The Well-Tempered Ear

Classical music: Legendary Austrian pianist and scholar Paul Badura-Skoda dies at 91. In the 1960s, he was artist-in-residence at the UW-Madison School of Music

September 28, 2019
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By Jacob Stockinger

Paul Badura-Skoda, the celebrated Austrian pianist who was equally known for his performances and his scholarship, and who was artist-in-residence at the UW-Madison in the mid-1960s until 1970, died this past Tuesday at 91.

A Vienna native, Badura-Skoda was especially known for his interpretations of major Classical-era composers who lived and worked in that city including Haydn, Mozart, Beethoven and Schubert.

He was the only pianist to have recorded the complete sonatas by those composers on both the modern piano and the fortepiano, the appropriate period instrument.

If memory serves, Badura-Skoda’s last appearances in Madison were almost a decade ago for concerts in which he played: the last piano sonatas of Haydn, Mozart, Beethoven and Schubert; a Mozart piano concerto with the UW Chamber Orchestra; and a solo recital of Bach, Mozart, Schubert and Chopin at Farley’s House of Pianos.

But he also performed and recorded Bach, Chopin and Schumann among others. And Badura-Skoda was also renowned as a conductor, composer, editor and teacher.

You can find many of his recordings and interviews on YouTube. Normally, this blog uses shorter excerpts. But the legendary Paul Badura-Soda is special. So in the YouTube video at the bottom  you can hear Badura-Skoda’s complete last recital of Schubert (Four Impromptus, D. 899 or Op. 90), Schumann (“Scenes of Childhood”, Op. 15) and Mozart (Sonata in C Minor, K. 457). He performed it just last May at the age of 91 at the Vienna Musikverein, where the popular New Year concerts take place.

Here are links to several obituaries:

Here is one from the British Gramophone Magazine:

https://www.gramophone.co.uk/classical-music-news/pianist-paul-badura-skoda-has-died-at-the-age-of-91

Here is one from WFMT radio station in Chicago, which interviewed him:

https://www.wfmt.com/2019/09/26/pianist-paul-badura-skoda-dies-at-age-91/

Here is one, with some surprisingly good details, from Limelight Magazine:

https://www.limelightmagazine.com.au/news/paul-badura-skoda-has-died/

And here is his updated Wikipedia entry:

https://en.wikipedia.org/wiki/Paul_Badura-Skoda

But you will notice a couple of things.

One is that The Ear could not find any obituaries from such major mainstream media as The New York Times, the Wall Street Journal and The Washington Post. But each had many other feature stories about and reviews of Badura-Skoda’s concerts over the years in their areas.

The other noteworthy thing is that none of the obituaries mentions Badura-Skoda’s years at the University of Wisconsin-Madison School of Music in the 1960s, where he helped to raise the profile and prestige of the School of Music. Getting Badura-Skoda to join the university was considered quite an unexpected coup.

So here are two links to UW-Madison press releases that discuss that chapter of his life and career.

Here is an archival story from 1966 when Badura-Skoda first arrived at the UW-Madison:

http://digicoll.library.wisc.edu/cgi-bin/UW/UW-idx?type=turn&entity=UW.v67i8.p0011&id=UW.v67i8&isize=text

And here is a press release that came from the UW-Madison News Service eight years ago on the occasion of one of Badura-Skoda’s many visits to and performances in Madison:

https://news.wisc.edu/writers-choice-madison-welcomes-badura-skoda-again-and-again/

Rest in Peace, maestro, and Thank You.

It would be nice if Wisconsin Public Radio paid homage with some of Badura-Skoda’s recordings since a complete edition was issued last year on the occasion of his 90th birthday.

If you wish to pay your own respects or leave your memories of Paul Badura-Skoda and his playing, please leave something in the comment section.


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Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert

September 1, 2019
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By Jacob Stockinger

Get out your datebooks and calendars.

Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.

The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/

Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/

Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.

Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/

Tuesday, Sep 3, 2019

Karp Family Concert

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7:30 PM

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Mills Hall

Sunday, September 29, 2019,

Jessica Martin & John O’Brien – Nordic song recital

4:00 PM

Morphy Hall

Monday, Sept. 30, 2019

Beth Wiese, Tuba, Guest Artist Recital

7:30 PM

Morphy Hall

Friday, October 4, 2019

Pro Arte Quartet

8:00 PM

Mills Hall

Sunday, Oct. 6, 2019

Chanticleer

7:30 PM

Mead Witter Hall

Tuesday, Oct. 8, 2019

Wind Ensemble

7:30 PM

Mead Witter Hall

Friday, October 11, 2019

UW-Madison Symphony Orchestra

8:00 PM

Mead Witter Hall

Sunday, October 13, 2019

University Bands

2:00 PM

Mead Witter Hall

Tuesday, October 15, 2019

Contemporary Jazz & Blue Note Ensemble

7:30 PM

Collins Hall

Wednesday, October 16, 2019

Wisconsin Brass Quintet – Faculty Concert Series

7:30 PM

Mead Witter Hall

Thursday, October 17

Jazz Faculty Quintet with special guest Michael Dudley, trumpet

7:30 PM

Collins Hall

Monday, October 21, 2019

Afro-Cuban Jazz Ensemble and UW Jazz Orchestra

7:30 PM

Play Circle

Tuesday, October 22, 2019

Concert Band

7:30 PM

Mead Witter Hall

Wed, October 23, 2019

Jazz Composers Group & Jazz Standards

7:30 PM

Collins Hall

Thu, October 24, 2019

Parry Karp with Eli Kalman, piano

7:30 PM

Collins Hall

Friday, October 25, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Saturday, October 26, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Sunday, October 27, 2019

Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert

1:00 PM

Collins Recital Hall, Hamel Music Center

Wed, October 30, 2019

Master Class with Violist Nobuko Imai

6:30 PM

Collins Hall

Thu, October 31, 2019

Violist Nobuko Imai with Pro Arte Quartet

12:00 PM

Collins Hall

Fri, November 1, 2019

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Madrigal Singers

8:00 PM

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Mead Witter Hall

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Sat, November 2, 2019

Alicia Lee, faculty clarinet

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8:00 PM

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Collins Hall

Sun, November 3, 2019

Wind Ensemble

2:00 PM

Mead Witter Hall

Fri, November 8, 2019

Wingra Wind Quintet

8:00 PM

Collins Hall

Sat, November 9, 2019

UW Chorale

8:00 PM

Mead Witter Hall

Thu, November 14, 2019

UW-Madison Symphony Orchestra

7:30 PM

Mead Witter Hall

Fri, November 15, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sun, November 17, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

2:00 PM

Music Hall

Tue, November 19, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sat, November 16, 2019

Low Brass Ensemble

4:00 PM

Collins Hall

Sat, November 16, 2019

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, November 16, 2019

Timothy Hagen, faculty flute

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Concert Choir

8:00 PM

Mead Witter Hall

Fri, November 22, 2019

Pro Arte Quartet

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Jazz Orchestra

5:00-7:00 PM

Rathskeller

Saturday, Nov 23, 2019

Undergrad Audition Day

All day

Sat, November 23, 2019

World Percussion Ensemble

12:00 PM

Music Hall

Sat, November 23, 2019

Brass Ensembles

1:00 PM

??

Sun, November 24, 2019

UW Concert Band with Winds of Wisconsin

5:00 PM

Mead Witter Hall

Mon, November 25, 2019

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, November 26, 2019

Opera Scenes

7:30 PM

Music Hall

Mon, December 2, 2019

Piano Studio Recital

6:30 PM

Collins Hall

Tue, December 3, 2019

Jazz Composers & Contemporary Jazz Ensembles

7:30 PM

Collins Hall

Wed, December 4, 2019

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Jazz Standards Ensemble & Afro-Cuban Jazz

7:30 PM

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Collins Hall

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Thu, December 5, 2019

UW-Madison Symphony Orchestra & UW Wind Ensemble

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7:30 PM

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Mead Witter Hall

Fri, December 6, 2019

Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty

8:00 PM

Collins Hall

Sat, December 7, 2019

UW & Madison Metropolitan Jazz Festival

Final Concert, 3:00 PM

Mead Witter Hall

Sat, December 7, 2019

Choral Union: Ralph Vaughan Williams’s “A Sea Symphony”

8:00 PM

Mead Witter Hall

Sun, December 8, 2019

University Bands

2:00 PM

Mead Witter Hall

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

2:00 PM

Luther Memorial Church

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

4:00 PM

Luther Memorial Church

Sun, December 8, 2019

All-University Strings

4:30 PM

Mead Witter Hall

BEGIN 2020

Sun, January 26, 2020

Annual Schubertiade

3:00 PM

Mead Witter Hall

Sat, February 1, 2020

Christopher Taylor and Friends — Beethoven Symphony Extravaganza

8:00 PM

Mead Witter Hall

Wed, February 5, 2020

Daniel Grabois, horn

7:30 PM

Collins Hall

Thu, February 6, 2020

UW Symphony Orchestra

7:30 PM

Mead Witter Hall

Sat, February 8, 2020

The Knights

8:00 PM

Mead Witter Hall

Sun, February 16, 2020

UW Wind Ensemble

2:00 PM

Mead Witter Hall

Monday, February 17, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, February 18, 2020

Concert Band

7:30 PM

Mead Witter Hall

Thu, February 20, 2020

Parry Karp, faculty recital

7:30 PM

Collins Hall

Fri, February 21, 2020

Marc Vallon & Friends

8:00 PM

Collins Hall

Sunday, Feb 23, 2020

Les Thimmig, faculty recital

2:00 PM

Collins Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Fri, February 28, 2020

