The Well-Tempered Ear

Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?

September 19, 2020
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By Jacob Stockinger

Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others. 

At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.

In some ways, it all seems inevitable.

Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom)  –  fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.

That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.

The assertion is food for thought. But not much.

In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:

https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/

https://nypost.com/2020/09/17/canceling-beethoven-is-the-latest-woke-madness-for-the-classical-music-world/

The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.

Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.

Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.

Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.

No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.

Of course, there is elitism in the arts. People may be equal, but creative talent is not.

And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.

If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.

And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?

But these days being provocative can become its own reward.

You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.

Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop

What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?

Did you ever feel alienated from classical music because of Beethoven or know others who have?

What is your favorite Beethoven composition?

The Ear wants to hear.

 


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Season 3 of the free monthly Just Bach concerts begins at noon TODAY virtual and online. Each concert will be available for the following week. Here is the 2020-21 schedule

September 16, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the Just Bach monthly concert series – featuring singers as well as period instruments and historically informed performance practices — to post:

“We are thrilled to share the timeless beauty of Johann Sebastian Bach (below) with music lovers in Madison and beyond for another year.

“Our host venue, Luther Memorial Church at 1021 University Ave., has resumed their weekly ‘Music at Midday’ concert series: https://www.luthermem.org/music-at-midday/

“As part of this series, the one-hour Just Bach concerts will take place at noon on the third Wednesday of each month. Here are the dates for the new 2020-21 season: today Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

“Because of the coronavirus pandemic, it is still too risky to have an in-person audience. So Music at Midday concerts will be virtual and online, posted on the Luther Memorial website.

“In addition, Just Bach concerts will be posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel.

“The concert footage should be available online for at least a week following the concert. At least that is the plan.

“Viewing the concerts is FREE, but we ask those who are able, to help us pay our musicians with a tax-deductible donation.

“Today’s concert program opens with the Pastorale in F, BWV 590, performed by organist Mark Brampton Smith (below).

“Violinist Kangwon Kim (below), concertmaster and assistant artistic director of the Madison Bach Musicians, will continue, with the Partita No. 2 in D Minor, with the famous Chaconne, for solo violin, BWV 1004 (see a brief preview in the YouTube video at the bottom).

“Co-founder and violist Marika Fischer Hoyt  (below) will lead the final chorale sing-along, from Cantata 99, Was Gott tut, das isn wohlgetan (What God does, is well done).

“The chorale sheet music (below) will be displayed on the screen, and Mark Brampton Smith will accompany on the organ. Cantata 99 is a timely choice. It was composed for the 15th Sunday after Trinity, which is next Sunday, Sept. 20.

“We need this soul-centering music now more than ever. We invite the music community to join us today and other Wednesdays for a wonderful program of J.S. Bach.”

Sept. 16 program:

  • Pastorale in F, BWV 590
  • Partita in D Minor for solo violin, BWV 1004
  • Chorale: Was Gott tut, das ist wohlgetan (What God does, is well done)

Performers: Kangwon Kim, violin 1; Mark Brampton Smith, organ

For more information go to: https://justbach.org and Facebook.org/JustBachSeries

 


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Classical music: Here is how the Wisconsin Youth Symphony Orchestras (WYSO) plan to continue lessons and performances this fall despite the coronavirus pandemic

August 29, 2020
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By Jacob Stockinger

The Ear has just received the following updates from an email newsletter about the upcoming season of the Wisconsin Youth Symphony Orchestras (WYSO). Over more than 50 years, WYSO has served tens of thousands of middle school and high school students in southcentral Wisconsin and northern Illinois. (In the YouTube video at the bottom, you can hear the WYSO Youth Orchestra play a virtual performance from the past season of the famous finale from Rossini’s “William Tell” Overture.)

After many weeks of planning, and in consultation with Public Health Madison and Dane County (PHMDC) and the McFarland School District, WYSO is excited to announce a fall semester plan that will mark a safe return to in-person music-making—and our first season at the McFarland Performing Arts Center (below) https://www.wysomusic.org/the-wyso-weekly-tune-up-april-17-2020-wysos-new-home/

We had a brief delay last Friday when PHMDC released Emergency Statement #9 delaying in-person start dates for all schools in Dane County. We checked in with the Public Health agency and they re-affirmed that WYSO is not a school —and the 15 students maximum-sized groups outlined in this plan are absolutely perfect. It is time to set up the tents!

