By Jacob Stockinger
What makes for great Chopin playing?
It is an especially germane question since the critically acclaimed pianist Adam Neiman (below) will perform an all-Chopin recital this coming Sunday at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.
Tickets are $45. For more information, go to:
Neiman –pronounced KNEE-man — has appeared here as a soloist with the Wisconsin Chamber Orchestra and recorded piano concertos by Mozart with the WCO. He is a critically acclaimed prize-winning pianist with a major concertizing and recording career. He also teaches at Roosevelt University in Chicago and is a member of the Trio Solisti, a piano trio that has been hailed as the successor to the famous Beaux Arts Trio.
Here is a link to Neiman’s website with information about him and his recordings, including upcoming releases of Beethoven, Liszt and Rachmaninoff:
Adam Neiman also recently did an email Q&A interview with The Ear:
There are some exceptional players of Beethoven and other German composers who sound completely out of their element in Chopin. What qualities do you think make for great Chopin playing and what makes Chopin difficult to interpret?
Chopin’s music incorporates a narrative language and an emphasis on very “first person” points-of-view; in other words, it is highly personalized, expressing emotion from the perspective of the individual, including nationalistic sentiments. Often, Germanic music aims for “objective” viewpoints, with extremely stringent instructions by the composer.
For players who struggle with the open-ended idiomatic flavor in Chopin’s music, the lack of objective instruction by the composer can make it difficult for them to know what to do. (You can hear Adam Neiman discussing much more about Chopin’s personality and artistic achievement in the YouTube video at the bottom)
To play Chopin (below) at a very high level requires imagination and freedom, as well as a poetic and introspective musical tendency. The fluidity of rubato, the contrapuntal interaction between the hands and the frequent use of widely spread textures requires a nimble master of the instrument, one with the ability to emphasize the piano’s specific virtuosic abilities.
In addition, Chopin’s music is centered around a bel canto operatic style of melody, whereas Germanic melody tends to be more motivic in nature, and therefore developmental.
A composer like Beethoven will emphasize motivic metamorphosis as a means of augmenting a form to create large structures, whereas Chopin will glide from one melodic area to another, using harmonic exploration as the central means of formal expansion.
This compositional difference outlines different strengths in the pianists, as the skill set to play reams of melody lines in succession can often be very different from those skills required to highlight motivic development in a work.
Can you place the 24 Preludes that you will be playing within the context of Chopin’s entire body of works. What would you like the public to know about the preludes and how you see them individually and as a group?
The 24 Preludes were composed while Chopin was on holiday in Mallorca, Spain, which proved to be Chopin’s first palpable bout with tuberculosis, the disease that eventually killed him. (Below is an 1849 photo of Chopin on his deathbed.)
Many of these works were written in a fever-state, in haste, and during a stressful time period in which Chopin was not only facing his own mortality, but also dealing with the myriad challenges of integrating with the children of his lover, the French writer Aurora Dudevant who is better known as George Sand.
These Preludes are like snapshots into the mind of the composer at a moment in time, often without regard for cohesion or development. They exist in a timeless place, where the music expresses the extremely personal sentiments roiling through Chopin’s consciousness.
In many ways, these works capture his spirit in the most distilled possible way, giving the player and listener an opportunity to view the mind and heart of Chopin without filter or refinement, hallmarks of his larger works.
Despite the widely varied emotional content of these Preludes, as a set they hold together as a marvelous and surprisingly cogent musical journey. They exemplify the 19th-century “Romantic” ideals of fantasy, freedom, individuality and raw emotion.
You will also perform all four Ballades. How they do they rank within Chopin’s output? What would you like listeners to know about each of the four ballades, about what they share in common and what distinguishes each one? Do you have favorites and why?
If the Preludes represent the pinnacle of Chopin’s ability to express poetic ideals within miniature forms, the Ballades represent the apex of his more grandiose musical philosophy.
The Ballade, as a form, emanates from epic poetry, often portraying a heroic protagonist overcoming seemingly inescapable challenges. Ballades can also be tied to nationalistic notions, and for Chopin, all four Ballades are truly Polish in their expression.
As Chopin’s native Poland was invaded and he was cut off permanently from re-entry, Chopin became an orphan of the world, whose adopted home of France revered and celebrated him without equal.
