The Well-Tempered Ear
The New York Times music critics pick 10 online concerts and operas to watch through the month of November
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By Jacob Stockinger
Classical music critics for The New York Times have again listed their picks of virtual and online concerts that will be streamed during the month of November, starting this Sunday, Nov. 1, and running right through Nov. 30. In September, they did the same for the month of October.
The list of 10 highlights includes chamber music, orchestral music and operas as well as lots of new music, world premieres of commissions and even the Cliburn International Piano Competition, now known simply as The Cliburn.
Most of the events are posted and available for quite a while.
Note that all times are Eastern and that on this Sunday, Nov. 1, daylight saving ends.
As the critics point out, the list may be especially helpful and enjoyable now that the weather is turning colder, people are isolating at home during the nationwide spikes in coronavirus cases, and concert halls remain closed to the public.
Well-known institutions such as The Metropolitan Opera (below) and the Los Angeles Opera are featured. (You can sample an earlier Met production of Philip Glass’ “Satyagraha” – about the early life of Gandhi — in the YouTube video at the bottom.)
So are symphony orchestras from Detroit, Seattle, San Francisco and Cincinnati.
And pianist Igor Levit (below top), who this past year released the highly praised, award-winning complete cycle of 32 piano sonatas by Beethoven and who was named Artist of the Year by Gramophone magazine, is also featured, as is the outstanding Chicago-based violinist Jennifer Koh (below bottom, in a photo by the Los Angeles Times).
Here is a link to the story: https://www.nytimes.com/2020/10/28/arts/music/classical-music-stream.html
What do you think of the choices?
Do you have other concerts or classical music events to add to the list?
The Ear wants to hear.
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Classical music: This Sunday afternoon at Farley’s, pianist Shai Wosner performs sonatas by Beethoven, Schubert, Scarlatti and Rzewski. On Saturday afternoon, he gives a FREE public master class
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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.
ALERT and CORRECTION: Earlier this week, The Ear mistakenly said the concert by UW Concert Band is Wednesday night. He apologizes for the error.
It is TONIGHT at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave. In addition, the School of Music website has updated information about the program to be played under director and conductor Corey Pompey. Go to: https://www.music.wisc.edu/event/uw-concert-band-3/
By Jacob Stockinger
This coming Sunday afternoon, one of the today’s most interesting and creative concert pianists will return to Madison to make his solo recital debut.
His name is Shai Wosner (below, in a photo by Marco Borggreve) and he is an Israeli-American who is acclaimed for his technique, his tone and his subtle interpretations.
But what also makes Wosner especially noteworthy and one of the most interesting musical artists performing today is his eclectic, thoughtful and inventive approach to programming.
For more information about Wosner, go to his home website: http://www.shaiwosner.com
Wosner returns to Madison to perform his first solo recital here at 4 p.m. this coming Sunday afternoon, Feb. 23, on the Salon Piano Series at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.
Born in Israel and now teaching in Boston while touring, Wosner will play sonatas by Beethoven, Scarlatti, Rzewski and Schubert.
He has performed with orchestras throughout the U.S. and Europe, and records for Onyx Classics. “His feel for keyboard color and voicing is wonderful,” said The Washington Post.
The Madison program is: Beethoven’s Sonata No. 15 in D Major (“Pastoral”), Op. 28; Scarlatti’s Sonata in D minor, K. 141, Allegro, with Rzewskis’ Nanosonata No. 36 (“To A Young Man”); Scarlatti’s Sonata in D minor, K. 9, Allegro, with Rzewski’s Nanosonata No. 38 (“To A Great Guy”); Scarlatti’s Sonata in C minor, K. 23, with Rzewski’s Nanosonata No. 12; and Schubert’s last Sonata in B-flat Major, D. 960.
An artist’s reception will follow the concert.
Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets are also for sale at Farley’s House of Pianos. Call (608) 271-2626.
Student tickets can only be purchased online and are not available the day of the event.
To purchase tickets, go to: https://www.brownpapertickets.com/producer/706809
For more information about Wosner’s FREE public master class at 4:30 p.m. on Saturday, Feb. 22, including the names of local students and their teachers plus the titles of works by Mozart, Debussy and Ravel to be played, go to: https://salonpianoseries.org/concerts.html
Wosner (below) recently did an email Q&A with The Ear:
In concerts and recordings, you like to mix and intersperse or alternate composers: Brahms and Schoenberg; Haydn and Ligeti; Schubert and Missy Mazzoli; and Beethoven, Schubert, Chopin, Liszt, Dvorak, Ives and Gershwin. Why do you pair sonatas by Domenico Scarlatti (1685-1757) and the American composer Frederic Rzewski (1938-) in this program?