The WYSO season will begin on the weekend of Sept. 5, when the winds and brass students from all three full orchestras (Youth, Philharmonia and Concert) will begin their fall rehearsals outside under two enormous tents in the McFarland High School parking lot (below). The 60 winds and brass students will be divided into approximately nine or 10 cohorts, who will meet in two-hour blocks on Saturdays and Sundays.

With a single cohort of masked and socially distanced students spread out within the 40′ x 60′ tent, with “bell covers and bags” for their instruments, the season will not look like any previous WYSO Fall.

If you’ve not been involved in the new science of aerosol transmission, this whole scenario might seem very curious. The reasoning is simple: The winds and brass instruments have been singled out as more problematic since you have to blow into them to make music. The blowing releases more “aerosols,” the tiny droplets that can transmit the coronavirus.

However, researchers at the University of Colorado at Boulder have recently released the first results from a five-month study and have found that the following actions bring down the transmission risk considerably:

  1. Social distancing 9 to 15 feet apart.
  2. Adding bell covers and bags (below) for the instruments (essentially the instruments have to wear masks as well as the students).
  3. Playing outside, which reduces risks due to the increased air circulation.

Because we are in Wisconsin, the “outdoor” location shortens the season for the winds and brass players so by beginning the season on Sept. 5 and ending on the weekend of Oct. 24, they can just squeeze in an 8-week cycle.

Meanwhile, the WYSO string and percussion players, approximately 300 in number and representing all five orchestras, will begin their fall season indoors on Oct. 17, after McFarland moves to a hybrid model for the school year.

The string players will be divided into 15-student cohorts by orchestra, with a wonderful mix of violins, violas, cellos and basses in each group, and with the groups spread throughout one wing of the high school in large music rooms and atriums.

The percussionists have been scheduled into the new Black Box Theater and they are excited to begin playing on the brand new marimbas and timpani so recently acquired by WYSO through a gift from an incredibly generous anonymous donor.

Everything has been carefully scheduled so that at any given time there will not be more than 125 students, conductors and staff in the building.

Start and end times have been staggered. The large beautiful spaces at McFarland will easily hold the socially distanced and mask-wearing players. And the orchestras will again be scheduled into Saturday and Sunday mornings and afternoons. Even the WYSO Chamber Music Program (below) has been scheduled into the intricate puzzle.

The rest of this exciting fall story has to do with adding incredibly talented professional musicians to lead some of the cohorts and the amazing repertoire available for groups of 15 musicians, whether they play winds, brass, strings or percussion.

From Mozart’s “Gran Partita” to Beethoven’s Symphonies No. 2 and 6; from Stravinsky’s “Pulcinella Suite” to Bartok’s Divertimento, and Tchaikovsky’s Serenade for Strings — there is almost an “embarrassment of riches” of exciting, seldom-played repertoire, to quote WYSO Music Director Kyle Knox (below). And this fall, that repertoire will be right in WYSO’s wheelhouse.

WYSO will video-capture this year’s Fall Concerts of students playing in the beautiful McFarland Performing Arts Center to 800 empty seats and let you know the exact Fall Concert dates as we get closer. Click here for additional information.

While WYSO is incredibly excited about our in-person plan for rehearsals and playing music together, we have also drawn up two alternate plans, and know that not everyone will be able to participate in-person.

WYSO Registration is underway, and we are asking those who cannot participate in the McFarland experience to let us know their needs through the registration process, so that we can create the best virtual experience possible for those involved. Tuition payment is not due at registration.

To register, go to: https://www.wysomusic.org/members/wyso-registration-form/

 


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Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison

August 9, 2020
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By Jacob Stockinger

Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.

Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.

That is as it should be. If any musician deserved it, Fleisher did.

Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.

But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.

In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin’s Pro Arte String Quartet (below bottom).

Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.

Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.

Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)

Here is a this blog’s review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher

Fleisher liked performing with the Pro Arte, and therein lies another historical tale.

His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert’s “Trout” Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.

Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography “My Nine Lives” (below).

Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky’s “The Rite of Spring” in Paris — called Fleisher the “musical find of the century.” Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.

Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.

Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. “I pounded ivory six or seven hours a day,” Fleisher later said.

After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.

