The Well-Tempered Ear
Here are the nominees, winners and trends of the 2023 classical music Grammys
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By Jacob Stockinger
Chances are good you have already heard about Beyoncé and Lizzo, about Bonnie Raitt and Harry Styles, and how they won their Grammy awards last Sunday night.
But it is not by chance that you have to scroll way, way, way down the list of Grammy nominees and winners to find the ones for classical music. (It comes a third from the end, just before the list of short-form and long-form videos.)
No doubt it is in part a question of respect. Classical is not even listed with other “Musical Genres” on the Grammys’ home website while you will find: Pop; Rock; R&B; Country; Rap; Latin; Global; Gospel and Contemporary Christian; New Age; Jazz; and Alternative.
It seems like the most important thing to say about classical music is that pop star Beyoncé (below above) surpassed the record for individual Grammys previously held for decades by the late Hungarian-born conductor Sir George Solti (below bottom). He had won 31, she has won 32. But it seems like an unfair comparison since The Ear suspects many more categories are open to Beyoncé and her pop music than were open to Solti and classical music.
But even more than respect, it is a question of popularity and money.
We mustn’t forget that the Grammys are above all an industry event designed to reward those who make the commercial recording industry flourish.
Still, there are trends to take note of.
You’ll notice that quite a few of the nominees and winners have performed had their music performed in Madison. They include composers Caroline Shaw and Kevin Puts; the Imani Winds and Valerie Coleman; the Attacca Quartet; singer Will Liverman; Third Coast Percussion; Hilary Hahn; and producer Judith Sherman (below, in 2016)), who has overseen recent recordings by the UW-Madison’s Pro Arte Quartet and won many such Grammys.
Also, just as in Madison this has also been a big year for performers and composers of color — Black, Indigenous, Latin and Asian — as well as women composers and performers. Florence Price, Valerie Coleman and Jessie Montgomery (below and in the YouTube video at the end of her composition “Strum”), who is now composer-in-residence at the Chicago Symphony Orchestra and was just named Composer of the Year by Musical America; and Valerie Coleman.
Local presenters and performers can be proud of reflecting the same priorities. They include: the University of Wisconsin-Madison School of Music; the Wisconsin Youth Symphony Orchestras (WYSO); the Madison Symphony Orchestra; the Madison Opera; the Wisconsin Union Theater; the Wisconsin Chamber Orchestra; the Willy Street Chamber Players; the Bach Dancing and Dynamite Society; Edgewood College; and Wisconsin Public Radio and WORT-FM among others.
See for yourself which ones you caught and which ones you missed.
Here is a list of the classical music winners of the 65th annual Grammy awards. It is provided by the insightful Australian arts and culture journal Limelight Magazine:
The 2023 Grammy Awards: Classical winners announced
And here is the complete list of the Grammy nominees along with the winners, so you can compare them all, find out details and judge for yourself. The Ear thinks many of the nominees are often just as worthwhile to check out and listen to as the winners:
https://www.grammy.com/awards/65th-annual-grammy-awards-2022
What do you think of the Grammy nominees and winners?
The Ear wants to hear.
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Is a lot of ‘woke’ music inferior to the music it replaces?
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By Jacob Stockinger
Is a widespread attempt to explore historically ignored music and overlooked, marginalized composers interfering with the public hearing greater, more important and more beautiful music?
It is a problematic but timely question or issue, especially during an era of political correctness and in our current culture wars.
To be sure, you can hear some memorable music that has unjustifiably been excluded from the so-called canon. The discovery of Florence Price (below) is a prime example. The same can be said for Clara Schumann.
It does seem that a lot of the newly rediscovered pieces and composers — Black, Hispanic, Indigenous, Asian, women, LGBT — deserve an initial hearing, if only out of curiosity and to correct the historical record.
But after being heard for the first time, many of them seem second- or third-rate. They deserve to be shelved for another few decades in favor of restoring greater music and greater composers to the active performing repertory.