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Pro Arte Quartet

8:00 PM

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Collins Hall

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Sat, February 29, 2020

Wingra Wind Quintet

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8:00 PM

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Collins Hall

Fri, February 28, 2020,

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

University Opera – Mozart’s Così fan tutte

2:00 PM

Music Hall

Tue, March 3, 2020

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

Winds of Wisconsin

5:30 PM

Mead Witter Hall

Wed, March 4, 2020

Afro-Cuban Jazz Ensemble & Jazz Composers Group

7:30

Collins Hall

Thu, March 5, 2020

Blue Note Ensemble & Jazz Standards Ensemble

7:30 PM

Collins Hall

Sat, March 7, 2020

UW-Madison Symphony Orchestra with guest pianist Wu Han

8:00 PM

Mead Witter Hall

Sun, March 8, 2020

University Bands

2:00 PM

Mead Witter Hall

Tue, March 10, 2020

Percussion Department Recital

7:30 PM

Collins Hall

Weds March 11, 2020

UW Jazz Orchestra

7:30 PM

Play Circle

Wednesday, March 11, 2020

Wisconsin Brass Quintet – Faculty Concert Series

8:00 PM

Mead Witter Hall

Thu, March 12, 2020

UW Wind Ensemble

7:30 PM

Mead Witter Hall

Fri, March 27, 2020

Le Domaine Musicale with Marc Vallon and Friends

8:00 PM

Collins Hall

Sun, March 29, 2020

Concert Band

2:00 PM

Mead Witter Hall

Sun, April 5, 2020

Beethoven Competition Winners’ Recital

3:30 PM

Collins Hall

Sun, April 5, 2020

“Symphony Showcase” Concerto Winners’ Solo Concert

7:00 PM

Mead Witter Hall

Sat, April 11, 2020

Chorale

8:00 PM

Mead Witter Hall

Fri, April 12, 2019

Perlman Trio Chamber Concert

3:00 PM

Collins Hall

Tue, April 14, 2020

Opera Scenes

7:30 PM

Music Hall

Wed, April 15, 2020

Contested Homes: Migrant Liberation Movement Suite

7:30 PM

Mead Witter Hall

Thu, April 16, 2020

Pro Arte Quartet

7:30 PM

Collins Hall

Fri, April 17, 2020

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Sat, April 18, 2020

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UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni

8:00 PM

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Mead Witter Hall

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Mon, April 20, 2020

Afro-Cuban Jazz Ensemble & Blue Note Ensemble

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7:30 PM

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Collins Hall

Tue, April 21, 2020

Jazz Standards Ensemble & Jazz Composers Group

7:30 PM

Collins Hall

Wed, April 22, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Thu, April 23, 2020

UW Jazz Orchestra with the UW Honors Jazz Band

7:30 PM

Music Hall

Fri, April 24, 2020

Concert Band and Wind Ensemble

7:30 PM

Mead Witter Hall

Sat, April 25, 2020

All-University Strings

2:00 PM

Mead Witter Hall

Sat, April 25, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

8:00 PM

Mead Witter Hall

Sun, April 26, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

7:30 PM

Mead Witter Hall

Sun, April 26, 2020

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University Bands 2 PM Mead Witter Hall

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Classical music: The Token Creek Chamber Music Festival starts this Friday and marks 30 years with jazz plus music by Bach, Mozart, Liszt, Brahms, Ravel, Schoenberg and John Harbison

August 13, 2019
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By Jacob Stockinger

Starting this coming Friday, Aug. 16, and running through Sept. 1, the Token Creek Chamber Music Festival will mark its 30th anniversary with the theme of “Sanctuary.” (The festival takes place in a refurbished barn, below, at 4037 Highway 19 in DeForest.)


Add the festival directors: “The term ‘sanctuary’ attempts to capture in a single word something essential about what the festival has meant to players and listeners over all these years. From the start it aspired to offer something of retreat, an oasis, a place of refreshment and nourishment in art, both for musician participants who find a welcoming environment to “re-charge” their work, and for audience attendees who engage in and become a part of it.”

“In our small country barn,” writes prize-winning composer John Harbison (below top, in a photo by Tom Artin) who co-directs the festival with his violinist wife Rose Mary Harbison (below bottom, in a photo by Tom Artin), “we have always remained devoted to the scale and address of much chamber music, which speaks as often in a whisper as in a shout.

“Where larger musical institutions have been habitually frustrated by trying to live in the business model of growth, we have remained devoted to the intensity of the experience, which explains why the music never goes away, rather than to claims of numbers, which begs the music itself to change its very nature.

“Our conviction is that today’s composers, just like Schubert and Mozart, are still striving to embody daily experience, to connect to the natural world, and to ask philosophically and spiritually unanswerable questions, surrounded and interrupting silence, asking only for our most precious commodity — time. We continue to look for valuable ways to offer this transaction to our listeners, and are grateful for their interest over so many years.”

The first two concerts, at 5 p.m., on Friday and Saturday nights, feature the return of a jazz cabaret featuring standard works in the Great American Songbook. For more information about the program and performers, as well as tickets, go to: www.tokencreekfestival.org or call (608) 241-2525.

Tickets for the two jazz concerts are $40 for the balcony and $45 for cafe seating. Tickets for the other concerts are $32 with a limited number of student tickets available for $12.

HERE IS THE LINEUP FOR THE REST OF THE FESTIVAL

Program 2: Music of Brahms at 4 p.m. on Saturday, Aug. 24, and Sunday, Aug. 25

Johannes Brahms is the only composer whose complete catalogue of chamber music is still in constant use.  This is due to his fastidious high standards, and to his ideal temperament for music played by smaller groups of players. His music is universally admired for the astounding combination of sheer craft and deep emotional impact.

The program includes the Regenlied (Rain Song), Op. 57 no. 3; Sonata for Violin and Piano in G major, Op. 78; the Sonata for Cello and Piano in E minor, Op. 38; and the Piano Quartet in C minor, Op. 60. (The “Rain Song” is used as the theme of the last movement of the violin sonata. You can hear it performed by violinist Leonidas Kavakos and pianist Yuja Wang in the YouTube video at the bottom, which also features the score so that you can follow along.)

Performers are Edgewood College mezzo-soprano Kathleen Otterson (below top); violinist Rose Mary Harbison; violist Lila Brown (below second); cellist Rhonda Rider (below third, in a photo by Liz Linder); and pianist Janice Weber (below bottom).

Program 3: Then and Now, Words and Music – An 80th Birthday Tribute to John Harbison. Wednesday, Aug. 28, at 7:30 p.m.