His musical mission — exemplified by the Ballades, Mazurkas and Polonaises in particular — was to heighten awareness of Poland’s cultural contributions to a European audience totally unaware of the goings-on in the east.
As a result of the immense conflicts suffered by Chopin’s homeland, and in keeping with the deep pride and identification Chopin felt as a Pole, these Ballades express the emotional rollercoaster of a lone Polish hero — perhaps Chopin himself, autobiographically — battling the world.
All four of these works make an enormous impression on the listener. From the despair and anger of the first Ballade, the bi-polar conflicts of the second (below is the opening of the second Ballade in Chopin’s manuscript), the pastoral hopefulness of the third, and the desolate introspection of the fourth, these Ballades speak to the soul and require the most intensely personal voice of the performer.
They require the possession of immense physical power and emotional maturity, which renders these works as being among Chopin’s most challenging.
I love all four of them equally. They are true masterworks of the highest order.
In there anything else you would like to say?
I am deeply honored and extremely delighted to return to Madison to perform this recital. I look forward to seeing many familiar faces, as well as new friends. Thank you!
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison features Danielle Breisach and Taya König-Tarasevich playing music for baroque and modern flutes. They will play works by Johann Sebastian Bach, Georg Philipp Telemann, Jacques-Martin Hottetere and Yuko Uebayashi. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
“Con Vivo! … music with life,” (below) continues its 15th season with a chamber music concert entitled “Capital Europeans” on this Sunday afternoon, Feb. 12, at 2:30 p.m. at First Congregational United Church of Christ, 1609 University Ave. across from Camp Randall Stadium.
Tickets can be purchased at the door. Admission is $18 for adults and $15 for seniors and students.
The winter concert, called, “Capital Europeans,” features pieces from three distinct European composers, each with his own style.
Representing Paris, the program includes selections from the Organ Preludes by French composer Darius Milhaud.
Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.
Adds Con Vivo’s artistic director Robert Taylor: “With this concert, we are performing a Sunday matinee with three unique composers, each with his own musical language. Our Madison audience will be able to hear our musicians up close and personal playing music of extreme delight and depth.”
Con Vivo is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and various other performing groups familiar to Madison audiences.
For more information about Con Vivo and its upcoming concerts, go to: http://www.convivomusicwithlife.org
By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
By Jacob Stockinger
A friend of The Ear and a fan of this blog writes:
I want to alert you and your readers that in February we have two performances scheduled at The Malt House (below), 2609 East Washington Avenue, on the corner of Milwaukee Street.
The Yahara String Quartet (below) plays on this coming Saturday, Feb. 4, from 4 to 6 p.m. YSQ says they will play “among others … music by Tchaikovsky, Borodin, Mendelssohn, Mozart, Holst, Haydn, Vivaldi … and more.” For information, go to:
The Cello and Bass Duo of Karl von Huene (cello, below) and John Dowling (contrabass) will play on Saturday, Feb. 11, from 3 to 5 p.m.
Adds Karl von Haene: “We play short pieces by Sebastian Lee (1805-1887) that are obscure enough that I will buy a beer for anyone who knows them. You see, there’s no opus number, they’re just “melodic studies/etudes.”
You can hear the first of Sebastian Lee’s “40 Melodic and Progressive Studies” in the YouTube video at the bottom. For information about Sebastian Lee, who performed and taught in France and Germany, go to:
For information, go to:
Performances are FREE, and the full bar is open for business. We open at 2 p.m. on Saturdays.
For more information about the highly rated tavern that specializes in artisan beers and ales, and also presents other forms of music, go to:
Bill Rogers, The Malt House
CORRECTION: In a recent post, The Ear used a wrong date and time for the Chopin and Debussy house concert by pianist Trevor Stephenson. The correct time is SATURDAY, FEB. 25, at 7 p.m. For more information, go to:
By Jacob Stockinger
The all-women chamber group Arbor Ensemble will perform a recital of all-French chamber music this weekend.
It will take place this SATURDAY (NOT Friday, as mistakenly reprinted form a faulty press release), Feb. 4, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.
Admission is $10 general, and $5 for students and seniors.
The group will perform rarely heard chamber works by French composers, featuring Madison soprano Rachel Edie Warrick (below).