There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)

Here is an inspiring overview of Fleisher’s life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/

And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher

Here are three especially noteworthy obituaries:

NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92

The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html

The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html

The Ear has always found Fleisher’s playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.

Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.

The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.

Did you ever hear Leon Fleisher play live or in recordings? What did you think?

Do you have a comment to leave about the legacy of Fleisher?


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Classical music: Madison Opera’s virtual Opera in the Park goes online for FREE this Saturday night and stays up until Aug. 25. Listen to it indoors or outdoors

July 23, 2020
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By Jacob Stockinger

Madison Opera’s Opera in the Park isn’t in a park this year — as it has been in past years (below) — but it will be available for people to enjoy for free in their backyards, in their living rooms or anywhere else with an internet connection.

The digital concert will be released on this Saturday, July 25, at 8 p.m. CDT, and can be watched on Madison Opera’s website, www.madisonopera.org/digital, where you can find complete information and, soon, a complete program to download.

The annual free concert has moved online in response to the COVID-19 pandemic, with a newly created program of opera arias and more.

Digital Opera in the Park features: soprano Jasmine Habersham; soprano Karen Slack; tenor Andres Acosta; and baritone Weston Hurt. (The last two will sing the justly famous baritone-tenor duet “Au fond du temple saint” from Bizet’s “The Pearl Fishers,” which you can hear in the YouTube video at the bottom.)

Habersham (below) makes her Madison Opera debut with this unique performance, and will sing Susanna in the company’s production of Mozart’s The Marriage of Figaro next April.

Slack (below) debuted with the company in Jake Heggie’s Dead Man Walking, and will be part of the company’s digital fall season.

Acosta (below) sang Timothy Laughlin in Gregory Spears’ Fellow Travelers with Madison Opera this past February.

Hurt (below) debuted as Germont in Verdi’s La Traviata last season and is part of the company’s digital fall season.

The four singers will be joined by several important local artists. They include violinist Suzanne Beia, the assistant concertmaster of the Madison Symphony Orchestra, the concertmaster of the Wisconsin Chamber Orchestra and the second violin of the UW-Madison’s Pro Arte Quartet.

There will also be a fleet of eight pianists. They include MSO music director and Madison Opera’s artist director John DeMain (below top, in a photo by Prasad) and the UW-Madison graduate and composer Scott Gendel (below bottom). The two will play multiple numbers, including DeMain accompanying Beia on the beautiful “Meditation” from Thaïs.

Each singer recorded their arias with an accompanist in their home cities, and chorusmaster Anthony Cao (below top) both accompanies and conducts the Madison Opera Chorus (below bottom) in a virtual “Anvil Chorus” from Il Trovatore.

The evening will be hosted by Madison Opera’s General Director Kathryn Smith and by WKOW TV’s Channel 27 News co-anchor George Smith.

“Reimagining Opera in the Park in the pandemic era has been a challenge, but one we have happily embraced,” says Smith (below in a photo by James Gill). “Our wonderful artists were game to record themselves in their home towns, to sing duets with each other through headphones, and to share their artistry with our community in a new way. Over 40 choristers joined a Zoom call to get instructions, and then they recorded their parts of the ‘Anvil Chorus.’”

“While in some ways this concert has required more work than our live Opera in the Park in Garner Park, it is always a pleasure to present beautiful music for everyone to enjoy.”

Digital Opera in the Park features music from Verdi’s Il Trovatore, now canceled in live performance but originally slated to open Madison Opera’s 2020-21 season; Jerry Bock’s She Loves Me, which the company performs in January; and Mozart’s The Marriage of Figaro, which will be performed in April.

The program also includes selections from Bizet’s The Pearl Fishers, Richard Strauss’ Arabella, Verdi’s Don Pasquale, Puccini’s Tosca, Massenet’s Hérodiade and Thaïs, Rossini’s William Tell, Pablo Sarozabal’s zarzuela La Tabernera del Puerto, Rodgers and Hammerstein’s South Pacific, and more.

The concert will be available beginning at 8 p.m. CDT on this Saturday night, July 25, and will remain online until Aug. 25, allowing for both repeated viewing and flexibility for people who are unable to watch on the first night.