Last February, when Madison launched a citywide celebration of co-artistic director John Harbison’s 80th birthday, bitter cold and deep snow made it impossible for the festival to open up The Barn and join in the festivities.

The Wednesday program – an intimate concert of words and music curated by the Harbisons — is the festival’s belated birthday tribute. Harbison will read from his new book about Johann Sebastian Bach, and Boston poet Lloyd Schwartz (below top) will offer a reading of his poems that are the basis of a song cycle to presented by baritone Simon Barrad (below bottom). The evening will include a discussion on setting text, “Poem to Song,” and the world premiere of new Harbison songs, still in progress, on poems of Gary Snyder.

The program includes: Selections from the Violin Sonata in B minor, with violinist Rose Mary Harbison, and “The Art of Fugue” by Johann Sebastian Bach; “Four Songs of Solitude” and “Nocturne” by John Harbison; the Violin Sonata in G Major by Wolfgang Amadeus Mozart; the “Phantasy” for violin and piano by Arnold Schoenberg; the “SchwartzSongs” and “Four Poems for Robin” by John Harbison.

Program 4: The Piano , at 4 p.m. on Sunday, Aug. 31, and Sunday, Sept. 1.

The closing program welcomes back husband-and-wife pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.

Chuang (below top) is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Levin (below bottom, in a photo by Clive Barda), who teaches at Harvard University, is revered for his Mozart completions and classical period improvisations.

Their program explores the question of the composer-performer — that is, composers who were also formidable pianists: Mozart, Ravel and Liszt.

Beethoven’s fourth piano concerto, arranged by the composer for chamber ensemble, and excerpts of Harbison’s Piano Sonata No. 2, written for Levin, will be performed. Also on the program are Mozart’s Allegro in G Major, K. 357 (completion by Robert Levin); Maurice Ravel’s “Gaspard de la Nuit”; and Franz Liszt’s “Reminiscences of Don Juan.”

Other performers are: violinists Rose Mary Harbison and Laura Burns, of the Madison Symphony Orchestra and Rhapsodie String Quartet; violists Jen Paulson and Kaleigh Acord; cellist Karl Lavine, who is principal cello of both the  Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as the Chamber Music Director of the Wisconsin Youth Symphony Orchestras (WYSO); and double bassist Ross Gilliland.


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Classical music: Was Bernard Herrmann’s love theme in Alfred Hitchcock’s “North by Northwest” influenced by Antonin Dvorak’s “American Suite”?

July 8, 2019
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By Jacob Stockinger

The Ear spent an interesting and enjoyable Fourth of July holiday weekend.

Two of the most enjoyable things seemed to overlap unexpectedly.

On Wednesday night, I tuned into Turner Classic Movies. That’s when I watched, once again and with great pleasure, Alfred Hitchcock’s masterful “North by Northwest (1959.”

The next morning, on Independence Day, I tuned in to Wisconsin Public Radio and heard a lot of music by American composers and by composers who were inspired by America.

That’s when I heard the “American Suite” (1895) by Czech composer Antonin Dvorak (below), who directed a conservatory in New York City and liked to spend summers in a Czech community in Spillville, Iowa, where he was captivated by American music of Native Americans and African-Americans.

What overlapped was the music, the love theme between Cary Grant and Eva Marie Saint — called “Train Conversations” — by Bernard Herrmann (below) in the film and the opening of the suite by Dvorak.

But The Ear needs a reality check: Is the Ear the only one to hear striking similarities between the two?

Take a listen to the two works in the YouTube video below, decide for yourself and let us know if you hear the same influence.

To be sure, The Ear is not saying that Herrmann – a sophisticated American composer who knew classical music and who is perhaps best known for his edgy score to “Psycho,” which is often played in concert halls – completely lifted the music or stole it or plagiarized it.

But it certainly is possible that Herrmann was influenced or inspired by Dvorak – much the same way that Leonard Bernstein’s song “Somewhere” from “West Side Story” seems remarkably close to an opening theme in the slow middle movement of the Piano Concerto No. 5 – the famous “Emperor” Concerto — by Ludwig van Beethoven. The same goes for Sir Andrew Lloyd Webber, who, some say, borrowed tunes more than once from Franz Schubert.

Well, if you’re going to borrow, why not do it from the best? And Dvorak was among the great melodists of all time, in company with Johann Sebastian Bach, Wolfgang Amadeus Mozart, Franz Schubert, Frederic Chopin, Robert Schumann, Peter Ilyich Tchaikovsky, Sergei Rachmaninoff, Maurice Ravel and Francis Poulenc, to name a few of the best known.

Anyway, listen to the two scores and let us know what you think.

Can you think of other music that was perhaps influenced by a work of classical music? If so, leave a comment, with YouTube links if possible, in the Comment section.

The Ear wants to hear.


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Classical music: As Pride month comes to an end, let us proudly recall LGBTQ classical composers and musicians. Plus, you hear a concert of queer composers and performers

June 30, 2019
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By Jacob Stockinger

This past weekend, this whole past month, the Rainbow flags (below) have been flying openly and high.

We saw all sorts of major Pride parades for LGBTQ rights as well as the 50th anniversary of the riots at the Stonewall Inn in New York City that eventually gave birth  to a worldwide movement to ensure that queer people receive the human rights they deserve.

Since today is the last day of June, of Pride month, it seems fitting to recall the many LGBTQ composers and performers in classical music.