To The Ear, for example, the symphonies by Michael Haydn always sound inferior to those of his famous older brother Joseph. And it doesn’t matter what critics and audiences of the day said, history its often — if not always — the better judge. The symphonies and violin concertos of the impressive and influential Joseph de Boulogne (Chevalier de Saint-Georges, below) are simply not as artistically interesting or engaging as those by his contemporary Mozart.
Anyway, whatever you think, The Ear came across an essay on the internet by George Leef that was published in The National Review — the iconic conservative political magazine founded by William Buckley. It contains background about current nationwide programming guidelines and organizations that you might not know.
It is an interesting point of view. It often goes over the top and clearly overstates the case against “woke” repertory by accusing those who support it of being “enemies of classical music” rather than sincere and well-intentioned progressive advocates of artistic justice.
But it deserves a serious reading and a serious answer to the provocative question of balancing the great and the less great. Here is a link:
Read it for yourself and make up your own mind.
Then please tell The Ear and other readers what you think in the Comment section.
The Ear wants to hear.
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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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Music con Brio starts an annual Black Composers project with a FREE virtual concert
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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
The Ear has received the following announcement from Carol Carlson, the co-founder and Executive Director of the Madison-based Music con Brio (below), who is a violinist and holds a doctorate in music from the UW-Madison:
Hello friends,
Happy summer! I hope you are able to enjoy some rest, relaxation and fun in the sun.
I am emailing you because Music con Brio embarked on an exciting new project this year, and I want to share it with you.
In an effort to diversify our repertoire and guest artists, we have launched our new “Music by Black Composers” project. Last winter, our staff chose four pieces of music by Black composers and made student-accessible arrangements of them.
We then taught these new pieces during our online lessons this spring. On May 8, we gathered together outside at the Goodman Community Center, with four phenomenal local Black guest artists, to professionally record all four pieces.
And now, in lieu of our regular Community Concert Series this year, we are thrilled to present our first-ever Virtual Community Concert!
Click on the link to YouTube video at the bottom to watch and hear the 12-minute performance. Once there, click on Show More to see the composers, pieces and performers.
We are incredibly proud of our students and staff for all their hard work making this so successful. I’m sure you will enjoy their performance!
Please do feel free to pass the video along to anyone else you think might be interested in watching it.
And if you feel so inclined, we would really appreciate a donation in support of this work, which we plan to do every year from now on. To support Music con Brio and our Black Composers project by making a secure, tax-deductible donation, go to: https://www.musicconbrio.org/donate/
Thank you so much for your support! We hope to see you at a live concert again sometime soon!
If you wish to know more about Music con Brio, go to: https://www.musicconbrio.org
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Wisconsin Ensemble Project’s string quartet program to benefit the United Way of Dane County debuts online this Friday night
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By Jacob Stockinger
This Friday night, May 14, the Wisconsin Ensemble Project will present a recorded concert (below, in an image by Katrin Talbot) in partnership with United Way of Dane County (UWDC).
This is their second in a series of performances to benefit local and international organizations.
This production offers viewers a meaningful program that leads to direct impact with a focus on housing stability and family well-being. You will hear the story and see the face of UWDC woven throughout a chamber music performance.
The program of works for string quartet includes “Park” by Daniel Bernard Roumain (below top); the “Heiliger Dankgesang” (Sacred Hymn of Thanksgiving, which you can hear played by the Alban Berg Quartet in the YouTube video at the bottom) from Beethoven’s Opus 132; and selections from Five Folksongs in Counterpoint by Florence Price (below bottom).
WE Project members and performers are local, professional musicians who work together in the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra: violinists Leanne League and Mary Theodore; violist Jen Paulson; and cellist Karl Lavine.
“The WE Project is rooted in the quartet’s desire not only to delve deeply into chamber music repertoire, but also to address some of the many pressing social justice issues of our time,” says member Mary Theodore.