While Digital Opera in the Park will be free to watch, it would not be possible without the generous support of many foundations, corporations and individuals who believe in the importance of music. Madison Opera is grateful to the sponsors of Opera in the Park 2020:

  • Presenting Sponsor: the Berbeewalsh Foundation
  • Sponsors: the John and Carolyn Peterson Charitable Foundation, Full Compass Systems, the Raymond B. Preston Family Foundation, University Research Park, Colony Brands, Johnson Financial Group, MGE Foundation, National Guardian Life, Wisconsin Arts Board, Dane Arts and the Madison Arts Commission.
  • Media Sponsors: WKOW, Madison Magazine, Wisconsin Public Radio, Magic 98, and La Movida.

RELATED EVENTS include:

OPERA ON THE WALL | JULY 25, 2020 | ONLINE

Madison artists Liubov Swazko (known as Triangulador) and Mike Lroy have created artwork around our community, including beautiful murals on State Street storefronts.

In an act of artistic cross-pollination, they will create an artwork that comes from their personal response to Digital Opera in the Park, offering a rare glimpse of visual artists responding to musical artists. Their creative process will be filmed in the Madison Opera Center, and shared online starting on July 25.

The finished artwork will be displayed in the Madison Opera Center. Go to Swazko’s website at triangulador.com (one work is below) and Lroy’s website at mikelroy.com to see their past work.

POST-SHOW Q&A | JULY 25, 2020, IMMEDIATELY FOLLOWING THE INITIAL STREAM

Join Kathryn Smith and the Digital Opera in the Park artists for a post-concert discussion, including an opportunity to ask questions. Details on format and platform will be available closer to the date.

 


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Classical music: Today is May 5  — Cinco de Mayo. And here is a work by Mexican composer Gustavo Campa to celebrate the holiday

May 5, 2020
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By Jacob Stockinger

Today is May 5 – the colorful Mexican holiday Cinco de Mayo.

If you don’t know the origins of the holiday and what events sparked it, here is a link to the Wikipedia entry:

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

Usually the music that celebrates the holiday is popular music or folk music – including mariachi bands and guitar music.

But there is also a good amount of classical music by Mexican composers that can mark the occasion.

In past years, this blog has featured Mexican performing artists such as the terrific pianist Jorge Federico Osorio and the most famous Mexican composer, Carlos Chavez (below, in a photo by Paul Strand).

But there are many others.

Perhaps programming and performing more Mexican and Latin American composers and music would help attract Latinx listeners to concert halls once they reopen.

In any case, here is a link to a sampler or compilation of Mexican music found on Spotify:

https://www.classicalmusicindy.org/cinco-de-mayo-playlist/

And here, in the YouTube video at the bottom, is a lovely “Melody” for violin and orchestra, with a photo essay, by the Mexican composer Gustavo Campa (below) along with a link to his biography:

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

Happy Cinco de Mayo!


Classical music: University Opera’s production of Mozart’s “Cosi fan tutte” is a musical treat despite its outdated story. Performances remain this afternoon and Tuesday night

March 1, 2020
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By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for this blog – took in the University Opera’s production of Mozart’s “Cosi fan tutte” Friday night at Music Hall on Bascom Hill and filed this review. (Performance photos are by Michael R. Anderson.)

By Larry Wells

I attended the opening night of University Opera’s production of Mozart’s “Cosi Fan Tutte” (So Do They All or Such Are Women).

Considered a musical masterpiece, the opera features a cast of six singers who participate in a comedy about love and fidelity. (Below, from left, are Cayla Rosché as Fiordiligi, Benjamin Hopkins as Ferrando, James Harrington as Don Alfonso, Kelsey Wang as Despina, Kevin Green as Guglielmo and Chloe Agostino as Dorabella.)

In director David Ronis’ attempt to make the story more timely, the action took place in a vaguely early 20th-century setting – the Roaring Twenties, to be precise — suggested by the women’s costumes and the art deco set.

Two of the men, who are called off to war, brandished swords, which I believe were not widely used in World War I. (Below, from left, are Benjamin Hopkins as Ferrando, James Harrington as Don Alfonso and Kevin Green as Guglielmo in the opening scene from Act I.)

In any event, an attempt to make an historic artifact with its incumbent unenlightened views of women relevant to the 21st century may be fruitless, and I believe that audiences today recognize the archaic attitudes expressed therein as comic and dated.