I like to pair together composers from very different periods in ways that, hopefully, bring out certain things they have in common in spite of the differences.
Perhaps it is a way of looking for the underlying principles that make music work, for the ideas that go beyond styles and time periods and that stimulate composers across centuries.
In the case of Scarlatti (below top) and Rzewski (below bottom), it is the extreme conciseness of their sonatas and also their almost impulsive kind of writing with ideas and twists and turns kept unpredictably spontaneous, almost in the style of stream-of-consciousness.
Their sonatas are closer to the literal meaning of the word – “a piece that is played” as opposed to sung (which was more common in Scarlatti’s time perhaps). They are also very much about treatment of the keyboard and gestural writing rather than the more essay-type sonatas that were the dominant idiom for Beethoven and Schubert.
Why did you pick these particular sonatas by Beethoven and Schubert to bookend the program?
The sonata by Beethoven (below top) is quite unusual for him, without many contrasts and very lyrical, which perhaps is a certain parallel with the Schubert sonata. (You can hear Wosner playing an excerpt from another Beethoven sonata in the YouTube video at the bottom.)
But they are also very different. Beethoven’s sonata looks around it and is about idyllic nature — the title “Pastoral” isn’t by Beethoven but it is written in that kind of style — and the sonata by Schubert (below bottom) is more introspective, perhaps about human nature.
What would you like the public to know about specific works and composers on your Madison program?
I think it’s always stimulating to challenge preconceptions we have about composers.
Beethoven is often associated with a certain “heroic” style and bold, dramatic gestures while this piece is quite understated in many ways.
Schubert’s last sonata is often seen as a farewell to the world. But at the same time Schubert himself may not have been aware of his impending death as much as we think – he made some plans right near the end that may suggest otherwise.
I prefer to let everyone find in this music what they will, of course. But I think these works reveal other aspects of these composers that we don’t always think of. Is Schubert’s piece really about his own tragedy? It is probably much broader than that.
Now that your acclaimed Schubert project is completed, what are your current or upcoming projects?
I am currently working with five other composers on a project that is a collection of five short pieces written as “variations” for which the theme is a quote from a 1938 speech by FDR: “remember, remember always, that all of us… are descended from immigrants and revolutionists.”
Each composer chose a figure of an immigrant — some famous, some not — to write about. The composers are Vijay Iyer, Derek Bermel (below top), Anthony Cheung, Wang Lu and John Harbison (below bottom).
These “variations” will be paired with Beethoven’s “Diabelli” Variations.
What else would you like to say about your career and, after several concerto appearances with the Wisconsin Chamber Orchestra, about your solo recital debut in Madison?
Madison has a lovely audience that I was fortunate to meet in the past, and I certainly look forward to being back there!
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Classical Music Education: A Piano Vortex will descend this Friday and Saturday on the University of Wisconsin-Madison School of Music — all FREE and OPEN TO THE PUBLIC. On Friday night, classical virtuoso Christopher Taylor will perform a FREE recital of Prokofiev and Liszt-Beethoven; on Saturday morning jazz master Johannes Wallmann will hold a workshop. Plus the UW’s inaugural high school piano competition will take place Friday and Saturday in Morphy Recital Hall with the public invited to preliminary rounds and a final concert. Plus, UW-Madison music students will play blues and jazz-inspired classical music.
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By Jacob Stockinger
This weekend will find us not only in the fading grip of the Polar Vortex but also in the full force of The Piano Vortex.
Here is an overview, with a complete schedule and list of names and repertoire, from Fanfare, the terrific new music blog at the University of Wisconsin-Madison School of Music written and compiled by concert and publicity manager Kathy Esposito:
“Piano Extravaganza! will feature well-known pianists as well as rising stars”
“Hear the UW’s best collegiate pianists, faculty and high school talents at an all-day festival this Saturday at UW-Madison. Masterclasses, workshops and performances hosted by UW-Madison faculty and students. This year’s Piano Extravaganza will feature piano works influenced by jazz and blues.”