When exploring organizations to partner with for their second project, the quartet was inspired by the work of United Way of Dane County. The WE Project approached United Way out of their concern over housing security, with the understanding that one of UWDC’s key goals is to help more individuals and families find pathways out of poverty through housing and employment initiatives.
The recorded production will be available by registering at https://www.eventbrite.com/e/wisconsin-ensemble-project-spring-benefit-concert-registration-151923670789 from 6 p.m. this Friday, May 14, for 72 hours. Admission is free and contributions are strongly encouraged.
Contributions can be made through the website and will help to cover basic production costs and get funds directly into the hands of this very worthy organization which, most importantly, brings aid to the people they serve.
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A busy weekend of online concerts features the UW Symphony, Edgewood College, Madison Opera, Wisconsin Chamber Orchestra, Bach Around the Clock and more
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By Jacob Stockinger
With only a little over a month left before the academic year ends at the University of Wisconsin-Madison, it’s not surprising that the last weekend in March is very busy with noteworthy – and competing – online concerts.
Each morning at 8 through Friday, Bach Around the Clock will release the last concerts of its 10-day online festival. You can find the programs – including the finale Friday night at 7 with Brandenburg Concerto No. 6 — and link for streaming here: https://bachclock.com/concert-schedule
The weekend starts tonight with one of The Ear’s favorite groups during the Pandemic Year: the UW-Madison Symphony Orchestra
Here is a day-by-day lineup. All times are Central Daylight Time:
TONIGHT, MARCH 25
The UW-Madison Symphony Orchestra (below) performs a FREE virtual online concert TONIGHT starting at 7:30 p.m.
The concert will be preceded by a 7 p.m. talk about Igor Stravinsky with modern musicologist and Penn State Professor Maureen Carr as well as conductor Oriol Sans and Susan Cook, UW musicologist and director of the Mead Witter School of Music.
The program is: Suite from the opera “Dido and Aeneas” by Henry Purcell, with student conductor Alison Norris; Duet for Two Violins and String Orchestra by the contemporary American composer Steve Reich; and the Neo-Classical “Apollon musagète” (Apollo, Leader of the Muses) by Stravinsky. (In the YouTube video at the bottom, you can hear an excerpt of the Stravinsky played by the Berlin Philharmonic with Simon Rattle conducting.)
Here is the link to the talk and concert. Click on more and you can also see the members of the orchestra and the two violin soloists: https://youtu.be/2rgHQ4lWTV8
For more information about the program, including notes, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra/
FRIDAY, MARCH 26
At 7:30 p.m. the Wisconsin Chamber Orchestra will post for three days the third of its four online chamber music concerts (below). There will be excerpts of music by Beethoven and Brahms as well as complete works by Jessie Montgomery and Alyssa Morris.
Tickets to the online on-demand event are $30, with some discounts available, and are good through Monday evening.
Here is a link to more about this concert, including program notes by conductor and music director Andrew Sewell, and how to purchase tickets: https://wcoconcerts.org/events/winter-chamber-series-no-iii
At 8 p.m., the music department at Edgewood College will give a FREE online Spring Celebration concert. It will be livestreamed via music.edgewood.edu
The performers include: the Chamber Orchestra, under the direction of Sergei Pavlov (below); the Guitar Ensemble, under the direction of Nathan Wysock; and the Chamber Winds, directed by Carrie Backman.
Highlights include the Guitar Ensemble’s performance of Wish You Were Here, by David Gilmour and Rogers Waters, and the Chamber Winds epic Star Wars: The Force Awakens. The Chamber Orchestra, which will perform live, will feature Musical moment No. 3, by Franz Schubert and Peer Gynt Suite by Edvard Grieg.
SATURDAY, MARCH 27
At noon, in Grace Episcopal Church on the Capitol Square downtown, there will be a FREE online concert. Grace Presents: “A Patient Enduring”: This early music program of medieval conductus (a musical setting of metrical Latin texts) and ballade, English lute song, and duets from the early Italian Baroque features two sopranos, Grammy-winnner Sarah Brailey (below) and Kristina Boerger, with Brandon Acker on lute and theorbo.
