The Well-Tempered Ear

Classical music: Today is Memorial Day – a good time to remember the civilian dead as well as the military dead. The Ear likes Ravel’s “Le Tombeau de Couperin.” What music would you listen to to mark the holiday?

May 27, 2019
2 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Today is Memorial Day, 2019, when the nation honors the men and women who died in military service. The Ear would like to see much more attention and remembrance paid to the huge number of civilians — much higher than military personnel and soldiers — who have died in wars and military service, whose lives weren’t given but taken.

In fact, why not establish and celebrate a separate holiday to honor civilian deaths in war? Perhaps it would help to know the detailed history and background of the holiday, since it is not as straightforward or modern as you might expect:

https://en.wikipedia.org/wiki/Memorial_Day

What piece of classical music would you listen to in order to mark the holiday?

There is a lot to choose from.

The Ear especially likes “Le Tombeau de Couperin” by the early 20th-century French composer Maurice Ravel. It is a “tombeau” – a metaphorical “tomb” or “grave” used by the French to mean paying homage to the dead – in two senses.

Its neo-Classical or neo-Baroque style recalls the 18th-century world of French composers and harpsichordists including Jean-Philippe Rameau and Francois Couperin. But in a second sense, Ravel (below, in 1910) dedicated each of the six movements to a friend – in one case, two brothers — who had died during World War I. So part of its appeal is that it is a very personal statement of grief.

Here is more detailed background about the piece:

https://en.wikipedia.org/wiki/Le_tombeau_de_Couperin

The work was orchestrated later, which added sonic color but cut out two movements. The Ear prefers the original piano version, which seems a little more percussive, austere and straightforward — less pretty but more beautiful, and more in keeping with the holiday by evoking sentiment without sentimentality.

In the YouTube video at the bottom, you can hear it in a live performance by Canadian pianist Angela Hewitt.

But there are lots of other works to choose from by many composers: John Adams (“The Wound Dresser” after poetry of Walt Whitman); Samuel Barber (Adagio for Strings); Ludwig van Beethoven (slow movements of Symphonies 3 and 7, and of the Piano Sonata Op. 26); Johannes Brahms (“A German Requiem”); Benjamin Britten (War Requiem);  Frederic Chopin (Funeral March from Sonata No. 2, polonaises, preludes and the “Revolutionary” Etude); Aaron Copland (“Fanfare for the Common Man” and “Letter From Home”); Edward Elgar (“Nimrod” from “Enigma Variations”); Gabriel Faure (Requiem and Elegy for cello); Franz Joseph Haydn (“Mass in Time of War”); Paul Hindemith (“When Lilacs Last in the Dooryard Bloom’d – A Requiem for Those We Love”);  Charles Ives (Variations on “America” and “Decoration Day”); Henry Purcell (“When I Am Laid in Earth”); John Philip Sousa (“Honored Dead” March); Ralph Vaughan Williams (Symphony No. 3 “Pastoral”); and many others, including Johann Sebastian Bach and Wolfgang Amadeus Mozart.

Here is a list from the British radio station Classical FM:

https://www.classicfm.com/discover-music/occasions/memorial/remembrance-day-music/war-requiem-britten/

Here is a list of patriotic music from Nashville Public Radio:

https://www.nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Here is another list from an American source:

http://midamerica-music.com/blog/five-classical-works-memorial-day/

Here are more sound samples from NPR:

https://www.npr.org/templates/story/story.php?storyId=104341851

And here is another one from Northwest Public Radio:

https://www.nwpb.org/2015/05/22/memorial-day-music-commemorate-celebrate/

What do you think of a holiday commemorating civilian deaths in war?

What favorite piece of classical music would you play and listen to as you mark Memorial Day?

Let us know, with a YouTube link if possible, in the COMMENT section.

The Ear wants to hear.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: WQXR radio names 19 musicians to watch in ’19. What do you think of the choices? Who would you add?

