The Well-Tempered Ear

Classical music: Weekends are a good time to explore music and listen to it. So today The Ear starts a “2020” series for the new year.

January 4, 2020
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By Jacob Stockinger

It’s a new year and the first weekend of the new year. And The Ear wanted to find some kind of organizing principle to explore recorded music in the coming weeks and months.

Turns out the year 2020 – with its symmetry of numerals and suggestions of excellent vision — held a certain appeal.

So he checked out musical works that were either Op. 20 or No. 20. They could even occur together, like, say, a Prelude that is Op. 20, No. 20.

What he found was more than he expected: Dozens of composers and works that qualify as interesting and of suitable quality.

Some are well known, but many are rarely performed live or are neglected in recordings.

They come from all periods and styles, from early music to contemporary music.

And they come in all kinds of genres from vocal and choral music to chamber music, solo instrumental music and symphonic music.

Some works are short, some are medium and some are long.

For the longer ones, which are often divided up into smaller movements or other sections, it seems better to post the whole piece and let the reader decide how long they want to listen at a time rather than to post one part at a time and limit or force the reader.

Anyway, here is the first installment.

It is a wonderful solo piano piece that is too often overlooked, even though it is by a great composer who wrote it in his prime when he was writing many of his other more popular piano works.

It is the Humoresque, Op. 20, by the German Romantic composer Robert Schumann (below). It lasts about 29 minutes but is divided into other sections.

And the performance, often praised as outstanding or even definitive, is by the Romanian pianist Radu Lupu (below, young and old, the latter by Roberto Serra), the 1966 first prize-winner of the Van Cliburn International Piano Competition who recently retired because of ill health.

Here is a link to a detailed biography of the distinguished and somewhat reclusive and enigmatic 74-year-old pianist:

https://en.wikipedia.org/wiki/Radu_Lupu

Here is YouTube video of Radu Lupu playing the Schumann Humoresque in a live recording from 1983:

Let The Ear know what you think of this piece and this idea for a 2020 series.

A long playlist for future 2020 postings – including works by Bach, Vivaldi, Haydn, Mozart, Beethoven, Schubert, Chopin, Dvorak, Tchaikovsky, Brahms and others — has already been compiled.

But if you have a favorite or suggested “2020” piece, leave word in the comment section.


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Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale

November 12, 2019
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”  

By Jacob Stockinger

The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”

It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.

The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.

Tickets are $25 for the general public; $20 for seniors; and $10 for students.

For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/

For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf

And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:

“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.

“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.

“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.

“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!

“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)

“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.

“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.

The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.

“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe.  They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.

“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.

“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.

“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.

“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”

 


Posted in Classical music
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