Here is the schedule of events, all of which are FREE and OPEN TO THE PUBLIC:
FRIDAY, FEB. 28
8 p.m. in Mills Concert Hall: A FREE recital by Christopher Taylor, Faculty Concert Series. Here is what Taylor said about his program to the UW’s Fanfare blog about his program of the Sonata No. 6, Op. 82 (1939) by Sergei Prokofiev (1891-1953) and the Symphony No. 3 in E-Flat Major (“Eroica”), Op. 55, by Ludwig van Beethoven (1770-1827), as transcribed by Franz Liszt (1811-1886).
Taylor writes: “I find altogether exhilarating the opportunity to re-experience works that inspired me even before taking my first piano lesson.
“Although, needless to say, a pianist cannot hope to duplicate the precise effect of Beethoven’s orchestrations, the attempt to simulate a few of them gives rise to endlessly fascinating pianistic possibilities.
“Virtually every technical resource of fingering, voicing, articulation, and pedaling (even the middle pedal, a device that Liszt himself lacked till late in his career) proves useful in these mighty transcriptions.
“While tonight’s version of the Eroica can obviously never displace the original form, I do hope that the pairing of a single musician with one versatile instrument can produce a fresh view of this immortal work, whose turbulent historical genesis and juxtaposition of heroism, tragedy, and redemption complement the Prokofiev so aptly.”
And here is a profile of Christopher Taylor that local critic Greg Hettmansberger wrote for Madison Magazine:
http://www.madisonmagazine.com/Madison-Magazine/February-2014/A-Q-A-with-Pianist-Christopher-Taylor/
And here is a link to the complete Fanfare blog entry:
http://uwmadisonschoolofmusic.wordpress.com/2014/02/24/brailey-wbq-tour-pianofest/
And here is a previous post with some background:
http://uwmadisonschoolofmusic.wordpress.com/2014/01/14/high-school-piano-competition/
AND BECAUSE THE EAR FEELS THAT STUDENT MUSICIANS DESERVE TO GET AT LEAST AS MUCH MEDIA COVERAGE AND PUBLIC ATTENTION AS STUDENT ATHLETES, I HAVE INCLUDED A LENGTHY AND MUCH LONGER THAN USUAL LIST OF THE PIANO CONTESTANTS, REPERTOIRE, PARTICIPANTS AND JUDGES.
PIANO EXTRAVAGANZA! of Concerts, a Masterclass, a Young Pianists Competition (For High School Students) at the University of Wisconsin-Madison School of Music on Friday, February 28—Saturday, March 1, 2014. (1st Prize: $1,500; 2nd Prize: $1,000; 3rd Prize: $500)
SATURDAY, MARCH 1
8:30-11 a.m.: Piano Extravaganza Competition
11 a.m.-noon: Professor Johannes Wallmann, Jazz Improvisation Workshop
1:30-3:30 p.m. Masterclass and Q&A with UW-Faculty
3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza (Performed by UW-Madison Piano Majors)
ALL EVENTS ON SATURDAY TAKE PLACE IN MORPHY RECITAL HALL (below) ARE FREE AND OPEN TO THE PUBLIC
SATURDAY, MARCH 1, 2014
8:30-11 a.m.: Piano Extravaganza Competition
FINALISTS WERE SELECTED FROM PRELIMINARY RECORDING ROUND.
8:30 a.m.: Anthony Cardella (17, from Porterfield, WI): Sonata Op. 2, No. 3, I. Allegro con brio –by Ludwig van Beethoven; Toccata, Op. 11, by Sergei Prokofiev
8:45 a.m.: Ethan Nethery (17, from Hartland, WI); “Isn’t She Lovely” by Stevie Wonder and “How Little We Know” by Phillip Springer
9 a.m.: Olivia Montgomery (18, from Fitchburg, WI): Prelude No. 1 Allegro ben ritmato e deciso – George Gershwin; Sonata in C minor, Op. 10, No. 1, I. Allegro molto e con brio –Ludwig van Beethoven
9:15 a.m.: Vivian Wilhelms (15, from Waunakee, WI); French Suite No. 6, BWV 817- Johann Sebastian Bach; Sonatine, I. Modéré – Maurice Ravel
9:30 a.m.: Michelle Xie (16, from Verona, WI): Sarcasm, Op. 17, No. 1 Tempestoso – Sergei Prokofiev; Sonata Op. 31, No. 1, I. Allegro – Ludwig van Beethoven
9:45 a.m.: Garrick Olson (17, from Madison, WI): Fantasy in C Major, II. Mäßig. Durchaus energisch – Robert Schumann; Etude No. 6, Omaggio a Domenico Scarlatti – Marc-Andre Hamelin
10 a.m.: Theodore Liu (15, from Waunakee, WI): Sonata in D Major, Op. 10, No. 3, I. Presto- Ludwig van Beethoven; Nocturne in D-flat Major, Op. 27, No. 2– Frederic Chopin