The gay rights movement has opened the closet doors not only of individual lives today but also of historical figures.

So here are several lists that may teach you something new about gay, lesbian, bisexual, transgender and queer musicians.

Some of the calls seem iffy, unconvincing or overstated. Beethoven, Schubert and Chopin, for example, lived when homoerotic friendship did not necessarily mean a queer sexual identity. But one way or the other, historical proof and documentation can be hard to come by. And clearly there is much more to know about the past.

But take a look. At least you will see how scholars are undertaking new research and often undermining the heterosexual assumption that has wrapped so many historical and even contemporary figures in wrong or mistaken gender identity.

And if you find someone missing, please leave the name and appropriate information in the comment section.

Freedom, acceptance and respect are not zero-sum games in which one person or group can win only if another one loses. There is enough of each to go around. All can celebrate pride.

So enjoy the information, whether it is new or not, and the respect it should inspire for the central role of LGBTQ people in the arts both past and present.

Here is a pretty extensive and comprehensive list, in alphabetical order, from Wikipedia of LGBT composers, both living and dead. It includes Chester Biscardi (below) who did graduate work at the University of Wisconsin-Madison and Pauline Oliveros who did a residency at the UW-Madison several years ago. You don’t have to click on each name. Just hover the cursor arrow over the name and you will see a photo and biographical blurb.

https://en.wikipedia.org/wiki/Category:LGBT_composers

And here is a list, also in alphabetical order and also from Wikipedia, of LGBT musicians and performers, not all of them classical. It works by clicking on sub-categories that include nationality – though one wonders if musicians from extremely homophobic countries and cultures are included.

https://en.wikipedia.org/wiki/Category:LGBT_musicians

Here is a more selective list from The Advocate, an LGBTQ magazine, of 18 queer composers — including Corelli — who made history and you should know about:

https://www.advocate.com/arts-entertainment/2017/2/08/18-queer-composers-who-made-music-history?pg=full

And here is a similarly selective list from radio station WFMT in Chicago of 15 LGBT composers — including Handel and Lully — you should know about:

https://www.wfmt.com/2015/06/25/15-queer-composers-know/

And in the YouTube video at the bottom is a Pride concert — 1 hour and 43 minutes long — recently held in New York City at the Greene Space, and hosted and recorded by radio stations WQXR and WNYC.

It features music by queer composers and performances by queer artists. Metropolitan Opera star Anthony Roth Constanzo performs. Also playing are pianists Steven Blier and Sara Davis Buechner, who have performed with the Madison Symphony Orchestra and the Token Creek Chamber Music Festival, respectively. The New York Gay Men’s Chorus sings. The Ear found the concert timely and moving.

If you have questions, comments or additional names, please do leave word in the comment section.

Happy Pride!

The Ear wants to hear.


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Music education: The Madison Youth Choirs explore the theme of “Legacy” in three concerts this Saturday and Sunday in the Capitol Theater of the Overture Center

May 8, 2019
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By Jacob Stockinger

The Ear has received the following announcement to post from the Madison Youth Choirs about their upcoming concerts this weekend:

This spring, Madison Youth Choirs singers are exploring the meaning of “Legacy,” studying works that have endured throughout history, folk traditions that have been passed on, and musical connections that we maintain with those who have come before us. Along the way, we’re discovering how our own choices and examples are leaving a lasting impact on future generations.

In our upcoming concert series in the Capitol Theater of the Overture Center, 201 State Street, on this Saturday, May 11, and Sunday, May 12, we’ll present a variety of works. They  include Benjamin Britten’s “The Golden Vanity,” Palestrina’s beloved “Sicut Cervus,” Sweet Honey in the Rock’s “Wanting Memories,” the final chorus of Handel’s oratorio Samson, American and Scottish folk songs, and Zoe Mulford’s powerful modern folk piece, “The President Sang Amazing Grace.”

The concert will also pay tribute to our alumni, with selections featured on the very first Madison Boychoir album, and past Cantabile singers invited to join us on stage for “Sisters, Now Our Meeting is Over.”

At the Saturday concert, MYC will present the 2019 Carrel Pray Music Educator of the Year award to Diana Popowycz (below), co-founder of Suzuki Strings of Madison.

DETAILS ABOUT “LEGACY” MYC’S SPRING CONCERT SERIES

Saturday
7:30 p.m. Purcell, Britten, Holst and Ragazzi (boychoirs)

Sunday
3:30 p.m. Choraliers, Con Gioia, Capriccio, Cantilena and Cantabile (girlchoirs)

7:30 p.m. Cantilena, Cantabile and Ragazzi (high school ensembles)

THREE WAYS TO PURCHASE TICKETS:

  1. In person at the Overture Center Box Office (lowest cost)
  2. Online (https://www.overture.org/events/legacy)
  3. By phone (608-258-4141)

Tickets are $15 for adults and $7.50 for students. Children under 7 are free, but a ticket is still required and can be requested at the Overture Center Box Office. Seating is General Admission.

This concert is supported by the Pleasant T. Rowland Foundation, American Girl’s Fund for Children, BMO Harris Bank, the Green Bay Packers Foundation, the Kenneth A. Lattman Foundation and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, charitable arm of The Capital Times, and the W. Jerome Frautschi Foundation. This project is also made possible by a grant from the Wisconsin Arts Board with additional funds from the State of Wisconsin and the National Endowment for the Arts.