Here is a link: YouTube.com/GracePresentsConcerts
You can also go to this webpage for a link: https://www.music.wisc.edu/event/grace-presents-a-patient-enduring/
At 3 p.m. the Perlman Trio, a piano trio that is made up of UW-Madison graduate students, will give a FREE online concert. The program includes piano trios by Haydn, Beethoven and Schubert.
Here is a link to the YouTube video: https://youtu.be/EAjK0DfWB3A
Here is a link to the complete program plus background, names and photos of the performers as well as to the performance: https://www.music.wisc.edu/event/perlman-piano-trio/
At 7 p.m. the UW-Madison’s Wingra Wind Quntet (below) will perform a FREE pre-recorded online concert. Here is a link to the video https://www.youtube.com/watch?v=Bn7eobSnfr8
And here is a link to the page with more background information about the faculty members – including bassoonist Marc Vallon (below top) and flutist Conor Nelson (below bottom) – and to the complete program: https://www.music.wisc.edu/event/wingra-wind-quintet/
SUNDAY, MARCH 28
From 4 to 5:30 p.m., guest mezzo-soprano Julia Ubank (below) will give a free online recital with pianist Thomas Kasdorf.
The program features songs by Mahler, Debussy, deFalla, Jake Heggie and Ellen Cogen.
Here is the complete program plus a link to the recital: https://www.music.wisc.edu/event/julia-urbank-voice-recital/
From 4 to 5:30 p.m. the Madison Opera will host a Opera Up Close cocktail hour discussion with four general directors of opera companies. Here is the website’s description:
“Four opera general directors walk into a chat room…. Stepping outside the Madison Opera family, Kathryn Smith (below, in a photo by James Gill) is joined by three colleagues: Michael Egel of Des Moines Metro Opera, Ashley Magnus of Chicago Opera Theater, and Lee Anne Myslewski of Wolf Trap Opera.
“From how they got into opera, to the ups and downs of running an opera company, their favorite productions, funniest moments, and more, it will be a unique and entertaining afternoon.
Here is a link with more information including the cost of a subscription: https://www.madisonopera.org/class/general-directors/?wcs_timestamp=1616947200
At 6 p.m., Rachel Reese, a UW-Madison doctoral student in violin, will give a lecture-concert about the Violin Concerto No. 2 by the rediscovered African-American composer Florence Price (below). She will be accompanied by pianist Aubrie Jacobson.
Here is a link to the concert plus background about Rachel Reese: https://www.music.wisc.edu/event/rachel-reese-lecture-recital/
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Here are the Top 10 online concerts to stream in March, according to critics for the New York Times
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ALERT: The online live-streamed concert by the UW-Madison’s Pro Arte Quartet — scheduled for this Friday night, March 5 — in the all-Beethoven cycle of string quartets has been canceled and postponed until next year. The Friday, April 9 installment of the Beethoven cycle will be held as Installment 7 instead of 8.
By Jacob Stockinger
Classical music critics of The New York Times have once again picked their Top 10 online concerts for the month of March.
The Ear has found such lists helpful for watching and hearing, but also informative to read, if you don’t actually “attend” the concert.
If you have read these lists before, you will see that this one is typical.
It offers lots of links with background about the works and performers; concert times (Eastern); and how long the online version is accessible.
Many of the performers will not be familiar to you but others – such as pianist Mitsuko Uchida (below, in a photo by Hiroyuki Ito for the Times), who will perform an all-Schubert recital, will be very familiar.
But the critics once again emphasize new music and even several world premieres – including one by Richard Danielpour — and a path-breaking but only recently recorded live performance of the 1920 opera “Die Tote Stadt” (The Dead City) by long-neglected composer Erich Wolfgang Korngold (below), who is best known for his Hollywood movie scores but who also wrote compelling classical concert hall music. (In the YouTube video at the bottom, you can hear soprano Renée Fleming sing “Marietta’s Song.’)
