of Covid) (1940) by John Cage and heard in the YouTube video at the bottom.
I. To Begin
II. Story
III. Melody
IV. End
Spanesque Oscillations (2003) by Steve Riley
For High Hats (2017) by Matt McBane
INTERMISSION
Marimbaireachd (1997) by Matthew Welch
The Lonelyness of Santa Clause (1994) by Fredrik Andersson
Metric Lips (1988) by Bela Fleck (arr. Steinquest)
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Classical music: The Wisconsin Chamber Orchestra uses a new website and a new brochure to announce its new Masterworks season plus other innovations
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
In many ways, there is much that is familiar or tried-and-true about the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) and its new Masterworks season for 2020-21.
But in other ways it seems as if the WCO is reinventing and rebranding itself – perhaps under the direction of its new CEO Joe Loehnis – as the ensemble starts a double anniversary: its 60th season of existence and its 20th year under the baton of music director Andrew Sewell (below in a photo by Alex Cruz).
As in past years, the WCO programs feature a mix of familiar composers and works with new and neglected ones. It also features both new and returning guest soloists.
Start with what’s new.
The new WCO home website – like the new brochure that has been mailed out — has been redesigned, with more visuals and more information about the 34-member orchestra. The Ear finds both the new brochure and the new home page to be more attractive, better organized and easier to use. Take a look for yourself: https://wcoconcerts.org
There also seems to be a heightened emphasis on donations and raising money, including a new organization called “Friends” that brings special benefits for $30 or even more perks at $8 a month.
And the website seems more customer-friendly. There is a section on the website about “What to Expect,” which includes how to choose seats, how to dress, when to applaud and so forth. There is also a portal for streaming events and concerts.
There is more, much more, including the pre-concert dinners for the Masterworks concerts and the culturally diverse programs for the postponed Concerts on the Square (below), to run this summer on Tuesday nights at 6 p.m. (NOT the usual Wednesdays at 7 p.m.) from July 28 to Sept. 1.
There seems to be more emphasis on Sewell, who this year provides extensive first-person notes about each program and the guest artists. (In the YouTube video at the bottom, you can hear Sewell discuss the new Masterworks season with Wisconsin Public Radio host and WCO announcer Norman Gilliland.)
This season will see two performances of Handel’s “Messiah”: one on Saturday, Dec. 19, at the Blackhawk Church in Middleton; and another downtown on Sunday, Dec. 20, at the UW-Madison’s Hamel Music Center.
The Masterworks series of concerts – held on Friday nights at 7:30 p.m. in the Capitol Theater of the Overture Center – will begin in late November rather than in late January. The six concerts include five new ones and the postponed appearance of harpist Yolanda Kondonassis, whose appearance this season was canceled because of the COVID-19 pandemic, on May 14.
Two of the concerts – on two Saturdays, Feb. 20 and April 10 – will also be performed in the Milwaukee suburb of Brookfield at the Sharon Lynn Wilson Center for the Arts (below).
You can read more about the community outreach and music education programs, especially the Youth and Education programs. They include the free Family Series and “Side by Side” concerts (below, in a photo by Mike DeVries for The Capital Times, WCO concertmaster Suzanne Beia, right, tutors a WYSO student); the Super Strings educational program; and the Young Artists Concerto Competition for grades 9-12.
Here are the Masterworks series:
NOV. 20 – Pianist John O’Conor (below) returns in a program of the Piano Concerto No. 5 “Emperor” by Beethoven; the Septet by Igor Stravinsky; and the Symphony No. 1 in D Major by Luigi Cherubini.
JAN. 15 – Cellist Amid Peled (below, in a photo by Lisa Mazzucco) returns in a program of Cello Concerto No. 1 by Dmitry Kabalevsky and the Andante by Jacques Offenbach; plus the Wind Serenade in D minor by Antonin Dvorak; and the Symphony No. 34 by Mozart.