ABOUT MADISON YOUTH CHOIRS (MYC):

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

REPERTOIRE

SATURDAY

For the 7:30 p.m. Concert (featuring MYC Boychoirs)

Britten

“The Golden Vanity,” by Benjamin Britten (to our knowledge, this will be the first time the work has ever been performed in Madison)

Purcell

“Simple Gifts” by Joseph Brackett, arr. Aaron Copland

“Tallis Canon” by Thomas Tallis

“Sound the Trumpet” from Come Ye Sons of Art by Henry Purcell

Britten   

“Ich jauchze, ich lache” by Johann Sebastian Bach

Holst

“Hallelujah, Amen” from Judas Maccabeus by George Frideric Handel

“Sed diabolus” by Hildegard von Bingen

“Bar’bry Allen” Traditional ballad, arr. Joshua Shank

“Ella’s Song” by Bernice Johnson Reagon

Ragazzi

“Let Your Voice Be Heard” by Abraham Adzenyah

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

Ragazzi & Holst

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Holst

“Shosholoza,” Traditional song from Zimbabwe

Combined Boychoirs

“Will Ye No Come Back Again?” Traditional Scottish, arr. Randal Swiggum

Legacy Choirs

“Day is Done” by Peter Yarrow, arr. Randal Swiggum

SUNDAY

For the 3:30 p.m. Concert (featuring MYC Girlchoirs)

Choraliers

“Music Alone Shall Live,” Traditional German canon

“Ut Queant Laxis,” Plainsong chant, text attributed to Paolo Diacono

“This Little Light of Mine” by Harry Dixon Loes, arr. Ken Berg

“A Great Big Sea,” Newfoundland folk song, arr. Lori-Anne Dolloff

Con Gioia

“Seligkeit” by Franz Schubert

“Blue Skies” by Irving Berlin, arr. Roger Emerson

“When I am Laid in Earth” from Dido and Aeneas by Henry Purcell

“Pokare Kare Ana” by Paraire Tomoana

“Ah, comme c’est chose belle” Anonymous, 14th century

“Hope” by Marjan Helms, poem by Emily Dickinson

Capriccio

“Non Nobis Domine,” attributed to William Byrd

“Ich Folge Dir Gleichfalls” from St. John Passion by Johann Sebastian Bach

“Dirait-on” by Morten Lauridsen

Cantilena

“Aure Volanti” by Francesca Caccini

“Ella’s Song” by Bernice Johnson Reagon

Cantabile

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Legacy Choir

“Music in My Mother’s House” by Stuart Stotts

For the 7:30 p.m. concert (featuring High School Ensembles)

Cantilena

“Aure Volanti” by Francesca Caccini

“Una Sañosa Porfía by Juan del Encina

“Ella’s Song” by Bernice Johnson Reagon

“O Virtus Sapientiae” by Hildegard von Bingen

Ragazzi

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

“Let Your Voice Be Heard” by Abraham Adzenyah

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Cantabile

“In a Neighborhood in Los Angeles” by Roger Bourland

“Sed Diabolus” by Hildegard von Bingen

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Combined Choirs

“Let Their Celestial Concerts All Unite” by George Frideric Handel

 Cantabile and Alumnae

“Sisters, Now Our Meeting is Over,” Traditional Quaker meeting song


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Classical music: The Middleton Community Orchestra and conductor Kyle Knox brightened a soggy spring with early Beethoven and Elgar. On Tuesday night, an organ and cello concert takes place in Overture Hall.

April 15, 2019
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ALERT: On  this Tuesday night, April 16, at 7:30 p.m. in Overture Hall, organist Greg Zelek and guest cellist Thomas Mesa will close out the season of Concert Organ performances sponsored by the Madison Symphony Orchestra. The program includes music by Johann Sebastian Bach, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Peter Ilyich Tchaikovsky, Claude Debussy and Charles-Marie Widor. For tickets ($20) and more information about the program with detailed biographies of the performers, go to:  https://madisonsymphony.org/event/thoms-mesa-greg-zelek/

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a veteran and well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The early spring concert on last Wednesday night by the Middleton Community Orchestra (below, in a photo by Brian Ruppert) at the Middleton Performing Arts Center that is attached to Middleton High School was comparatively short – it had no intermission — and was devoted to only two composers.

The first was Edward Elgar (below, in 1910), whose early orchestral works included a good deal of music drawn from his youthful sketchbooks. Notable in that category were two suites, given the joint title of The Wand of Youth.

From the eight sections of the First Suite (1907), six were played, and from the six sections comprising the Second Suite (1908), four were given. All these movements are colorful and evocative little miniatures, reflecting early imagination, often touching, but many quite boisterous.

The other composer was Ludwig van Beethoven (below), as represented by his Symphony No. 2. This shows the young composer moving quite distinctly beyond the stylistic world of Haydn and Mozart into the rambunctious new symphonic idiom he would go on to create. (You can hear Leonard Bernstein and the Vienna Philharmonic play the opening of Beethoven’s Symphony No. 2 in the YouTube video at the bottom.)

The guest conductor this time, Kyle Knox – the recent University of Wisconsin-Madison graduate who is the music director of Wisconsin Youth Symphony Orchestras and the associate conductor of the Madison Symphony Orchestra — chose to give the music a “big orchestra” approach.

For both the suites and the symphony, the lighter and cleaner textures of a chamber orchestra would seem best. But with an orchestra totaling some 91 players, Knox chose to go for volume and sonority.