That sexist manipulation needs to be discussed today, as suggested in the director’s notes, and that women’s “agency” — to quote an overused academic term — remains an issue today is the tragedy. This comedy goes only a small distance in helping us realize that some things have not changed, even though many have.

But on to the performance.

The three female characters (below) included the vocally stunning Cayla Rosché as Fiordiligi. Her “Come scoglio” was a showstopper. (Below, from left, are Chloe Agostino as Dorabella and Cayla Rosché as Fiordiligi in their Act I duet.)

Chloe Agostino’s sweet soprano perfectly reflected her Dorabella, and Anja Pustaver’s comic turn as Despina revealed an interesting voice that reminded me of Reri Grist’s Oscar in the Erich Leinsdorf recording of Verdi’s “Un Ballo in Maschera” – which is a compliment, albeit possibly obscure.

Kevin Green as Guglielmo grew on me as the evening progressed and as he became more confident. But the standout was James Harrington as Don Alfonso. I feel that he is a major talent in our midst. (Below in the foreground are Cayla Rosché as Fiordiligi and Benjamin Hopkins as Ferrando; in the background are James Harrington as Don Alfonso and Kevin Green as Guglielmo.)

Green and his partner, Benjamin Hopkins’ Ferrando, had to don disguises in order to tempt each other’s intended. In the libretto they disguise themselves as Albanians.

In what I can only hope was a nod to political correctness in order to spare the feelings of our Albanian brothers, they disguised themselves in this production as lumberjacks clad in flannel shirts and denim jeans — which was incongruously absurd but amusing at the same time. (Below,Kelsey Wang, left, as Despina examines Benjamin Hopkins as the Albanian Ferrando in a fake medical examination during the finale of Act I.)

The vocalists shone most in their many ensembles – duets, trios, quartets and sextets. The blendings of the various voices were always harmonious. The trio “Soave sia il vento” (Gentle Be the Breeze) — featuring Rosché, Agostino and Harrington (below) — was sublime and worth the price of admission on its own. (Below, from left, are Chloe Agostino as Dorabella, James Harrington as Don Alfonso and Cayla Rosché  as Fiordiligi in the famous Act I trio “Soave sia il vento,” which you can hear in the YouTube video at the bottom.)

The UW Symphony Orchestra was ably and nobly led by new conductor Oriol Sans (below) whose hiring proved to be a major coup for the university. Everything I’ve heard him conduct so far has been excellent, and this performance was no exception.

The harpsichord continuo by Thomas Kasdorf (below) was captivating in its nuance and effortlessness – very impressive.

I enjoyed the abstract unit set designed by Joseph Varga and complemented by the effective lighting designed by Zak Stowe.

In all, it was an evening primarily in which to close one’s eyes and listen.

Repeat performances, with alternating cast members, take place this afternoon – Sunday, March 1 – at 2 p.m. and again on Tuesday night, March 3, at 7:30 p.m. Running time is about 3 hours with one intermission. The opera is sung in Italian with English surtitles.

Tickets are $25, $20 for seniors and $10 for students. For more information about the opera, the cast and the production, go to: https://www.music.wisc.edu/2020/02/10/cosi-fan-tutte/

 


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Classical music: This Sunday afternoon at Farley’s, pianist Shai Wosner performs sonatas by Beethoven, Schubert, Scarlatti and Rzewski. On Saturday afternoon, he gives a FREE public master class

February 18, 2020
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ALERT and CORRECTION: Earlier this week, The Ear mistakenly said the concert by UW Concert Band is Wednesday night. He apologizes for the error.

It is TONIGHT at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave. In addition, the School of Music website has updated information about the program to be played under director and conductor Corey Pompey. Go to: https://www.music.wisc.edu/event/uw-concert-band-3/

By Jacob Stockinger

This coming Sunday afternoon, one of the today’s most interesting and creative concert pianists will return to Madison to make his solo recital debut.

His name is Shai Wosner (below, in a  photo by Marco Borggreve) and he is an Israeli-American who is acclaimed for his technique, his tone and his subtle interpretations.

But what also makes Wosner especially noteworthy and one of the most interesting musical artists performing today is his eclectic, thoughtful and inventive approach to programming.