10:15 a.m. Quentin Nennig (15, from Sherwood, WI): Waldesrauschen”- Franz Liszt; Concerto in E-flat Major, KV 449 – Wolfgang Amadeus Mozart
10:30 a.m. Kaitlin Lalmond (17, from Germantown, WI): Prelude and Fugue in C-sharp Major, BWV 848 – Johann Sebastian Bach; Sonata in E-flat Major, Op. 7, I. Allegro molto e con brio – Ludwig van Beethoven
11 a.m.-Noon: Jazz Improvisation Workshop with Professor Johannes Wallmann (below): “Milestones,” John Lewis (1920-2001) of The Modern Jazz Quartet; “Night and Day,” Cole Porter (1891-1964); “Sonnymoon For Two,” Sonny Rollins (b. 1930). All selections performed by Johannes Wallmann (below) and local guest artist Dave Stoler
Noon-1:30 p.m.: Lunch
1:30-3:30 p.m.: Masterclass and Q&A with UW-Faculty
3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza, Performed by UW-Madison Piano Majors
Opening Remarks by Susan C. Cook, Professor of Musicology and Director of the School of Music
“Alla Turca Jazz,” (1993) Fazil Say, Jason Kutz (b. 1970)
“Nightmare Fantasy,” (1979) William Albright, Oxana Khramova (1944-1998)
“Prelude No. 1,” (1926) George Gershwin, Yana Groves (1898-1937)
From “Preludes, Book 2” (1912-1913) Claude Debussy, “General Lavine Eccentric” (1862-1918); Emili Earhart
“Fantasy on Bill Evans’ “Turn Out the Stars,” Jonathan Thornton (b. 1985), Jonathan Thornton
“Lonely House” from Street Scene (1947) Kurt Weill (1900-1950), Thomas Leighton, Tenor, & Emily O’Leary
Impromptu, Op. 66, No. 2 (2004) Nikolai Kapustin (b. 1937) ; Haley O’Neal
“The Serpent’s Kiss” (Rag Fantasy) (1969), William Bolcom, Sara Giusti (b. 1938)
Sonata for One Piano, Four Hands (1919), Francis Poulenc (1899-1963), Prelude Rustique
Ian Tomaz and Jason Kutz
“Milonga del Angel” (1965), Astor Piazzolla (1921-1992), Cody Goetz
From Gershwin Songbook (1932) George Gershwin (189801937): “My One and Only,” “Fascinatin’ Rhythm” and “I Got Rhythm,” Dino Mulic
“Etudes on Gershwin Songs,” (1973) Earl Wild (1915-2010), “Embraceable You,” Yusuke Komura
INTERMISSION
Excursions,” Op. 20, No. 1 (1942), Samuel Barber, Andrew Mlynczak (1910-1981)
“Carnaval Noir,” (1997) Derek Bermel, Ying Wang (b. 1967)
“Bamboula,” (1844-45) Louis Moreau Gottschalk, Duangkamon Wattanasak (1829-1869)
“A Little Jazz Exercise,” (1970) Oscar Peterson (1925-2007), Evan Engelstad
“Jazz Waltz” from Suite Impressions (1996) by Judith Lang Zaimont, Shengyin Chen (b. 1945)
“Magnetic Rag” (1914) Scott Joplin, Zach Campbell
“Deuces Wild” (1944) and “The Duke and the Count” (1944), Mary Lou Williams (1910-1981), Henry Misa
“Dreadful Memories” (1978), “Down by the Riverside” (1979) Frederic Rzewski (b. 1938) Sungho Yang
From Preludes, Book 1 (1909-1910) Claude Debussy (1862-1918) “Minstrels,” Jace Rockman
Sonata No. 2 in G Major for Violin and Piano (1927), II. Blues, Maurice Ravel (1875-1937) Elspeth Stalter-Clouse, violin, and Tiffany Yeh
From “Carnival Music” (1976), George Rochberg (1918-2005), Emily O’Leary
Three Preludes (2000), Shuai Zhang (b. 1979), I. Rubato: appassionato abandano, II. mesto misterioso, III. estemporale impetuoso, Zijin Yao
MEET THE UW-MADISON KEYBOARD FACULTY
Martha Fischer (below) is Professor of Piano and heads the Collaborative Piano Program at the University of Wisconsin-Madison. American Record Guide recently wrote: “…she is a marvelous pianist, profound interpreter, and expert collaborator.” She has recorded extensively and will soon release the complete works for two pianists at one keyboard by Robert Schumann with her frequent duet partner and husband, Bill Lutes. The Washington Post described their performance of Schubert’s F minor Fantasie as “bursting with heartfelt intensity.” A singer as well as pianist, Fischer is an expert on the works of Gilbert and Sullivan and has also presented unique recitals of art song in which she accompanies herself. A dedicated teacher, she has participated in international festivals, symposia, and competitions.