But some works that are more familiar by more standard composers – including Mozart, Beethoven, Schubert, Schumann, Ravel and Copland – are also included.
The Times critics have also successfully tried to shine a spotlight on Black composers and Black performers, such as the clarinetist and music educator Anthony McGill (below top), who will perform a clarinet quintet by composer Samuel Coleridge-Taylor (below) and music in the setting of the Metropolitan Museum of Art.
No purists, the critics also suggest famous oboe and clarinet works in transcriptions for the saxophone by composer-saxophonist Steven Banks (below).
Also featured is a mixed media performance of words and music coordinated by the award-winning Nigerian-American novelist, essayist and photographer Teju Cole (below), whose writings and photos are irresistible to The Ear.
Here is a link to the story in the Times: https://www.nytimes.com/2021/02/25/arts/music/classical-music-streaming-concerts.html
Are there other online concerts in March – local, regional, national or international – that you recommend in addition to the events listed in the Times?
The Ear wants to hear.
Tags: #AaronCopland, #AdolphusHailstork, #AmyBeach, #AnthonyMcGill, #AppalachianSpring, #AsianComposer, #BerlinGermany, #BlackComposer, #BlackCulture, #BlackMusic, #Blackperformer, #BlackTraditions, #BlogPost, #BlogPosting, #BluesMusic, #CarolineShaw, #ChamberMusic, #ClaraSchumann, #ClarinetConcerto, #ClarinetQuintet, #ClevelandOrchestra, #ConcertHall, #ConcertTime, #CoronavirusPandemic, #COVID-19, #DavidFung, #DavidHydePierce, #DeutscheOper, #ErichWolfgangKorngold, #FacebookPost, #FacebookPosting, #FemaleComposer, #FlorencePrice, #FranzSchubert, #GreatBritain, #GreatMigration, #HenryGorecki, #HildgardvonBingen, #JacobStockinger, #JenniferKoh, #JohnDowland, #KurtWeill, #LiveMusic, #LondonEngland, #LouisianaPhilharmonicOrchestra, #LouisvilleOrchestra, #LudwigVanBeethoven, #MargaretBonds, #MauriceRavel, #MeadWitterSchoolofMusic, #MetropolitanMuseumofArt, #MitsukoUchida, #MixedMedia, #MusicCritic, #NegroSpiritual, #NewMusic, #NewYorkPhilharmonic, #NewYorkTimes, #OboeQuartet, #OnlineConcert, #OperaMusic, #OperaPhiladelphia, #OrchestralMusic, #OrchestraofSt.Luke's, #PhiladelphiaPennsylvania, #PhilipGuston, #PianoConcerto, #PianoSonata, #PolishComposer, #PrincipalClarinet, #ProArteQuartet, #RecordedMusic, #RenéeFleming, #RiccardoChailly, #RichardDanielpour, #RobertSchumann, #SamuelColeridge-Taylor, #SarahCahill, #SopranoSinger, #StevenBanks, #StringQuartet, #TejuCole, #The CoronationofPoppea, #TheBlues, #TheDeadCity, #TheEar, #TheUW, #Top10, #UniversityofWisconsin-Madison, #UnsukChin, #ViolinConcerto, #VirtualConcert, #VocalMusic, #WigmoreHall, #WilliamBolcom, #WorldPremiere, #YouTubeChannel, #YouTubevideo, Aaron Copland, Actor, Adolphus Hailstork, Africa, Americana, Amy Beach, Anthony McGill, Appalachian Spring, Art, Arts, Asi, asian, Asian composer, audience, award, background, bakcground, beach, Beethoven, Berlin, black composer, Black culture, black music, Black performer, Black traditions, blog, blues, Bolcom, bovel, cancel, Caroline Shaw, cellist, Cello, Chamber music, Clara Schumann, clarinet, clarinet concerto, Clarinet Quintet, clarinetist, Classical music, Cleveland, Cleveland Orchestra, Cole, composer, Concert, concert hall, concert time, concerto, conductor, Copland, coronavirus, coronavirus pandemic, critic, cycle, Danielpour, David Fung, David Hyde Pierce, Deutsche Oper, Deutsche Opera, Early music, England, Erich Wolfgang Korngold, essay, essayist, event, Facebook, Facebook