For more information about Wosner, go to his home website: http://www.shaiwosner.com

Wosner returns to Madison to perform his first solo recital here at 4 p.m. this coming Sunday afternoon, Feb. 23, on the Salon Piano Series at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Born in Israel and now teaching in Boston while touring, Wosner will play sonatas by Beethoven, Scarlatti, Rzewski and Schubert.

He has performed with orchestras throughout the U.S. and Europe, and records for Onyx Classics. “His feel for keyboard color and voicing is wonderful,” said The Washington Post.

The Madison program is: Beethoven’s Sonata No. 15 in D Major (“Pastoral”), Op. 28; Scarlatti’s Sonata in D minor, K. 141, Allegro, with Rzewskis’ Nanosonata No. 36 (“To A Young Man”); Scarlatti’s Sonata in D minor, K. 9, Allegro, with Rzewski’s Nanosonata No. 38 (“To A Great Guy”); Scarlatti’s Sonata in C minor, K. 23, with Rzewski’s Nanosonata No. 12; and Schubert’s last Sonata in B-flat Major, D. 960.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets are also for sale at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event.

To purchase tickets, go to: https://www.brownpapertickets.com/producer/706809

For more information about Wosner’s FREE public master class at 4:30 p.m. on Saturday, Feb. 22, including the names of local students and their teachers plus the titles of works by Mozart, Debussy and Ravel to be played, go to: https://salonpianoseries.org/concerts.html

Wosner (below) recently did an email Q&A with The Ear:

In concerts and recordings, you like to mix and intersperse or alternate composers: Brahms and Schoenberg; Haydn and Ligeti; Schubert and Missy Mazzoli; and Beethoven, Schubert, Chopin, Liszt, Dvorak, Ives and Gershwin. Why do you pair sonatas by Domenico Scarlatti (1685-1757) and the American composer Frederic Rzewski (1938-) in this program?

I like to pair together composers from very different periods in ways that, hopefully, bring out certain things they have in common in spite of the differences.

Perhaps it is a way of looking for the underlying principles that make music work, for the ideas that go beyond styles and time periods and that stimulate composers across centuries.

In the case of Scarlatti (below top) and Rzewski (below bottom), it is the extreme conciseness of their sonatas and also their almost impulsive kind of writing with ideas and twists and turns kept unpredictably spontaneous, almost in the style of stream-of-consciousness.

Their sonatas are closer to the literal meaning of the word – “a piece that is played” as opposed to sung (which was more common in Scarlatti’s time perhaps). They are also very much about treatment of the keyboard and gestural writing rather than the more essay-type sonatas that were the dominant idiom for Beethoven and Schubert.

Why did you pick these particular sonatas by Beethoven and Schubert to bookend the program?

The sonata by Beethoven (below top) is quite unusual for him, without many contrasts and very lyrical, which perhaps is a certain parallel with the Schubert sonata. (You can hear Wosner playing an excerpt from another Beethoven sonata in the YouTube video at the bottom.)

But they are also very different. Beethoven’s sonata looks around it and is about idyllic nature — the title “Pastoral” isn’t by Beethoven but it is written in that kind of style — and the sonata by Schubert (below bottom) is more introspective, perhaps about human nature.

What would you like the public to know about specific works and composers on your Madison program?

I think it’s always stimulating to challenge preconceptions we have about composers.

Beethoven is often associated with a certain “heroic” style and bold, dramatic gestures while this piece is quite understated in many ways.

Schubert’s last sonata is often seen as a farewell to the world. But at the same time Schubert himself may not have been aware of his impending death as much as we think – he made some plans right near the end that may suggest otherwise.

I prefer to let everyone find in this music what they will, of course. But I think these works reveal other aspects of these composers that we don’t always think of. Is Schubert’s piece really about his own tragedy? It is probably much broader than that.

Now that your acclaimed Schubert project is completed, what are your current or upcoming projects?

I am currently working with five other composers on a project that is a collection of five short pieces written as “variations” for which the theme is a quote from a 1938 speech by FDR: “remember, remember always, that all of us… are descended from immigrants and revolutionists.”

Each composer chose a figure of an immigrant — some famous, some not — to write about. The composers are Vijay Iyer, Derek Bermel (below top), Anthony Cheung, Wang Lu and John Harbison (below bottom).

These “variations” will be paired with Beethoven’s “Diabelli” Variations.

What else would you like to say about your career and, after several concerto appearances with the Wisconsin Chamber Orchestra, about your solo recital debut in Madison?