Jessica Johnson (below left, with UW percussionist Anthony Di Sanza) serves as Professor of Piano and Director of Graduate Studies in Piano Pedagogy at UW-Madison, where she was the 2006 recipient of the prestigious Emil Steiger Distinguished Teaching Award. She frequently commissions and programs contemporary solo and chamber works, regularly performing with Sole Nero, duo for piano and percussion. Johnson has been featured in workshops and recitals throughout North America, Europe and China. A two-time winner of AMT’s Article of the Year Award, Johnson has articles published in American Music Teacher, Piano Journal of EPTA, Klavier Companion and Piano Pedagogy Forum. Passionate about community engagement and arts outreach, she serves as Director of Piano Pioneers, a program that brings high quality piano instruction to low-income community members and high-risk youth in Wisconsin.
John Chappell Stowe (below) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Stowe holds the Doctor of Musical Arts degree and Performer’s Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. In his appearances throughout the United States as a solo organist, Stowe’s recital repertoire includes a wide variety of literature extending from 1550 to the present day. His programming reflects both strong commitment to contemporary music and dedication to great repertoire of past generations.
Christopher Taylor (below) has performed extensively around the world, having appeared in recent years not only throughout the U.S. but in Russia, China, Korea, the Balkans, and elsewhere. Critics hail him as “frighteningly talented” (The New York Times) and “a great pianist” (The Los Angeles Times), and nu-merous awards have confirmed his high standing in the musical world (a Van Cliburn Competition Bronze Medal, an Avery Fisher Career Grant, an American Pianists’ Association Fellowship). Apart from concertizing, he has taught at UW-Madison since 2000 and pursues a wide variety of additional interests — most recently using his mathematical and computer skills in the design and construction of a new double-manual keyboard instrument.
Johannes Wallmann (below) joined UW Madison as Director of Jazz Studies in 2012. He previously taught at California State University East Bay, New York University, and at the New School for Jazz and Contemporary Music. As a pianist, composer, and bandleader, Wallmann has released four critically acclaimed CDs, The Johannes Wallmann Quartet (1997), Alphabeticity (2003), Minor Prophets (2007), and The Coasts (2012). Over twelve years in New York City and five years in the San Francisco Bay Area, Wall Coasts (2012). Over 12 years in New York City and five years in the San Francisco Bay Area, Wallmann also established himself as a prolific sideman in styles as diverse as mainstream jazz and electric fusion, American spirituals, Cantonese pop music, and 20th century classical music. He has toured throughout North America and in Europe and Asia.
Todd Welbourne (below, in a photo by Katrin Talbot) is a pianist and chamber musician with appearances in this country as well as in Europe and South America. He has performed and given presentations on new music at national conferences of the Society of Electro/Acoustic Music (1995, 1997, 2009), the International Society for Electronic Arts, (1993, 1997, 2010), College Music Society (2001, 2003, 2006), and Music Teachers National Convention (1999, 2004) and has lectured and performed at new music festivals around the country. Welbourne uses the Yamaha Disklavier in his teaching providing students with the latest in teaching techniques and he has been an innovator in the area of interactive music performance systems using the Yamaha Disklavier and Max/MSP. He currently serves as Director of Graduate Studies at the School of Music.
GUEST ARTIST AND ALUMNUS
Madison native Dave Stoler (below) is one of the busier professional musicians in the Midwest, and was named 2009 Isthmus Jazz Personality of the Year. His current projects include the Tony Castaneda Latin Jazz Sextet and his own group, which has performed at Smalls Jazz Club in New York City. His CD “Urban Legends” features drummer Billy Hart, bassist Ron McClure and tenor saxophonists Rich Perry and Rick Margitza. He received a Master of Music degree from the University of Miami-Coral Gables in Jazz Performance, and a Bachelor of Music degree in Music Composition from the University of Wisconsin-Madison. He was a semi-finalist in the Thelonious Monk Piano Competition and the American Jazz Piano Competition, and a finalist in the Jacksonville Jazz Piano Competition.