His tempos, especially in the Beethoven were notably fast. As the largely amateur orchestra followed loyally, there was some raw playing at times.

Still, the MCO asserted strong character, which made a very happy impression on the audience and brightened an evening of soggy weather.


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Classical music: This Sunday brings three concerts of choral and orchestral music

April 13, 2019
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By Jacob Stockinger

This Sunday brings three chances to hear choral and orchestral music.

On this Sunday morning, April 14, at 9 a.m. and 11 a.m., in the Atrium Auditorium (below in a photo by Zane Williams) the First Unitarian Society of Madison, 900 University Bay Drive, will host its spring All-Music Sunday. The public is invited to attend FREE of charge.

The performers are the Society Choir and Friends, a pickup orchestra, and vocal and instrumental soloists.

The program lasts about one hour and includes the Concerto for Two Trumpets by Antonio Vivaldi and the early Mass in G Major by Franz Schubert. (You can hear the Kyrie from the Schubert Mass in the YouTube video at the bottom.)

At 2:30 p.m., at Edgewood College in the St. Joseph Chapel (below, in a photo by Ann Boyer), 1000 Edgewood College Drive, the Edgewood Chamber Orchestra will give its spring concert.

Director Blake Walter (below) will conduct the performance.

Works to be performed are: the Overture to the opera Fidelio by Ludwig van Beethoven; St. Paul’s Suite for String Orchestra by Gustav Holst; and the Symphony No. 35, “Haffner,” by Wolfgang Amadeus Mozart.

Admission is $5 for general admission, free with those with an Edgewood College ID.

Here are some program notes provided by Edgewood College.

“The Overture to Fidelio — Beethoven’s only opera — is the first of four overtures composed for the opera, but is perhaps the least often performed.

“In 1904, Gustav Holst was appointed Music Director of St. Paul’s School for Girls in London, and wrote the Suite for the small string orchestra and based it on popular English folk songs.

“Mozart completed his Haffner Symphony in 1785 and dedicated it to his patron, Sigmund Haffner the Elder, a wealthy businessman in Vienna.”


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Classical music: Pianist James Giles will replace Ya-Fei Chuang for TONIGHT’s recital at Farley’s House of Pianos

April 6, 2019
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By Jacob Stockinger

The Ear has received the followed announcement from Farley’s House of Pianos about its solo recital tonight.

“We are sad to announce that pianist Ya-Fei Chuang has sustained an injury that will prevent her from performing for us TONIGHT and teaching a master class on Sunday. It is our intent to reschedule her as soon as her health and schedule permit.

“In the meantime, we are very fortunate that James Giles (below), of Northwestern University, is able to step in and perform for us, and we are excited about the program and repertoire he has shaped for us.

“We apologize for this last-minute change, but are excited to introduce James Giles to our Salon Piano Series audience, and look forward to seeing you TONIGHT at 7:30 p.m. at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.”

His recital at Salon Piano Series will include works of Johannes Brahms, Franz Schubert, Isaac Albeniz, Ignaz Jan Paderewski, Leopold Godowsky and others.

An artist’s reception will follow the concert.

Tickets are $50 in at the door ($10 for tickets) and $45 in advance at:

https://www.brownpapertickets.com/event/3499200

For more information about the master class, including participants and repertoire, call Farley’s at (608) 271-2626 or go to:

https://welltempered.wordpress.com/2019/04/04/classical-music-acclaimed-pianist-ya-fei-chuang-plays-works-by-schubert-liszt-and-ravel-this-saturday-night-at-farleys-house-of-piano/

Giles has been praised as “a technically polished, elegant pianist” (Sibelius Academy, Helsinki), “with a riveting intelligence given to everything he play[s],” (Wigmore Hall, London), a “distinctive interpretive persona [and] beautiful pianism … direct and unmannered” (Alice Tully Hall, New York). His Paris recital at the Salle Cortot in 2004 was hailed as “a true revelation, due equally to the pianist’s artistry as to his choice of program.” (You can hear Giles playing the Humoresque by Robert Schumann in the YouTube video at the bottom.)

Giles regularly performs in important musical centers in America, Europe, and Asia, in solo and chamber recitals and as concerto soloist. A native of North Carolina, he studied at the Manhattan School, the Juilliard School, Eastman School of Music, and at Oberlin College. He was awarded a Fulbright Grant to study in Italy with the legendary Russian pianist Lazar Berman.

Coordinator of the Piano Program and Director of Music Performance Graduate Studies at Northwestern University, Giles is director of the Amalfi Coast Music Festival during the summers, and was director of the 2017 American Liszt Society Festival.


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Classical music: Personal experience, artistic excellence and historical importance drew pianist Wu Han and cellist David Finckel into planning next year’s centennial season at the Wisconsin Union Theater

March 30, 2019
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By Jacob Stockinger

Now that Spring Break is over and subscription tickets are available for the Wisconsin Union Theater’s special centennial celebration next season – which includes superstar soprano Renée Fleming and pianist Emanuel Ax — here is an email interview that pianist Wu Han and cellist David Finckel (below, in a photo by Lisa-Marie Mazzucco), the wife-and-husband consultants and planners of that season, granted to The Ear.

For more about the season and tickets, go to two websites:

https://welltempered.wordpress.com/2019/03/04/classical-music-superstar-soprano-renee-fleming-and-pianist-emanuel-ax-headline-the-100th-anniversary-of-the-wisconsin-union-theaters-concert-series-next-season/

https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/

Could you briefly introduce yourselves to readers and tell them both your past and current activities?