Madison has a lovely audience that I was fortunate to meet in the past, and I certainly look forward to being back there!

 


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Classical music: The UW Schubertiade last Sunday afternoon explored the influence of Beethoven on Schubert with insight and beauty

February 2, 2020
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ALERT: In early editions of my last post, I mistakenly said that the UW Choral Union and the UW Symphony Orchestra will perform the Verdi Requiem on May 25 and 26. The correct dates are APRIL 25 and 26. The Ear regrets the error.

By Jacob Stockinger

One of the most informative and enjoyable events of the Beethoven Year – 2020 is the 250th anniversary of the composer’s birth – came early.

It took place last Sunday afternoon in the Collins Recital Hall of the new Hamel Music Center at the UW-Madison.

It was the seventh annual Schubertiade, and its theme was “Schubert and Beethoven: Influences and Homages.” A classic contrast-and-compare examination of two musical giants who lived and worked in Vienna in the early 19th century, the concert took place for almost three hours before a packed house. (Schubert is below top, Beethoven below middle, and the sold-out audience below bottom)

The annual event is organized by co-founders and co-directors UW piano professor Martha Fisher and her pianist husband Bill Lutes (below, greeting the crowd), who also perform frequently, especially as outstandingly sensitive and subtle accompanists.

They make the event, with audience members sitting onstage, look easy and informal. But it takes a lot of hard work.

The two sure know how to choose talent. As usual, all the singers and instrumentalists – UW alumni and faculty members (below) — proved very capable. The concert cohered with consistency.

Nonetheless, The Ear heard highlights worth singling out.

Baritone Michael Roemer (below) sang exceptionally in “An die ferne Geliebte” (To the Distant Beloved) by Beethoven (1770-1827). His voice brought to mind the young Dietrich Fischer-Dieskau in the inviting tone and direct delivery of the first song cycle ever composed. It was also the one that inspired the younger Schubert (1797-1828) to compose his own song cycles, and you could hear why.

Soprano Jamie Rose Guarrine (below right), accompanied by Bill Lutes and cellist Karl Knapp (below center), brought warmth, ease and confidence to the lyrical beauty of “Auf dem Strom” (On the River).

Tenor Daniel O’Dea (below) showed how Schubert’s setting of Friedrich Schiller’s “Ode to Joy” – the same Romantic poem made famous in Beethoven’s Ninth Symphony “Choral” – ended up much more lighthearted than the more familiar, serious and intense symphonic version.

Martha Fischer and Bill Lutes, who also sang as well as narrated and accompanied, showed complete blending and tightness in Schubert’s first published composition: “Eight Variations on a French Song.” It was for piano, four-hands – a sociable genre that Schubert favored and wrote a lot of.

Soprano Jennifer D’Agostino (below) sang Schubert’s song “Elysium” in which it is unclear whether it is a pastiche or a parody of Beethoven, who remained a mentor until Schubert died at 31. Could that ambiguity point to Schubert’s maturing sense of himself and his own art as compared to Beethoven’s?

One year after Beethoven’s death – Schubert was a pallbearer — Schubert put on his only formal public concert of his own work. That was when he premiered his Piano Trio No. 2, the bravura last movement of which was played by Bill Lutes with cellist Parry Karp and first violinist David Perry (below), of the UW’s Pro Arte Quartet.

Then all four members of the Pro Arte Quartet (below) – with violist Sally Chisholm and second violinist Suzanne Beia – played the last two movements of Beethoven’s late String Quartet in C-sharp Minor, Op. 131, the work that Schubert requested to hear performed as he lay on his death bed in his brother’s Vienna apartment.

Of course there were other moments that pleased and instructed. There was a set of four songs – one coupling sung by mezzo-soprano Allisanne Apple (below) — in which the same texts were set to music by both Beethoven and Schubert.

We got to hear Beethoven’s final song, “Abendlied unterm gestirnten Himmel” (Evening Song Beneath the Starry Firmament).

Then there was the heart-wrenching “Nachthymne” (Hymn to the Night) by Schubert, again beautifully performed by Jamie Rose Guarrine. (You can hear “Hymn to the Night,” sung by Elly Ameling, in the YouTube video at the bottom.)

So in the end, what were the big lessons, the takeaways from this year’s Schubertiade?