Sponsors of The Piano Extravaganza are The Evjue Foundation, the charitable arm of The Capital Times, and UW-Madison Chancellor Emeritus Irving Shain.
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Classical music: On Labor Day, let us celebrate the hard work and cooperation it takes to make and deliver art by listening to the finale of Haydn’s “Farewell” Symphony and by thinking of all the different kinds of people and occupations that bring us music. What music do you think best marks Labor Day? Plus, the Karp Family perform its 36th FREE annual Labor Day Concert tonight at 7:30 at the UW.
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REMINDER: Don’t forget that tonight at 7:30 p.m. in Mills Hall on the University of Wisconsin-Madison campus is the 36th annual FREE Karp Family Labor Day concert. Usually the best attended concert of the UW School of Music season, the MUST-HEAR event will this year feature three generations of Karps performing music by George Frideric Handel, Ludwig van Beethoven, John Harbison and Felix Mendelssohn with reading of texts by Shakespeare. For more information, including program notes by Howard Karp, and details here is a link to a story I posted on Friday:
By Jacob Stockinger
It’s Labor Day again.
As fans of this blog know from past years, I like to use the occasion to celebrate the hard work that goes into making art – all art, but specifically classical music. The work may seem easy or invisible, but it isn’t.
That means I am talking about not only the composers and the performers – but also the countless people behind the scenes. That means the teachers, the editors and publishers, the stage directors and managers, the lighting people, the sound engineers, the publicists, the administrators, and in opera, the people who design and create sets and costumes, the carpenters and electricians, and so many more.
It means everyone who can claim some credit for music and indeed all the performing arts.
Each year, I also like to ask what piece of music best celebrates Labor Day? You can check past years to see previous choices that have included Aaron Copland (below top) and his “Fanfare for the Common Man”; Frederic Rzewski (below middle) and his mammoth set of piano variations on “The People United Can Never Be Defeated” played by Marc-Andre Hamelin; and Giuseppe Verdi (below bottom), whose “Chorus of the Hebrew Slaves” seems more and more appropriate, given the widening wealth gap and low wages in this country.
But this year I thought I would take the wise advice of an old friend and a loyal reader and features the final movement of the Symphony No. 45 in F-sharp minor, the “Farewell” Symphony by Franz Josef Haydn.
The story, as you may recall, goes that Prince Esterhazy, Haydn’s employer and patron, had kept his palace orchestra in residence for longer than usual and that the musicians wanted to head back to their families in Vienna and elsewhere. (Below is the Esterhazy estate, which you can still visit and where you can still hear concerts.)
So the celebrated Papa Haydn (below) came to the rescue and took up their cause by incorporating it aurally and visually into the “Farewell” Symphony, which has since become of his most beloved and perhaps the mostly frequently performed on his more than 100 symphonies.
During the final movement (in a YouTube video at the bottom), the various instrumentalists get up and leave as the music proceeds until, at the end, there is only one or two violinists are left. They then rise and sometimes leave, allowing their silence to speak loudly.
The prince got the message and let the musicians return home.
Talk about solidarity! The famous composer and the nameless musicians helped each other. Too bad our current Wisconsin Governor Scott Walker and so many other radically conservative Republicans who want to see a race to the bottom a la Mississippi can’t understand the importance and merits of cooperation and of working together instead of against each other.
Anyway, here is the finale movement, offered here in the recognition and memory of so much hard work in music and the performing arts and in the hope of future cooperation and union solidarity against the selfish big money interests that now increasingly run our government and dictate our lives:
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Classical music: UW-Madison pianist Christopher Taylor wins a rave review from the New York Times for his performances of works by J.S. Bach and Frederic Rzewski. But Taylor also invents pianos as well as plays them.
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By Jacob Stockinger
You really could not wish to have better review than the one that New York Times music critic Zachary Woolfe last week gave University of Wisconsin-Madison pianist Christopher Taylor for his performances of music by J.S. Bach and Frederic Rzewski’s massive theme-and-variations on “The People United Can Never Be Defeated.”
How often do you get words like “dazzlingly virtuosic” or “lively yet magisterial” or “passionate precision” or “masterly” or “pianistic fireworks” applied to your performance?
And how often do you get praised for programming that is different from the way some pretty famous pianists including Ursula Oppens, have programmed the same pieces? (Below is a concert photo by Richard Termine of The New York Times.)