page, familiar, female, Florence Price, forward, Franz Schubert, Fung, Germany, Gorecki, Great Britain, Great Migration, Hailstork, hear, helful, Henryk Gorecki, Hildegard von Bingen, impromptu, international, Jacob Stockinger, Jazz, jazzy, Jennifer Koh, John Dowland, Kaija Saariaho, Koh, Korngold, Kurt Weill, like, link, list, live music, local, London, Louisiana Philharmonic Orchestra, Louisville Orchestra, Ludwig van Beethoven, Madison, march, Margaret Bonds, Maurice Ravel, McGill, Mead Witter School of Music, media, Metropolitan Museum of Art, Mitsuko Uchida, mixed media, Mozart, Museum, Music, music critic, national, neglect, Negro spirituals, New Music, New York Philharmonic, New York Times, Nigeria, Nigerian, novelist, Oboe, Oboe Quartet, oboist, online, opera, Opera Philadelphia, Orchestra, Orchestra of St. Luke's, orchestral music, other, pandemic, PAQ, Pennsylvania, performer, Philip Guston, photographer, Pianist, Piano, Piano concerto, Piano sonata, players, Polish composer, post, posting, postpone, price, Principal Clarinet, Pro Arte Quartet, purist, quintet, Ravel, read, recital, recommendation, recorded music, regional, Renée Fleming, Riccardo Chailly, Richard Danielpour, Robert Schumann, Samuel Coleridge-Taylor, Sarah Cahill, Saxophone, Schubert, Schumann, setting, share, Shaw, Shine, Singing, soloist, Sonata, song, soprano, spirituals, spotlight, Spring, Steven Banks, stream, String quartet, symphony, tag, Teju Cole, The blues, The Dead City, The Ear, time, Top 10, transcription, typical, Uchida, UK, United Kingdom, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Unsuk Chin, UW, UW-Madison, value, version accessible, Viola, Violin, Violin concerto, violinist, violist, virtual, vocal music, watch, Weill, Wigmore Hall, WILLIAM BOLCOM, Wisconsin, Wolfgang Amadeus Mozart, women, works, world premiere, Writer, writing, YouTube, YouTube video
TODAY — Sunday, Jan. 24, at noon — a video concert by the Willy Street Chamber Players will kick off the Wisconsin Union Theater’s new concert series “Wisconsin Sound”
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By Jacob Stockinger
The Wisconsin Union Theater is excited to pilot “Wisconsin Sound,” a new video concert series featuring musicians from our very own state.
The series, which includes the UW-Madison’s Pro Arte Quartet, will have five concerts, once a month between January and May and begins with celebrated, locally grown Willy Street Chamber Players (WSCP, below in a photo by Lloyd Schultz) on TODAY — Sunday, Jan. 24 — at noon CDT.
You can see the full lineup with dates and purchase single tickets for the performance or discounted subscription for all Wisconsin Sound events here. Single tickets are $15 and subscription tickets to all five concerts are $50.
The Willy Street Chamber Players began just six years ago but has already made its mark on the Madison community, garnering accolades for its fun approach to music, accessibility and dedication to community partnerships.
The group will perform Fantasiestucke (Fantasy Pieces) for Cello and Piano, Op. 73, by Robert Schumann; Fantasy No. 2 for Violin and Piano by Florence Price (below top); Kiép Nào Có Yeu Nhau (Vietnamese Love Song) for Violin and Piano by Rachel Eubanks (below bottom); and Adagio and Allegro for Cello and Piano, Op. 70, by Robert Schumann. (You can hear the Fantasy by Florence Price in the YouTube video at the bottom.)
You may have heard these dynamic performers during our Summer Serenades at Memorial Union Terrace and other Wisconsin festivals.