FEB. 19 – Violinist Alexander Sitkovetsky (below) in returns in Antonio Vivaldi’s “Four Seasons” and Astor Piazzolla’s “Four Seasons in Buenos Aires”; plus the Suite for Strings by Leos Janacek.
MARCH 19 – Grammy-winning Spanish guitarist Mabel Millán (below) making her U.S, debut in an all-Spanish program that features the Concierto del Sur (Concerto of the South) by Manuel Ponce; the Sinfonietta in D major by Ernesto Halffter; and the overture “Los Esclavos Felices” (The Happy Slaves) by Juan Crisóstomo Arriaga.
APRIL 9 – Pianist Michael Mizrahi (below), who teaches at the Lawrence University Conservatory of Music in Appleton, Wis., on the Piano Concerto No. 1 by Beethoven plus the Serenade No. 1 by Johannes Brahms.
MAY 14 — Harpist Yolanda Kondonassis (below) in the Harp Concerto by Alberto Ginastera; plus the Sinfonietta by Sergei Prokofiev and the Symphony no. 88 by Franz Joseph Haydn.
Single tickets, which go on sale in July, are $15 to $80. Season subscriptions are available now with seat preference through July 1, bring a discounted price with an extra 10 percent off for first-time subscribers.
For more information, go to the website at https://wcoconcerts.org; call 608 257-0638; or mail a subscription form to the Wisconsin Chamber Orchestra, Attn: Subscriptions; PO Box171, Madison, WI 53701-0171.
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Classical music: A busy week at the UW-Madison brings FREE concerts in new halls with an emphasis on new music for winds, chamber ensembles, orchestra and band
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ALERT: Tonight’s performance by the a cappella vocal group Chanticleer is SOLD OUT.
By Jacob Stockinger
It’s going to be a busy week at the University of Wisconsin-Madison Mead Witter School of Music and especially in its new Hamel Music Center (below), 740 University Ave., next to the new wing of the Chazen Museum of Art.
On tap is a variety of FREE concerts, with an emphasis on new music, including compositions for winds, chamber ensembles, orchestra and band.
Earlier mistakes on dates and time have been corrected. To double check dates, times and venues as well programs, go to: https://www.music.wisc.edu/events/
Here is a schedule:
TUESDAY, OCT. 8
At 7:30 p.m. in the Mead Witter Foundation Concert Hall, the UW Wind Ensemble (below), conducted by director Scott Teeple and guest conductor Ross Wolf, will perform a FREE program of contemporary wind music.
The program includes works by Augusta Read Thomas (below top), Jake Runestad, Larry Tuttle, Xi Wang (below bottom) and Carlos Simon.
There will be one world premiere and two Wisconsin premieres.
For more information and the complete program, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-5/
THURSDAY, OCT. 10
At 8 p.m. in Collins Recital Hall of the new Hamel Music Center, the Contemporary Chamber Ensemble will perform a FREE recital of new music, including two works — “Wet Ink” and ” Treetop Studio” — by the critically acclaimed UW-Madison composer Laura Schwendinger (below).
Also on the “Fall Notes” program are “Wing and Prayer” by Melinda Wagner (below top) and “Pentacle” by Irish composer Raymond Deane (below bottom) who will make his UW-Madison debut.
Performers for “Fall Notes” will feature UW-Madison musicians, including clarinetist Alicia Lee, cellist James Waldo, violist Sally Chisholm, pianist Christopher Taylor and student performers.
FRIDAY, OCT. 11
At 8 p.m. in the Mead Witter Foundation Concert Hall, the UW-Madison Symphony Orchestra (below) will open its season with a FREE concert under its new conductor Oriol Sans, a native of Catalonia, Spain, who studied at the Barcelona Conservatory and who came to Madison from the University of Michigan at Ann Arbor.
The program is: “aequilibria” by contemporary Icelandic composer Anna Thorvaldsdottir (heard in the YouTube video at the bottom); “Death and Transfiguration; by Richard Strauss; and “Symphonic Dances” by Sergei Rachmaninoff.