Here is a link to the Times’ review:
And here is a link to the entry on the UW-Madison School of Music’s new website blog Fanfare — a great idea since so much great music (and so much FREE music) is going on at the UW-Madison — with more about the concert:
http://uwmadisonschoolofmusic.wordpress.com/2013/05/16/pianist-kit-taylor-dazzles-new-york-city/
But Christopher Taylor does not just PLAY the piano with world-class mastery and artistry.
He is also inventing a piano, a two-keyboard Steinway much like a harpsichord and the rare piano he inherited from the deceased Danish native and UW-Madison Artist-in-Residence Gunnar Johansen (below) and has performed on many times in many works, including J.S. Bach’s “Goldberg” Variations.
First, Taylor informally wrote to The Ear about his project:
“After some delays I’ve finally finished getting made a little documentary about the latest progress with the new double-manual piano I’m in the process of developing — quite the mammoth project. I think the film covers the basics OK. I thought you might be curious to see what I’ve been up to.
“There’s still a long road ahead, but I’m encouraged to think that a complete instrument may yet emerge one day. I’ve also been learning a lot of unexpected skills and having fun in the process …”
And then, on my request the ever-busy but generous Taylor (below), who is always teaching and performing as well as inventing, wrote a more formal introduction:
“About four years ago now, while working with the existing double-manual Steinway that the UW owns, I began to develop my first ideas about a possible successor instrument, one that would use modern technology to overcome some of older piano’s practical limitations.
“As it has turned out, developing this invention has provided an excellent opportunity for me to synthesize many of my preexisting interests, not only in music, but in mathematics and computer science as well.
“Since submitting a patent application in November 2011 (with the aid of the Wisconsin Alumni Research Foundation (WARF)), I have worked extensively to turn the diagrams on my hard drive into a reality, with assistance from many people, particularly the engineers and machinists at the Wisconsin Institutes for Discovery and my piano technician Robert Hohf.
“In the process I’ve had to learn about many fields that were new to me, including some basic electrical engineering, printed circuit board design, computer-assisted 3D modeling, and CNC machining.
“It’s hard to predict when a completed instrument may emerge — having built my proof-of-principle models, I’m hoping I may eventually get some assistance from a piano manufacturer.
“Whatever happens, I am fairly determined to get it built one day, and when I do, I intend to promote it in the way I have promoted the existing instrument, traveling the country with it (taking advantage of what I expect will be its greater portability), performing works like J.S. Bach’s “Goldberg” Variations, making new arrangements of existing solo or chamber literature, and commissioning brand new compositions from adventurous composers.”
So after all that build-up, here is that YouTube video with UW-Madison piano virtuoso Christopher Taylor explaining the new piano and how he will use it:
Classical music: Are you listening, Richard Simmons? Classical music is great for exercising and improves our health. It lowers blood pressure, reduces heart rate, lowers stress and makes us more relaxed. And guess which piece by which composer does all that best? Plus, there is a FREE trombone recital, with two U.S. premieres, at the UW-Madison tonight.
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ALERT: TONIGHT at 7:30 p.m. in Mills Hall at the University of Wisconsin-Madison School of Music, guest trombonist Dylan Chmura-Moore (below), who teaches at the University of Wisconsin-Oshkosh, will perform a FREE recital fetauring “Subadobe” by Frederik Högberg; “Last Judgment” by Frederic Rzewski; “Saturniana” by Miguel Basim Chuaqui; the U.S. premiere of “BaKaTaKaBaKa” by Daniel Moreira; and the U.S. premiere of “Rouse” by Neal Farwell.
By Jacob Stockinger
Talk about Sweatin’ to the Oldies!!!!
Campy fitness guru Richard Simmons (below) has nothing on Longhairs! And Golden Oldie Hits from the Sixties have nothing on Romantic-era composers from 200 years ago.
Can listening to classical music improve your health? And which part of which piece by which composer might do that the best? Check this out.
According to researchers and experts, it seems that classical music can indeed reduce your blood pressure and heart rate (or pulse).
So you might just want think about bringing some sweatpants, a tank top and workouts shoes to the upcoming concert by the Madison Symphony Orchestra (below) on Feb. 8-10 when the MSO will perform the less frequently heard Fourth Symphony (the annotated fourth and final movement is in a YouTube video at the bottom) by Beethoven as well as Ravel’s “Rhapsodie Espagnole” and Prokofiev’s rarely heard “Sinfonia Concertante” with cello soloist Alban Gerhardt.