The program includes the Trio Sonata by Claude Debussy; Prelude, Recitative and Variations by Maurice Duruflé; “Où voulez-vous aller?” (Where do you want to go?) by Charles Gounod; “Une Flûte Invisible” (An Invisible Flute) by Camille Saint-Saëns; and Trio No. 2 in A minor by Cécile Chaminade (below).
You can hear the Chaminade Trio No. 2 in the YouTube video at the bottom.
Founding members of the Arbor Ensemble are flutist Berlinda Lopez (below top), violist Marie Pauls (below middle) and pianist Stacy Fehr-Regehr (below bottom).
The ensemble often performs programs by female composers.
For more information, go to Arbor Ensemble’s website at www.arborensemble.com.
By Jacob Stockinger
The second half of the current concert season is getting off to a terrific, if crowded and competitive, start.
Take this weekend.
At least five individuals and groups are playing very appealing concerts. In some cases, there is time to get from one to another.
But there is also a good chance you will have to pick and choose, then be disappointed at what you miss as well as pleased with what you go to.
Here is a roundup:
From 8:30 a.m. until 7 p.m., the University of Wisconsin-Madison School of Music will hold the 54th annual Wisconsin Day of Percussion. It features workshops, clinics, presentations and concerts for percussionists and fans of percussion at all levels.
All-day admission is $15 and is available at the door. For more information about attending and participating, go to:
At 1:30 p.m. in the relaxed and cozy venue of A Place to Be, 911 Williamson Street, the Willy Street Chamber Players (below) will offer a 90-minute program of string quartets by Franz Joseph Haydn (String Quartet in D Major, Op. 20, No. 4), Felix Mendelssohn Four Pieces for String Quartet), Astor Piazzolla (Four for Tango) and Daniel Bernard Roumain String Quartet No. 5 “Rosa Parks”) as a prelude to the group’s third summer season this July. Admission is $20.
You may recall that last month The Ear named the Willys as Musicians of the Year for 2016. That post had details about the program and the group’s history. Here is a link:
For more information about this quartet concert (below is a photo of last year’s concert in the same place), go to:
And here is a link to the group’s home website with more specifics:
Finally, one of the Willys assures The Ear that the Sunday performance will be over early enough to allow audience members to go watch the Green Bay Packers championship football game.
At 7 p.m. the Oakwood Chamber Players will give an adventurous concert of unusual works by Maurice Ravel, Arnold Schoenberg, Byron Adams, Gabriel Jackson and Francis Poulenc at the Oakwood Village West Auditorium, 6002 Mineral Point Road on Madison far west side.
Here is a link to a story with more details about the program and how it fits into the yearlong series of concerts:
At 1:30 p.m., the Willy Street Chamber Players repeat their Saturday concert. See the information above for Saturday.
Also at 1:30 p.m., the Oakwood Chamber Players repeat their concert. See the information above for Saturday.
At 4 p.m. in Mills Hall, UW-Madison faculty members violinist Soh-Hyun Park Altino (below top) and pianist Christopher Taylor (below bottom) will give a recital of two violin sonatas: Sonata No. 1 in A major, Op. 13, by Gabriel Faure and the prize-winning 1963 Sonata for Violin and Piano by the contemporary American composer John Corigliano. (You can hear the lovely slow movement of the Corigliano sonata in the YouTube video at the bottom.)
Admission is $15, $5 for children and non-UW School of Music students.
Here is a link with more information:
Tickets can be bought at the door or by visit this site:
Also at 4 p.m., pianist Catherine Kautsky (below) will perform a Schubert-themed program on the Salon Piano Series at Farley’s House of Pianos, 6522, Seybold Road, on Madison’s far west side near West Towne.
Her program includes the Sonata in D major and Twelve German Dances by Schubert; the Schubert-inspired “Valses nobles et sentimentales” (Noble and Sentimental Waltzes) by Maurice Ravel; Prelude and Fugue in E Major, from Book 2 of “The Well-Tempered Clavier” by Johann Sebastian Bach; and “Idyll and Abyss: Six Schubert Reminiscences” (20213) by the German composer Jeorg Widmann.
Admission is $45.
Kautsky has concertized on five continents. You may recall, she came to teach for several years at the UW-Madison from Lawrence University Conservatory of Music in Appleton, Wisconsin, and then returned to Lawrence where she heads the keyboard department and this year received an Excellence in Teaching award.
Call more information and tickets, call (608) 271-2626.