We have been performing on the world’s many concert stages for almost our entire lives. In addition to our careers as concert performers, we serve as the founding Artistic Directors of Music@Menlo, the premier chamber music festival in Silicon Valley, as well as the Artistic Directors of the Chamber Music Society of Lincoln Center (CMS) in New York City.

Our main responsibility as concert performers is to give the best concerts we possibly can, and we are constantly striving to achieve the highest possible level of artistry in our performances.

In our roles as artistic directors, our responsibilities lie in the programming, casting and designing of concert series and chamber music projects for our organizations. At CMS, this includes designing the programming for our seven different satellite series around the country, plus international partnerships in Taiwan, Korea and Europe.

We are also involved in chamber music programming endeavors beyond Music@Menlo and CMS, having just completed a first-ever chamber music residency at the Society of the Four Arts in Palm Beach, Florida. Furthermore, Wu Han is serving as Artistic Advisor to Wolf Trap Chamber Music at the Barns, which entails thematically programming eight concerts per season for the 2018–19 and 2019–20 seasons.

As artistic directors, we spend much of our time putting ourselves in the shoes of our listeners, measuring their experience and receptivity to chamber music of all periods and styles, and putting together the best programs and artists who will move our audiences forward into ever-increasing engagement with and love of the art.

David was the cellist of the Emerson String Quartet for 34 seasons, and we have been performing together as a duo for about 35 years, and continue to do so as one of our main performance activities.

What are your personal relationships to the Wisconsin Union Theater, and what do you think of it as a concert venue?

Our engagement with the Wisconsin Union Theater goes back quite a few years, but certainly not even close to the beginning of the Theater’s distinguished history. For any performer setting foot on its stage, there’s a sense of slipping into an ongoing tradition of artistic excellence that makes us feel both privileged and obligated to do our best.

The Wisconsin Union Theater and its story in American cultural life is larger than any of us; only the music we play rises above and beyond it all, and as performers, our lucky moment is to represent that incredible literature in a venue as significant and storied as the Wisconsin Union Theater. (Below is the theater’s main venue, the renovated and restored Shannon Hall.)

Why did you agree to be artistic advisors and artists-in-residence for the centennial season? Did your personal experiences in Madison play a role in that decision?

As seasoned artists, we deeply admire and respect the very special place in the classical music tradition and history that the Wisconsin Union Theater (below) inhabits, and the invitation to participate in the Theater’s 100th anniversary was an honor for us to receive. Our experiences playing on this distinguished stage and forming a relationship with the local audience have made our pursuit of the common goal of artistic excellence in the centennial season incredibly fulfilling.

Of course, having performed there in the past gave us a hint of confidence through our familiarity with the place, but we must say we have learned perhaps double what we knew originally through this planning process. Without interfering, but at the same time sharing our uncompromised commitment to artistic excellence, we hope that our presence during the process has been useful, and we know that we look so much forward to seeing the careful thought and hard work of all involved come to fruition.

Is there a unifying or guiding principle to the season you have put together?

The guiding principle behind our work on this historic season is artistic excellence, which in our opinion is what most inspires audiences and best serves the art form of classical music.

Our area of expertise is chamber music, and, as we wanted to share the best of what we can do with the Theater, our focus has been on ensuring that the chamber music offerings during this historic season, and hopefully beyond, reflect the best of the world of chamber music.

In our suggestions, we looked for variety of instrumentations, of composers and periods—in other words, giving as much of an overview of the art as we could within a season.

What would you like the public to know about the Wisconsin Union Theater and the upcoming centennial season?

In the Theater’s centennial season, the audience will have the opportunity to savor a variety of different genres of chamber music, from solo piano to vocal music, as well as a sampling of the very best works of the chamber music canon. Between these various genres, the great composers left a wealth of chamber music that could sustain the art form on its own, but that’s still only the tip of the iceberg.

Our chamber music offerings will include the Kalichstein-Laredo-Robinson Trio, which has a long history of performing for the Madison audience. Their December program will include celebrated cornerstones of the piano trio repertoire, including Mendelssohn’s D minor Trio and Beethoven’s “Archduke” Trio. (You can hear the opening of the Archduke Trio in the YouTube video at the bottom.) Both pieces have achieved monumental historical significance through their influence in propelling the art form forward from the Classical period to the Romantic period.

The Escher String Quartet performance in January represents the best of the next generation of young string quartets. Their program includes a quartet by Franz Joseph Haydn—the father of the string quartet genre—and the sole quartet of none other than revered violin virtuoso Fritz Kreisler, who performed in the Wisconsin Union Theater nearly a century ago. Kreisler set foot on the Theater’s stage numerous times, and his rarely heard string quartet nods to the Theater’s long, distinguished history. David will join the Escher Quartet for the beloved Schubert Cello Quintet, which is the “desert island” must-have piece for many music lovers.

Furthermore, in March, we will bring two of the most fantastic musicians in the world to join us for a program of Antonin Dvorak, Josef Suk and Johannes Brahms. This multigenerational cast of musicians includes the incredible young French violinist Arnaud Sussmann (below top, in a photo by Matt Dine) as well as the most important violist of our generation, Paul Neubauer (below bottom). This program is all about the passing down of the baton and the continuous investment in the next generations of artists: Brahms was the one who discovered Dvorak, and Dvorak in turn discovered Suk.


Posted in Classical music
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