Putting the salutary effects of musical beauty aside – and The Ear doesn’t think that any beauty should ever be put aside — you just might ask: Why and how does classical I music improve health?
Go to this link and see what the latest scientific research has to say about classical music and human health – including which pieces by which composers seem the ideal choice, and what criteria you should use to personalize your choices of classical music to listen to reap health benefits:
Classical music: For Labor Day 2012, you must hear this – Frederic Rzewski’s “The People United Will Never Be Defeated.”
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ALERT: The 36th annual Labor Day Concert TONIGHT by three generations of the Karp Family (below) HAS BEEN CANCELLED DUE TO ILLNESS. No other details are available.
By Jacob Stockinger
Labor Day this year falls in a presidential election year.
Is it too much to hope for facts, not insults and lies?
Is it too much to admit that most of us are just ordinary people, not small business people or billionaires disguised as so-called “job creators”?
Is it too much to hope that racism and narrow thinking prevail over an unthinking use of the word “freedom”?
Is it too much to realize that freedom still comes with a social compact that provides a government to keep us from anarchy and despair?
Anyway, here is what seems to be becoming a Labor Day tradition for The Ear: A performance by supervirtuoso pianist Marc-Andre Hamelin (at bottom) of the work by American composer Frederic Rzewski (below). It is the mammoth andy creative work, “The People United Will Never Be Defeated,” which takes its title from a populist chant and traverses 36 variations over almost an hour.
Last year, I got to hear it live performed by University of Wisconsin virtuoso pianist Christopher Taylor. It is really moving when done live.
But the recorded version is also impressive and moving.
Do you have a favorite piece of classical music or opera to share to celebrate Labor Day? Let The Ear and his followers know by leaving a Comment and a link to YouTube, if possible.
Happy listening and Happy Labor Day!
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The Well-Tempered Ear 
Salon Piano Series cancels the rest of this season but offers a free monthly video from past concerts
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The Ear has received the following announcement from the Salon Piano Series that take place at Farley’s House of pianos:
Dear friends,
How we’ve missed seeing you, since last we were able to gather – in February, for pianist Shai Wosner (below, in a photo by Marco Borggreve) and his recital of heart-stopping Schubert, Scarlatti, Rzewski and Beethoven.
Since then, our pianos have sat silent, waiting for the day we can safely reopen and welcome you back.
For now, although it breaks our hearts, we do need to stay dark through the rest of the 2020-21 season, for everyone’s safety. Our highest priority is the well-being of our artists, audience and staff.
But rest assured that we are rescheduling all of our postponed performances:
Drew Petersen (below) (https://www.brownpapertickets.com/event/4275242) will perform next October.
Jazz great Bill Charlap (below) (https://www.brownpapertickets.com/event/4275248) will perform in June.
We are working to schedule Sara Daneshpour, violinist Rachel Barton Pine, Niklas Sivelov and John O’Conor over the next two seasons.
In the meantime, while we can’t gather in person, we’re pleased to announce the launch of a monthly video series featuring some of our past and upcoming artists.
December brings us the incomparable Shai Wosner and in January, Adam Neiman (below).
During these uncertain times, we appreciate remembering time spent together enjoying music.
Please take a break from your day to see and hear Shai Wosner (below) performing Domenico Scarlatti’s Sonata in C Minor, K. 230, and Frederic Rzewski’s Nano Sonata No. 12.
The video was recorded live at Farley’s House of Pianos as part of the Salon Piano Series on Feb. 23, 2020.
Click here or at the bottom for the YouTube video: https://www.youtube.com/watch?v=-MCxr5ioV4o&feature=youtu.be
Last March, Shai Wosner released a 2-CD album (http://www.shaiwosner.com/recordings.html) of Schubert late piano sonatas. The album’s producer is nominated for a Grammy Award for the album.
Over the years, you have supported the intimate Salon Piano Series with your attendance, individual sponsorships and donations (https://salonpianoseries.org/donate).
We look forward to bringing you more world-class musical performances in our unique salon setting again soon.
In the meantime, these performances are a way to recapture the live concert experience, including commentary from artistic director Tim Farley, with videography by Tom Moss.
Those on our e-newsletter list, available at our website at https://salonpianoseries.org/contact.html, will receive a video link each month, and the videos are also available on our social media channels.
Stay safe, stay healthy and keep listening.
Sincerely,
The Salon Piano Series Board of Directors
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