The Well-Tempered Ear
15-year-old South Korean pianist wins the Cliburn Junior
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NOTE: More on the unpopular move by the UW-Madison Mead Witter of Music to kill off the 130-year-old, campus-community Choral Union will be coming shortly. The Ear as received some very interesting replies and information.
By Jacob Stockinger
Boy, are the kids ever good — and getting better!
A 15-year-old Korean boy — Seokyoung Hong (below) — has won the 2023 Cliburn International Junior Piano Competition.
He won the demanding contest with an outstanding performance of “Rhapsody on a Theme of Paganini,” the technically challenging concerto by Sergei Rachmaninoff.
When out comes to pianists, South Korea is on a roll.
Hong’s triumph follows the impressive win by his fellow South Korean Yunchan Lim, 18, in the senior competition last year. He is the youngest ever pianist to win the prestigious competition.
Here is a link to the story on the British website Classical FM, with a sample of his playing in the finale of the concerto performance with the Dallas Symphony Orchestra:
https://www.classicfm.com/discover-music/instruments/piano/rachmaninov-2023-cliburn-junior-winner/
And in the YouTube video at the bottom you can hear Hong play his quarter-round solo recital of Rachmaninoff, Haydn, Chopin and Dutilleux.
The 14-year-old Chinese pianist Yufan Wu placed second. In third place was Jan Schulmeister, 16, of Czechs (Czech Republic).
And 21 of the 23 competitors, chosen out of 248 applicants from 44 countries, were Asian. Click on the profile to see their biographies and personal statements.
Asian players keep racking up wins in international music competitions. Here is a link to a recent blog post about why Asian musicians seem to dominate Western classical music right now:
You can hear other competitors in many rounds of recitals and concertos on YouTube if you put “Cliburn Junior 2023” in the search engine.
Check them out at all stages of the competition.
The Ear promises: You will be impressed.
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UW-Madison School of Music kills off the venerable campus-community Choral Union
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By Jacob Stockinger
The University of Wisconsin-Madison Mead Witter School of Music will end the long-lived campus-community Choral Union (below at the top, with soloists and the UW Symphony Orchestra at the bottom) starting this fall. You can hear an excerpt from Handel’s “Elijah” performed in the old Mills Hall in the YouTube video at the bottom.
The news, dated June 1, was posted quietly and anonymously on the school’s website. As The Ear understands it, members of the Choral Union were not contacted directly. They just had to find it. Plus, the summer seems a suspicious and inauspicious time for the announcement. Student, faculty and community members are on vacation. In addition, the new director Dan Cavanagh (below) will take over the office from Susan C. Cook in a little over two weeks, on July 1. No word on how he stands about the move.
Here is the music school’s website posting: https://music.wisc.edu/choral-ensembles/
It doesn’t come as a complete surprise to The Ear, since performances were reduced from two semesters to one semester shortly after Mariana Farah (below) became the new Director of Choral Activities in 2021 after the retirement of Beverly Taylor, who continues to serve as the choral director of the Madison Symphony Orchestra.
Student, alumni and community protests are already coming in expressing the resolve to reverse the decision.
Little wonder since the Choral Union was founded in 1893 and is one of the oldest on-going organizations on campus. It is hard to think of a better embodiment of the Wisconsin Idea. That concept is that the public university is to serve the taxpaying public that funds it — and these days community engagement is still supposed to be a high priority.
The Choral Union also seems like an exemplary educational program that gets soloists, the choir of students and the public, and the symphony to work together on a major project that also raises money for the music school.
Over many years, the Choral Union performances have also provided much of the most memorable music-making The Ear has ever heard at the university — or in the city. Works by Bach, Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Brahms, Verdi, Faure and Benjamin Britten, among others, come to mind.
Here is the exact text, which is vague about any reasons for the cancellation of the 130-year-old Choral Union:
Choral Union Update (June 1, 2023)
“Starting Fall 2023, the Mead Witter School of Music will no longer offer Choral Union. This change will allow the School of Music to devote resources to our core mission of serving UW–Madison students as well as to focus our public programming around new goals.
“The School of Music and its choral program deeply value and appreciate the partnerships we have formed over the years with the Madison-area choral community. And we recognize that ending the Choral Union may be disappointing to some.
