The Well-Tempered Ear

NPR names relevant classical albums in a musical Diary of the Plague Year of the pandemic, racial protests, wildfires and hurricanes

December 29, 2020
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By Jacob Stockinger

For an unusual and difficult year, NPR (National Public Radio) and critic Tom Huizenga have found a new and unusual way to recommend this past year’s top classical music recordings.

On the  “Deceptive Cadence” blog for NPR, Huizenga kept a personal month-by-month diary of “music and mayhem.”

For last February, for example, this ancient image of The Dance of Death inspired contemporary composer Thomas Adès to compose his own “Totentanz” or Dance of Death. (You can hear an excerpt from the work in the YouTube video at the bottom.)

Some of the thematically-related music is modern or contemporary, some of it is from the Baroque or Classical era.

In June, as protests against the death of George Floyd (below top) flared up and spread worldwide, NPR names a recording of the “Negro Folk Symphony” by African-American composers William Dawson and Ulysses Kay (below bottom), thereby helping to rediscover Black composers whose works have been overlooked and neglected in the concert hall and the recording studio.

Devastating wildfires on the West Coast, Presidential impeachment and hurricanes on the Gulf Coast also found their way into the choices of music to listen to.

It is an unusual approach, but The Ear thinks it works.

See and hear for yourself by going to the sonic diary and listening to the samples provided.

Here is a link to the NPR album diary: https://www.npr.org/sections/deceptivecadence/2020/12/21/947149286/music-and-mayhem-a-diary-of-classical-albums-for-a-troubled-2020

But many roads, if not all, lead to Rome, as they say.

What is also interesting is that a number of the NPR choices overlap with ones listed by music critics of The New York Times as the 25 best classical albums of 2020.

Some choices also are found on the list of the nominations for the Grammy Awards that will be given out at the end of January.

In other words, the NPR diary can also serve as yet another holiday gift guide if you have gift cards or money to buy some new and notable CDs, and are looking for recommendations.

Here is a link to the Times’ choices, which you can also find with commentary and a local angle, in yesterday’s blog post: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html

https://welltempered.wordpress.com/2020/12/27/the-new-york-times-names-the-top-25-classical-recordings-of-2020-and-includes-sample-tracks/

And here is a list to the Grammy nominations: https://welltempered.wordpress.com/2020/11/28/for-holiday-shopping-and-gift-giving-here-are-the-classical-music-nominations-for-the-63rd-grammy-awards-in-2021/

What do you think of the NPR musical diary of the plague year?

Do you find it informative? Accurate? Interesting? Useful?

Would you have different choices of music to express the traumatic events of the past year?

The Ear wants to hear.

 


Posted in Classical music
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Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison

August 9, 2020
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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

Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.

Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.

That is as it should be. If any musician deserved it, Fleisher did.

Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.

But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.

In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin’s Pro Arte String Quartet (below bottom).

Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.

Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.

Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)

Here is a this blog’s review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher

Fleisher liked performing with the Pro Arte, and therein lies another historical tale.

His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert’s “Trout” Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.

Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography “My Nine Lives” (below).

Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky’s “The Rite of Spring” in Paris — called Fleisher the “musical find of the century.” Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.

Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.

Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. “I pounded ivory six or seven hours a day,” Fleisher later said.

After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.

There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)

Here is an inspiring overview of Fleisher’s life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/

And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher

Here are three especially noteworthy obituaries:

NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92

The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html

The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html

The Ear has always found Fleisher’s playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.

Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.

The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.

Did you ever hear Leon Fleisher play live or in recordings? What did you think?

Do you have a comment to leave about the legacy of Fleisher?


Posted in Classical music
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