January 28, 2019
5 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

What will 2019 bring in the way of classical music?

What and who should we be looking at and paying attention to?

WQXR — the famed classical radio station in New York City – recently published its list of 19 to watch in ‘19, with detailed reasons for and explanations of their picks.

It seems like a pretty good choice to The Ear, although there is always something of a parlor game aspect to such projects.

Nonetheless, the list covers a fine variety – instrumentalists and vocalists, young and old, American and international, the well-known and the up-and-coming such as the opera singer Devone Tines (below, in a photo by Nikolai Schukoff).

Some names will be familiar to Madison audiences – such as pianist Inon Barnatan, violinist Nicola Benedettti, the JACK Quartet and cellist Steven Isserlis — especially through their live appearances at the Wisconsin Union Theater, the University of Wisconsin-Madison’s Mead Witter School of Music and the Madison Symphony Orchestra plus broadcasts on Wisconsin Public Radio.

Here is a link to the list: https://www.wqxr.org/story/wqxr-presents-19-19-artists-collaborations-upcoming-year/

The Ear can think of some other musicians that he would add to the list.

An especially deserving one of them is the young American virtuoso pianist George Li (below, in a photo by Simon Fowler).

Born in China and brought as a child to the United States by his parents, Li attended Harvard and just finished his master’s degree from the New England Conservatory of Music. (At the bottom, you can hear Li play virtuosic music by Liszt and Horowitz in the YouTube video of a Tiny Desk Concert at National Public Radio or NPR.)

Li won the silver medal in the 2015 at the 15th Tchaikovsky International Competition in Moscow and had a lot of people talking about the energy and excitement of his playing. He was praised for both outstanding technical prowess and deep expressiveness.

He then took first prize at a piano competition in Paris.

Ever since, he has been steadily booked. At 23, the amiable Li has already toured China, Japan and Russia and seems to have a very busy schedule ahead of him, judging by his posts on Instagram.

He has also released his first recording on the Warner Classics label, a fine CD that received many positive reviews from critics, including this one.

The program includes Haydn’s Sonata in B minor, Chopin’s Sonata No. 2 in B-flat Minor “Funeral March,” Rachmaninoff’s “Variations on a Theme of Corelli,” and Consolation No. 3 and the popular Hungarian Rhapsody No. 2 by Franz Liszt.

Given all the concertos he is now performing, it would not surprise one to see his next recording be a concerto, possibly the Tchaikovsky Piano Concerto N. 1 in B-flat minor, Op. 23, which brought him instant acclaim.

Here is a link to his website: http://www.georgelipianist.com

And here is a link to his entry in Wikipedia: https://en.wikipedia.org/wiki/George_Li

Keep your ears and eyes on George Li.

What do you think of the choices made by WQXR?

Who would you add to the list of musicians to watch in 2019, and why?

If possible, maybe you can include a YouTube link to a performance, live or recorded, in your comment.

The Ear wants to hear.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Wikipedia and WFMT in Chicago offer reviews of classical music in 2016 that include important performances, new music and deaths

January 2, 2017
1 Comment

By Jacob Stockinger

Is there a better way to greet the New Year than to take a look back at the past year?

2016 was a year of big losses: composer and conductor Pierre Boulez (below top), conductor Sir Neville Marriner (below middle) and early music pioneer and conductor Nikolaus Harnoncourt (below bottom) among the many whose names you might recognize.

Pierre Boulez obit portrait

nevlle-marriner-old

Nikolaus Harnoncourt conducting

What better way to start 2017 than to recall the figures we lost and hope that the coming year is kinder.

Here is a list from WFMT, the famed classical radio station in Chicago. It includes pictures and quotes along with dates:

http://www.wfmt.com/2016/12/29/in-their-own-words-inspiring-quotes-by-classical-musicians-we-loved-and-lost-in-2016/

And here is an entry from, of all places, Wikipedia that includes an exhaustive and detailed list of important events, performances and compositions as well as of classical musicians who died.