“We hope that community members who participated in the Choral Union will continue to partake of the many opportunities available to engage with the School of Music such as choral concerts and the multitude of performances, lectures, and workshops we offer every year.”
The negative reactions and feedback have already started. Here is one example:
The oldest organization at the UW-Madison has been canceled with an unsigned email and no public input?
This can’t be right.
The Choral Union is a beloved institution.
We won’t let it go like this. We need to know what the issues are and solve them.
Let the discussion begin.
–Janet Murphy, alto member of the Choral Union, 2008-present
Spread the word. Should you or others wish to express an opinion of support or opposition, here are some email addresses and phone numbers:
General office:music@music.wisc.edu; 608.263.1900
School director Susan C. Cook: director@music.wisc.edu; 608.263.1900
Director of Choral Activities: mariana.farah@wisc.edu; 608.263.1900
What do you think of the UW killing off the Choral Union?
What would you like to know about the decision?
Would you like the UW School of Music to reverse its decision?
The Ear wants to hear.
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Collaborative pianist Ingrid Haebler has died at 93
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By Jacob Stockinger
The Austrian pianist Ingrid Haebler (below) has died at 93.
I call her a collaborative pianist but, like so many other pianists, she was also a soloist.
That is inherent in learning the piano, especially at the beginning.
Here is an obituary, with links, where you can read more about her and her her music-making:
Truth be told, Haebler made quite a few recording as a soloist, include all the piano concertos and piano sonatas by Mozart, as well as other Austrian and German composers, including Haydn, Schubert and Beethoven. The Viennese school was her forte.
But what stands out to The Ear are her early duets (below) with Henry Szeryng and Arthur Grumiaux in the violin sonatas of Beethoven and Mozart. She knew how to blend rather than to stand out, and clearly was more interested in musicality than virtuosity. In fact, critics often praised her gentleness, clarity and transparency rather than her assertiveness or boldness, especially in Mozart. Not for nothing was a tulip named after her.
In a word, she was an ideal collaborative pianist back in the days when they were still called accompanists and received second billing.
Indeed, along with Gerald Moore she was one of the performers who brought currency and respect as the term “accompanist” as it morphed into the more accurate term “collaborative pianist.”
Of course that is just my opinion. You might disagree.
Decide for yourself. You can listen to and sample many of her solo and collaborative recording on YouTube, including the video below one of my favorite violin sonatas by Mozart, the Violin Sonata in e minor, K. 304, played by Haebler and Henryk Szeryng.
Do you know Ingrid Haebler’s playing?
What do you think of her as a soloist and as a collaborative pianist?
Which side of her career do you think is stronger?
The Ear wants to hear.
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Meet Kevin Chen, who just won the 17th Arthur Rubinstein Piano Competition
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By Jacob Stockinger
The Arthur Rubinstein International Piano Master Competition is one of the most prestigious keyboard competitions in the world.
It ranks right up there with the Tchaikovsky, Chopin, Leeds and Van Cliburn competitions.
It takes place every three years in Tel Aviv, Israel. And this year, it started on March 14 and wrapped up just a week ago, on April 1.
This was the 17th Rubinstein Competition.
And it was won by an 18-year-old Chinese-Canadian pianist from Calgary.
He is Kevin Chen (below). He also composes and seems well on his way to a major career, especially since last year he also won the Geneva piano competition and was the youngest winner ever of the Franz Liszt Piano Competition in Budapest.
Winning the Rubinstein has launched many major career from Emanuel Ax, the first winner in 1974, to Daniil Trifnov in 2011.
At the bottom is a YouTube video with a recital by Chen along with a recital by the Georgian pianist who placed second: Giorgi Gigashvili. Chen’s performance of Chopin’s 12 Etudes, Op. 10, for example, begins at 2 hours, 6 minutes and 40 seconds.
You can also find a YouTube video of Chen’s prize-winning performance of Mozart’s last piano concerto, No. 27 in B-flat major, K. 595; and a wonderful recital from the Geneva competition. And more solo videos from the Rubinstein are sure to be posted soon.