The pandemic has not stopped this group from bringing beautiful music to the community; it has continued to perform virtually as well as give in-person “Micro-concerts” for one to two people and safety in mind.
“We are honored they agreed to be the first artist in this pilot series. We share in Willy Street Chamber Players’ goal of creating community through music and thought they’d be a great group to kick off the new series for that very reason,” says Wisconsin Union Theater director Elizabeth Snodgrass.
“Everyone in the arts is trying so hard to stay connected and the group’s music and positivity invite that connection,” Snodgrass adds. “I hope this will reach Wisconsin patrons as well as new listeners who may not have had the chance to hear Willy Street Chamber Players or who have not been to the Wisconsin Union Theater before.”
This blog named the Willys “Musicians of the Year” for 2016. The players were called “a fantastic breath of fresh air who invest their performances of even well-known works, such as the glorious Octet by Mendelssohn, with energy and drive, zest and good humor.” You can read that story here.
Click here for more information about Wisconsin Sound, including other upcoming performances.
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Four local classical musicians perform Black women composers in a virtual holiday concert to benefit the health of Black women
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By Jacob Stockinger
The Wisconsin Ensemble (WE) Project, a quartet of local classical musicians, has announced that it will host a holiday concert to support Dane County-based non-profit, the Foundation for Black Women’s Wellness (FFBWW, below).
The concert will be the first in a series of performances to benefit local and international organizations working for social justice and human interest.
This unique effort is rooted in the quartet’s desire to not only delve deeply into chamber music repertoire, but also to address some of the many pressing social justice issues of our time.
This recorded, virtual YouTube concert will be available at https://wisconsinensembleproject.com from 6 p.m. on Friday, Dec. 25, through 6 p.m. on Sunday, Jan. 3. — times are CST — where contributions will be accepted via PayPal.
Viewers will hear the story and see the face of the Foundation for Black Women’s Wellness woven through quality chamber music by Black women composers performed by WE Project artists violinists Leanne League and Mary Theodore (below ends, in a photo by Katrin Talbot); violist Christopher Dozoryst (second from right); and cellist Karl Lavine. The four play together in the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.
Pieces they will perform include Strum (heard in the YouTube video at the bottom) and Voodoo Dolls by Jessie Montgomery (below top, in a photo by Jiyang Chen); Modes by Dorothy Rudd Moore (below center); and String Quartet in G Major by Florence Price (below bottom).
“This production offers viewers a meaningful program which leads to direct impact,” says WE Project member Mary Theodore who has been working with Foundation staff to coordinate the benefit over the last few weeks.
”We felt strongly about the work of the Foundation as we learned more about their mission to eliminate the startling health and economic disparities Black women face in our community,” adds Theodore. “When you donate and tune in to our concert, you will be helping to cover basic production costs and getting funds directly into the hands of this very worthy organization”.
Foundation for Black Women’s Wellness CEO Lisa Peyton-Caire (below), who launched the Black women’s health advocacy organization in 2012, says the concert is a beautiful example of how community and organizations can partner to drive social change together.
“We are elated that WE Project chose us as their first benefit recipient, and that our mission and work to transform Black women’s health in Wisconsin resonated with them,” said Peyton-Caire. “We know that ultimately it takes all of our effort to solve the inequities in our community, and this benefit concert is a beautiful example of the loving and creative ways we can join forces to do this.”
To learn more about the concert, visit https://wisconsinensembleproject.com, where you can contribute via PayPal anytime beginning now through Jan. 3.
To listen to a recent morning coffee chat between members of the two organizations, go to: https://www.facebook.com/watch/live/?v=431169757916539&ref=watch_permalink. Click on individual profiles to hear them.
To learn more about The Foundation for Black Women’s Wellness, visit https://ffbww.org.
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The Well-Tempered Ear 
Songs by Black composers trace their cultural realities in a free online UW performance TONIGHT of “Verisimilitudes.” Plus, the five winners of this year’s Beethoven Competition perform Sunday.