It seems as good a summing up as any that The Ear has seen, and demonstrates just how prolific the composers of new classical music are:

https://en.wikipedia.org/wiki/2016_in_classical_music

We remember and we revere.

Which is why The Ear has included the Funeral March movement from the Symphony No. 3 “Eroica” by Ludwig van Beethoven on a YouTube video below that features an intriguing graphic arts representation of the music.

We are lucky: We have the music even when we no longer have the musicians.


Classical music: The “Eroica” Symphony gets a heroic reading from the amateur Middleton Community Orchestra in a popular all-Beethoven program that also featured an outstanding performance of the “Choral Fantasy.”

December 22, 2015
1 Comment

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 well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

Happily avoiding all the holiday falderal this month, the Middleton Community Orchestra (below) gave Ludwig Beethoven a slightly delayed birthday tribute in the form of an unusual concert program on last Friday night that drew a full house.

Middleton Community Orchestra press photo1

Led by the bold and enterprising conductor Steve Kurr (below center), the orchestra plunged straightway into no less than Beethoven’s epochal Symphony No. 3, the “Eroica.”

NOTE: For more background, here is a link to The Ear’s interview with Steve Kurr about this program: 

https://welltempered.wordpress.com/2015/12/14/classical-music-conductor-steve-kurr-talks-about-the-all-beethoven-program-that-the-middleton-community-orchestra-performs-this-friday-night-with-pianist-thomas-kasdorf-and-the-madison-symphony-choru/

MCO Beethoven Kurr and orchestra

The 50-minute long “Eroica” is a work that transformed the symphonic genre, and it continues to challenge performers. Provocative sounds, passages of complex counterpoint and assertions of tonal power—all these call for a disciplined and confident performance.

Kurr brought that off handsomely, to his and his players’ great credit. I had the feeling that he asked of these players more than they had first thought they could give, and he drew it out of them, to their obvious pride and satisfaction.

To be sure, there were some occasional smudges here and there, but the ensemble standards were otherwise consistently high. I am always interested to hear, in an orchestra that does not have overwhelming strings, the more balanced audibility of the winds, especially the woodwinds.

Here it was the brass (complete with four horns) that offered particular heroics. At times Kurr perhaps allowed them too much freedom when only filling out chords; but where they deserved prominence they sounded magnificent—notably in the scherzo’s trio section. In all, the overall mix really brought out the daring  use by Beethoven (below) of pungent dissonances and harmonic shocks.

Beethoven big

Kurr took the opening movement at a particularly brisk speed, while the second movement, the profound funeral march, was paced much more slowly than most conductors would take it — but to truly eloquent effect. (You can hear the astonishing Funeral March movement performed by the Vienna Philharmonic under Leonard Bernstein in a YouTube video at the bottom.)

I found the symphony’s finale sometimes was given a rather foursquare quality, but the enthusiasm maintained momentum.

It was a difficult act to follow. But the choice of the other item on the program was a brilliant one, bringing us a remarkable Beethoven work that is rarely ever heard in concerts.

How often can an orchestra afford to assemble a brilliant pianist, six vocal soloists and a chorus — all for one 25-minute work? But those are the demands of Beethoven’s “Choral Fantasy,” a product of a time when concerts often brought together a whole circus of performers.

In a special way, this novelty made a perfect pairing with the “Eroica.” In the two works, we catch Beethoven in his two great instances of self-borrowing to the end of evolving perfection.

The finale of the “Eroica” was the fourth and final destination for a set of variations on a contradance tune. In its turn, the Fantasy, after opening with an improvisatory exercise for the pianist, turns into a concerto-like set of variations on a tune, which is finally taken up by solo vocalists and then the chorus.

That tune represents the second of three stages in what eventually became the triumphant “Ode to Joy” melody of the famous finale of the Ninth Symphony.