For more information about conductor Oriol Sans (below), go to: https://www.music.wisc.edu/oriol-sans/
For more information, from Wikipedia, about composer Anna Thorvaldsdottir (below), go to: https://en.wikipedia.org/wiki/Anna_S._Þorvaldsdóttir
SUNDAY, OCT. 13
At 2 p.m., in the Mead Witter Foundation Concert Hall, the University Bands will perform a FREE concert under conductor Darin Olson (below), the assistant director of bands at the UW-Madison.
No program is available.
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Classical music: Concerts on the Square begin this Wednesday night – and half of the six concerts feature classical music
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By Jacob Stockinger
The 36th annual FREE summer series of six Concerts on the Square, performed by the Wisconsin Chamber Orchestra (below) and guest soloists, will begin this Wednesday night, June 26, at 7 p.m. on the King Street Corner of the Capitol Square in downtown Madison.
Each concert draws an average of 30,000 people.
But if you think it is largely a pops concert event, think again.
One of the many outstanding achievements that WCO music director Andrew Sewell (below) has brought to the event – billed as “the Biggest Picnic of Summer” — over the past 20 years is an increased emphasis on classical music, perhaps to help build new audiences for the WCO’s winter Masterworks concerts.
The opening concert, for example, has become a tradition, a chance to introduce to the public the latest winner of the WCO’s young people’s concerto competition – and this year is no different.
Three of the six concerts will be also all-classical – and that’s not counting Tchaikovsky’s “1812 Overture” that will be featured on the Fourth of July program on July 3.
There will also be pops music of course, including a tribute to the 50th anniversary of The Beatles’ iconic album “Abbey Road”; patriotic fare for Independence Day; and an evening of movie scores, most composed by John Williams, with concertmaster Suzanne Beia as violin soloist in the theme from “Schindler’s List.”
All concerts are on six consecutive Wednesday nights from June 28 through July 31. Performances begin at 7 p.m. on the King Street corner of the Capitol Square. They usually last about two hours.
To find out more, including the programs and biographies of performers for each program, go to: https://wisconsinchamberorchestra.org/performance-listing/category/concerts-on-the-square
Once there, if you click on a specific date, on the right hand side you will also find information about concert etiquette, seating on the Capitol lawn, weather cancellations, catering menus, food vendor sales and other information, including details about volunteering and donating. Here is a link to general guidelines:
https://wisconsinchamberorchestra.org/performances/concerts-on-the-square/attending-the-concert/
Here are the three classical concerts:
JUNE 26
“East Meets West” features the WCO’s concerto competition winner pianist Sakurako Eriksen (below) – a Madison native now living in Milwaukee — in the popular and virtuosic Piano Concerto No. 3 by Sergei Prokofiev.
Also on the program are “Francesca da Rimini” by Russian composer Peter Ilyich Tchaikovsky; “Noble and Sentimental Waltzes” by French composer by Maurice Ravel; and an unnamed work by Spanish composer Isaac Albeniz.
JULY 10
“Finlandia” features the Russian-born and Moscow Conservatory-trained accordion virtuoso Sergei Belkin (below).
On the program are unnamed works by Czech composer Antonin Dvorak and Alexander Glazunov; “Oblivion” by Argentinian composer Astor Piazzolla; the “Sabre Dance” by Russian composer Aram Khachaturian; and “Finlandia” by Finnish composer Jean Sibelius.
JULY 31
“Rockin’ Rachmaninov” features Russian pianist Ilya Yakushev (below), a frequent WCO guest artist who teaches at the Mannes College of Music in New York City.
The program includes the Piano Concerto No. 2 in C minor, Op. 18, by Sergei Rachmaninov; the Overture to the opera “The Magic Flute” by Wolfgang Amadeus Mozart; the 1944 “Cornish Rhapsody” piano concerto score, composed by English composer Hubert Bath for the World War II film “Love Story”; and a Suite from “The Firebird” by Igor Stravinsky.
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