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ALERT: This Sunday, April 25, from 3:30 to 5:30 p.m. the five winners of this year’s Beethoven Competition at the UW-Madison will perform in a winners’ concert. Included in the program are the popular and dramatic “Appassionata” Sonata, Op. 57, and the famous and innovative last piano sonata, No. 32 in C minor, Op 111. Here is a link to the YouTube video: https://www.youtube.com/watch?v=eMF0Hd1MJwMg. Click on “Show More” and you can see the full programs and biographical profiles of the winners.
By Jacob Stockinger
The concert could hardly be more timely or the subject more relevant.
Think of the events in and near Minneapolis, Chicago and elsewhere in the U.S.; of the Black Lives Matter movement and social protest; of the political fight for D.C. statehood and voting rights – all provide a perfect context for an impressive student project that will debut online TONIGHT, Saturday, April 24, at 7 p.m.
The one-hour free concert “Verisimilitudes: A Journey Through Art Song in Black, Brown and Tan” originated at the UW-Madison’s Mead Witter School of Music. It seems an ideal way for listeners to turn to music and art for social and political commentary, and to understand the racial subtexts of art.
Soprano Quanda Dawnyell Johnson (below) created, chose and performs the cycle of songs by Black composers with other Black students at the UW-Madison.
Here is a link to the YouTube video: https://youtu.be/-g5hjeuSumw
Click on “Show More” to see the complete program and more information.
Here is the artist’s statement:
“Within the content of this concert are 17 art songs that depict the reality of the souls of a diasporic people. Most of the lyricists and all of the composers are of African descent. In large part they come from the U.S. but also extend to Great Britain, Guadeloupe by way of France, and Sierra Leone.
“They speak to the veracity of Black life and Black feeling. A diasporic African reality in a Classical mode that challenges while it embraces a Western European vernacular. It is using “culture” as an agent of resistance.
“I refer to verisimilitude in the plural. While syntactically incorrect, as it relates to the multiple veils of reality Black people must negotiate, it is very correct.
“To be packaged in Blackness, or should I say “non-whiteness” is to ever live in a world of spiraling modalities and twirling realities. To paraphrase the great artist, Romare Bearden, in “calling and recalling” — we turn and return, then turn again to find the place that is our self.
“I welcome you to… Verisimilitudes: A Journey Through Art Song in Black, Brown, and Tan”
Here, by sections, is the complete program and a list of performers:
I. Nascence
Clear Water — Nadine Shanti
A Child’s Grace — Coleridge-Taylor Perkinson
Night — Florence Price (below)
Big Lady Moon — Samuel Coleridge-Taylor
II. Awareness
Lovely, Dark, and Lonely — Harry T. Burleigh
Grief –William Grant Still (below)
Prayer — Leslie Adams
Interlude, The Creole Love Call — Duke Ellington
III. The Sophomore
Mae’s Rent Party, We Met By Chance –Jeraldine Saunders Herbison
The Barrier — Charles Brown
IV. Maturity
Three Dream Portraits: Minstrel Man, Dream Variation; I, Too — Margaret Bonds (below)
Dreams — Lawren Brianna Ware
Song Without Words — Charles Brown
Legacy
L’autre jour à l’ombrage (The Other Day in the Shade) — Joseph Boulogne (Chevalier de Saint-Georges, below)
The Verisimilitudes Team
Quanda Dawnyell Johnson — Soprano and Project Creator
Lawren Brianna Ware – -Pianist and Music Director
Rini Tarafder — Stage Manager
Akiwele Burayidi – Dancer
Jackson Neal – Dancer
Nathaniel Schmidt – Trumpet
Matthew Rodriguez – Clarinet
Craig Peaslee – Guitar
Aden Stier –Bass
Henry Ptacek – Drums
Dave Alcorn — Videographer
Here is a link to the complete program notes with lyrics and composer bios. And a preview audio sample is in the YouTube video at the bottom: https://simplebooklet.com/verisimilitudesprogramnotes#page=1
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