Here is a fine story, with lots of personal details, from Chen’s hometown newspaper:
https://calgaryherald.com/news/local-news/kevin-chen-piano-arthur-rubinstein-competition
Here is a story about all the winners:
Israel’s Rubinstein Piano Competition Announces 2023 Winners
And for much more background about the competition’s history, the jury members for this year’s contestants, the past winners, repertoire requirements, mandatory stages, rules and so forth, go to:
https://arims.org.il/competition-2023-homepage/jury-2023/
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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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Madison’s Sonata à Quattro performs TONIGHT online for the prestigious Boston Early Music Festival
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By Jacob Stockinger
The Ear has received the following note from the local early music group, Sonata à Quattro (SAQ):
We have a very exciting announcement to share.
Tonight we will be one of the featured ensembles at the 2021 Boston Early Music Festival Fringe Concerts!
The Boston Early Music Festival (BEMF) is recognized as a national and international leader in the field of early music, and SAQ is thrilled to make its first appearance at this event.
Concert presented during the Boston Early Music Festival’s 2021 Fringe Concerts. Learn more at https://bemf.org/2021-festival/fringe-concerts/
The online premiere of the SAQ concert video will be TONIGHT — Thursday, June 17 — at 7 p.m. ET/6 p.m. CT, and the musicians will be available to chat during and after the recorded performance.
Please join us at this link: https://www.youtube.com/watch?v=tSfzu6Q6DcU
The 50-minute concert, titled “Musical Meditation and Merriment,” features (below, from left) violinists Christine Hauptly Annin and Leanne League; cellist Charlie Rasmussen; and violist Marika Fischer Hoyt.
This period-instrument quartet will perform the following program: Quartet in G Major, TWV 43:G5 by Georg Philipp Telemann (1681-1767); Duo II in D Minor, Op. 19, No. 2, for Violin and Viola by Franz Anton Hoffmeister (1754-1812); Duetto III in G Major, Op. 1, No. 3, for Violin and Cello by Giovanni Battista Cirri (1724-1808, below); and Quartet in D Major, Op. 64, No. “The Lark” by Franz Joseph Haydn (1732-1809).
The concert was live-streamed and recorded at the United Methodist Church in Whitefish Bay, Wis., on April 13, 2021.
From the austere fugal opening of the Telemann to the jaunty Finale of Haydn’s “Lark” Quartet — heard played by the Jerusalem Quartet in the YouTube video at the bottom — this program offers a reflection on the unimaginable year we’ve just experienced, as well as the stirrings of hope, as we awake to a spring and summer of new beginnings.
The slow movements, with their gorgeous string sonorities, range from still, inner contemplation to poignant pleas, while the fast movements outdo one another in wit, verve and sheer joie de vivre.
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Longtime friends organist Greg Zelek and Madison native and award-winning trumpeter Ansel Norris team up for a FREE live-streamed concert this Tuesday night
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By Jacob Stockinger
Two longtime friends and fellow musicians will team up this Tuesday night, April 27, to close this season’s organ concert series, sponsored in the Overture Center by the Madison Symphony Orchestra.
It will be live-streamed online because of the pandemic restrictions on attendance.
The concert features the critically acclaimed MSO organist Greg Zelek (below left) and Ansel Norris (below right), an award-winning trumpeter who is a native of Madison.
The program includes works by Bach, Vivaldi, Haydn and Samuel Barber among others.
The concert starts at 7:30 p.m. CDT. It is FREE but you must register. The concert will be available to registered listeners for unlimited access through May 31.
Here is a link to the MSO website where you can register. It also has more information about the program and biographies of the two performers: https://madisonsymphony.org/event/norris-zelek-2021-streamed/
Here is more background. It appeared in the latest issue of the email newsletter of the Wisconsin Youth Symphony Orchestras (WYSO), of which Norris was a member for many years:
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Ansel Norris and Greg Zelek first met in 2010 as high school seniors who had both been selected as finalists in the YoungARTS Awards. The YoungARTS Award is a big competition with just a small percentage of students selected for the $10,000 prize from the thousands of high school applicants. In classical music that year, 12 students became finalists and assembled in Miami for a week of master classes with internationally recognized arts leaders. “You know, there really is a synergy with trumpet and organ. The sounds are produced in a similar way and the way the sounds blend together is really special. Even then, I imagined a concert together.” Ten years later, the two friends were dreaming up this concert when Greg was in Miami in February, 2020. And then the world shut down due to the coronavirus pandemic. Norris has distinguished himself as a solo, orchestral and chamber musician. As Greg Zelek (below, in a photo by Peter Rodgers) writes: “Concerti of Bach and Haydn will bookend this program filled with music that is both written and arranged for this electrifying pairing of instruments. Mr. Norris’ remarkable technique and soaring lyricism will be on full display while our Mighty Klais both supports and shimmers in this exhilarating performance you won’t want to miss!” Register here for Tuesday’s concert!