You can also go to this link to get more information about this concert and forthcoming concerts in the Salon Piano Series:
By Jacob Stockinger
Vienna has been called “The Paris of the Reich.”
The urbane Prêtre – who specialized in French music but also was much in demand for a lot of German and Italian repertoire — studied karate and judo. But he also enjoyed the good life and by all accounts had a terrific sense of humor coupled to a “joie de vivre.”
He often said he preferred being a guest conductor to being a music director because the former was like a love affair and the latter was like a commitment. Yet Prêtre was committed: He is survived by his wife of more than 50 years.
His conducting career spanned 70 years. He was known for his association with the Vienna Philharmonic and the Vienna Symphony. But he also conducted 101 performances of seven operas at the famed Metropolitan Opera in New York City. He also frequently conducted in Milan, Philadelphia and Chicago.
Here is a good summary obituary, with sound clips of orchestral and operatic music, from National Public Radio (NPR):
And here is a longer obituary, which gives you the French flavor of the man and the musician, from The New York Times:
And here is George Prêtre’s most popular video on YouTube, which also serves as a fine memorial in sound:
By Jacob Stockinger
This Saturday will see the “Live From The Met in HD” transmission to area cinemas of the popular 2002 opera “L’Amour de Loin” by Finnish composer Kaija Saariaho (below, in a photo by Maarit Kytoharju).
The show starts at 11:55 a.m. at the Point Cinema in Madison’s far west side and the Palace Cinema in Sun Prairie. The running time is three hours with an intermission. (It will also be broadcast live on Wisconsin Public Radio starting at 1 p.m.) It will be sung in French with English supertitles.
Based on the real-life story of the 12th-century French prince and troubadour Jaufré de Rudel, the opera will be the first one by a women composer to be done by the Metropolitan Opera in 113 years.
It must also be a landmark for Finland, since both the composer and the acclaimed conductor, Susanna Mälkki (below, in a photo by The New York Times), are Finnish. Mälkki is making her Met debut.
And the cast sounds terrific: Bass-baritone Eric Own (below left, in a photo by Ken Howard) plays the troubadour.
Susanna Phillips (below right) plays his love Clémence, who hails from what is now Lebanon.
It sounds like the production, by French-Canadian theater director Robert Lepage – who worked with the Cirque du Soleil and did the Met’s recent controversial “Ring” cycle by Richard Wagner, is appealing on several scores. (You can hear Robert Lepage and Kaija Saariaho discuss the production briefly in a YouTube video at the bottom.)
Here is a link to more information about the opera and cast at the Met’s website:
The appeal has been added to by a story that Jeff Lunden did for National Public Radio or NPR.
It is good background for seeing and hearing the production.
Here is a link. You can read the summary in print, and you can hear the longer broadcast version – which The Ear recommends — with the voices of the composer and others, by clicking on the big red button on the top left:
Do you know the opera “L’Amour de Loin”?
Have you seen or heard it already?
Whether you saw a previous Metropolitan Opera production or this one, let us know what you think of the opera as new music and a fetching love story. Will it “have legs” and survive long into the future?
The Ear wants to hear.
ALERT: There will NOT be a Noon Musicale this Friday at the First Unitarian Society of Madison. The weekly series resumes next week.
By Jacob Stockinger
The Wisconsin Baroque Ensemble will perform a very varied concert of baroque chamber music on this coming Sunday, Nov. 27, at 3 p.m. at Saint Andrew’s Episcopal Church (below), 1833 Regent Street, on the near west side of Madison.
Members of the ensemble include Eric Miller, viola da gamba; Sigrun Paust, recorder; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso flute, harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets at the door only are $20 for the public, $10 for students.
For more information, visit www.wisconsinbaroque.org
A reception will be held at 2422 Kendall Ave, second floor after the concert.
The program includes:
Francesco Maria Veracini (below) – Sonata No. 1 for recorder and basso continuo in F major
Jan Peterszoon Sweelinck, Toccata in C
Johann Jakob Froberger, Fantasie
Giovanni Bononcini, “Vorrei pure pianger”
Joseph de Bodin de Boismortier – Sonata for flute and harpsichord, Opus 91, No. 2
Francois Couperin – “Le Dodo ou l’Amour au Berceau”
Evaristo Felice Dall’Abaco – Capriccio for solo violoncello No.
Louis-Nicholas Clerembault – Hymne des Anges