One lesson is that for all his more familiar symphonies and concertos, his string quartets and piano trios, his piano sonatas and his sonatas for cello and violin, Beethoven was also a much more accomplished song composer than the public generally knows.

But for The Ear, the biggest lesson of all is that despite Beethoven’s deep influence, Schubert retained his own special voice, a voice full of unforgettable melodies and harmonies, of lyricism and empathy.

And using a mentor to find, refine and retain one’s own identity is the highest homage any student can pay to a teacher.

 


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Classical music: The 7th annual Schubertiade at the UW-Madison is this Sunday afternoon and will explore the influence of Beethoven on Schubert

January 23, 2020
3 Comments

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By Jacob Stockinger

This coming Sunday afternoon, Jan. 26, is the seventh annual UW Schubertiade – named after the evening gatherings of friends (below) where the composer Franz Schubert performed and premiered his own music.

This year’s theme, given that 2020 is the Beethoven Year, is the immense influence that the older Beethoven (below top) 1770-1827) had on the younger Schubert (below bottom, 1797-1828).

The event will begin with a pre-concert lecture by UW-Madison Professor of Musicology Margaret Butler at 2:15 p.m. in the Rehearsal Hall at the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art.

Then at 3 p.m. in the 330-seat Collins Recital Hall in the same building, the two-hour concert will take place.

The concert will close with the usual custom. The audience and performers will join in singing “An die Musik” (To Music). (In the YouTube video at the bottom, you can hear it sung by legendary German soprano Elisabeth Schwarzkopf and legendary British accompanist Gerald Moore.)

A reception will follow the concert in the main lobby.

For more description of the event plus a complete program and list of performers – who consist of UW-Madison graduates and musicians including soprano Jamie Rose Guarrine (below top) and mezzo-soprano Alisanne Apple (below middle) as well as the Pro Arte Quartet (below bottom, in a photo by Rick Langer) – go to: https://www.music.wisc.edu/event/our-annual-schubertiade/

At the site, you will also find information about buying tickets – general admission is $20 with free student tickets on the day of the concert is space is available – and about parking.

The event was founded by and continues to be directed by wife-and-husband pianists Martha Fischer and Bill Lutes (below) who also sing, accompany and play works for piano, four hands.

Lutes sent the following introductory remarks: “Ever since Martha and I presented the first of our annual Schubertiades back in January 2014, we’ve looked for ways to keep our all-Schubert birthday parties fresh and interesting for our audience.

“From time to time we contemplated introducing another composer – maybe even switching our allegiance from the immortal Franz to another of our favorites: perhaps a “Schumanniade.”

“This time, with six years of all-Schubert behind us, we thought we would do the obvious and finally unite Schubert with the composer who probably meant more to him than almost any other – Beethoven, whose 250th birthday is being celebrated this year.

“Once Beethoven moved permanently to Vienna at age 22, he soon became famous and eventually was regarded as the greatest of the city’s composers.

“Schubert, who was born in Vienna five years after Beethoven’s arrival, grew up hearing the older master’s works, often at their premieres. As his genius flowered early, Schubert was often challenged and inspired by Beethoven’s music.

“We bring together these two giants who lived in the same city, knew the same people, attended the same musical events, perhaps met or quite possibly didn’t.

“Yet Beethoven’s presence and example guided Schubert in his own road toward the Ultimate Sublime in music. Our concert of “Influences and Homages” features works where the musical, if not the personal, relationship is there for all to hear.”

Lutes also supplied a list of the song titles in English translation:

“Ich liebe dich” – I love you

“Der Atlas” – Atlas

“Auf dem Strom” – On the River

“Der Zufriedene” – The Contented Man

“Der Wachtelschlag” – The Quail’s Cry

“Wonne der Wehmut” – Joy in Melancholy

“Kennst du das Land?” – Do You Know the Land?

“An die ferne Geliebte” – To the Distant Beloved

“An die Freude” – Ode to Joy

“Gruppe aus dem Tartarus” – Scene from Hades

“Elysium”

“Nachthymne” – Hymn to the Night

“Abendlied unterm gestirnten Himmel” – Evening Song Beneath the Starry Firmament

Have you attended a past Schubertiade (below, in Mills Hall)?

What did you think?

Would you recommend it to others?

The Ear wants to hear.

 


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