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As the semester ends, virtual concerts allow UW students to reach many more family members, friends and listeners. Here is how the public can connect to them
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By Jacob Stockinger
Starting tonight and over the next two weeks, as the spring semester at the UW-Madison comes to a close, there will be more than two dozen student recitals to listen to. (Below is the YouTube video for the concert this Thursday night, April 15, at 6:30 p.m. of the Marvin Rabin String Quartet that is comprised of graduate students.)
Often two or more concerts a day are scheduled, often at 3:30 p.m. and 6:30 p.m.
That much is typical.
What is not typical during the pandemic is that technology will allow the recitals to be presented live-streamed and virtual.
The downside is that the students will not experience performing before a live audience.
But there is an upside.
Going virtual also means that the recitals will be available longer to family, friends and interested listeners here as well as around the country and — especially for international students — the world. (Below, in a photo by Bryce Richter for the UW-Madison, is the Mead Witter Foundation Concert Hall in the Hamel Music Center.)
It also means you can hear them when it is convenient for you and not at the actual scheduled times.
The Ear has heard his share of student recitals and often finds them to be exceptional events.
If you go to the Mead Witter School of Music’s website, you can see the concerts and the lineups.
You will see that there will be student recitals of vocal music, brass music, wind music, string music and piano music. There are solo recitals, chamber music and even a symphony orchestra concert. (Below, in a photo by Bryce Richter for the UW-Madison, is the Collins Recital Hall in the Hamel Music Center.)
There are too many details for each concert to list them all here individually.
But if you go to the Concerts and Events page on the music school’s outstanding website, you can hover the cursor over the event and then click on the event and get everything from the performers and programs to program notes, a performer biography and a photo with a link to the YouTube performance.
On the YouTube site, if you click on “See More” you will see more details and can even set up an alarm for when the concert starts.
Here is a link: https://www.music.wisc.edu/events/
Try it and see for yourself. Below is the YouTube link for pianist Mengwen Zhu, who performs his recital this Saturday, April 17, at 6 p.m.)
Happy listening!
Let us know what you think, especially if it is encouraging for the students.
The Ear wants to hear.
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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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The Well-Tempered Ear 
Critics for The New York Times name their Top 10 online classical concerts for May
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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
Even as we wait to see whether concerts in the next season will be mostly streamed or live, the critics for The New York Times have named their Top 10 classical concerts to stream and hear online in May.
The Times critics have been doing this during the pandemic year. So perhaps if and when they stop, it will be a sign of returning to concert life before the pandemic.
Then again, maybe not, since The Ear suspects that many listeners have liked the online format, at least for some of the times and for certain events. So maybe there will be a hybrid format with both live and online attendance.
As the same critics have done before, they mix an attention to contemporary composers, world premieres and up-and-coming performers, including the Finnish conductor Susanna Maliki (below top) in a photo by Hiroyuki Ito for The New York Times).
In a welcome development, the recommendations for this month also seem to mention more Black composers, performers and pieces than usual, including the rising star bass-baritone Davon Tines (below, in a photo by Vincent Tullo for The New York Times).
But you will also find many of the “usual suspects,” including Haydn, Mozart, Schubert, Bartok, Benjamin Britten, Olivier Messiaen and Shostakovich. (On the play list is Schubert’s last song, “The Shepherd on the Rock,” which you can hear in the YouTube video at the bottom.)
You will also find dates and times (all are Eastern), links to the event and some short commentaries about what makes the concerts, programs and the performers noteworthy.
Here is a link to the story: https://www.nytimes.com/2021/04/29/arts/music/classical-music-streaming.html
Do you know of local, regional, national or international online concerts that you recommend? Leave word with relevant information in the Comment section.
Happy Listening!
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