The brilliant and versatile Thomas Kasdorf (below), a familiar soloist around these parts who was raised in Middleton and studied at the University of Wisconsin-Madison School of Music — was the energetic pianist.

thomas kasdorf 2:jpg

Six young singers were the solo battery, and a corporal’s guard from the Madison Symphony Chorus (below top and bottom) provided the brief but telling final justification for calling this a “Choral Fantasy.”

MCO Beethoven MSO Chorus left

MCO Beethoven MSO Chorus right

(The singers, below but not in order, were sopranos Allison Vollinger and Kirsten Larson; alto Jessica Lee Kasinski; tenor Richard Statz; baritone Gavon Waid; and bass Robert Dindorff.)

MCO Beethoven 3 women singers

MCO Beethoven 3 male singers

The orchestra played its role with gusto, and it’s wonderful how, by the end, it almost sounds as if we are moving into the Ninth Symphony.

This was an exhilarating concert, and a wonderful achievement for all involved.

 


Classical music: Conductor Steve Kurr talks about the all-Beethoven program that the Middleton Community Orchestra performs this Friday night with pianist Thomas Kasdorf and the Madison Symphony Chorus.

December 14, 2015
1 Comment

By Jacob Stockinger

It is definitely not your typical program at holiday time.

But it sure is appealing — and timely too, given the birthday on this Wednesday, Dec. 16, of Ludwig van Beethoven (1770-1827).

This Friday night – NOT the usual Wednesday night concert time — the mostly amateur Middleton Community Orchestra (below) will perform a big and ambitious all-Beethoven program.

Middleton Community Orchestra press photo1

The concert starts at 7:30 p.m. in the Middleton Performing Arts Center (below, the exterior and interior) that is attached to Middleton High School.

Middleton PAC2

Middleton PAC1

The program features the Symphony No. 3 in E-flat Major “Eroica” and the Choral Fantasy. Guest artists include the Madison Symphony Chorus and returning pianist Thomas Kasdorf.

Admission is $10; free for students. Advance tickets are available at a variety of outlets. The box office opens at 7 p.m. and the theater opens at 7:30 p.m.

As always, there will be an informal meet-and-greet reception for musicians and the audience after the performance.

Middleton Community Orchestra reception

For more information about the Madison Community Orchestra, including its spring concerts and how to join it or support it, visit:

http://middletoncommunityorchestra.org

Conductor Steve Kurr took time out from his busy schedule of teaching and rehearsing to discuss the program via email with The Ear.

Steve Kurr.

The “Eroica” is one of Beethoven’s biggest, most famous and most popular symphonies. Why did you program it for an amateur orchestra?

I think you answered your own question. Our musicians and our audience are interested in experiencing a titanic work like the “Eroica.” We are having a spectacular time as we prepare the work–learning the ins and outs of this symphony and getting to know more about Beethoven and his compositional processes. And it has opportunities for each instrument to shine, so it is fun to play.

What kind of technical and interpretative challenges will the “Eroica” pose to you and to the players in the Middleton Community Orchestra?

One of the toughest parts of the “Eroica” is its size. Clocking in at around 50 minutes, this work can be taxing for players both physically and mentally.

In addition, there are some overarching ideas that Beethoven begins in the opening movement that are not resolved until the finale and we have to keep those in mind over the length of the whole symphony.

There are also some typical Beethoven gestures that add to this mix–such as the crescendo leading to a sudden piano–that shows up all over the place in the “Eroica.”

Middleton Community Orchestra Steve Kurr conducting

What special things should the public listen for in the “Eroica”?

  • The connection of this symphony to Napoleon is well documented.  Beethoven (below top) dedicated the work to the French leader, but was so incensed when Napoleon (below bottom) declared himself emperor that he scratched the dedication out on the cover page. But the original idea of the piece being “heroic” remains.
  • The work was composed around the same time as his ballet “The Creatures of Prometheus” and includes some similar thematic material.  Think about Prometheus as you listen.
  • The premier coup d’archet (“opening stroke of the bow”) at the very start calls the audience to sit up and pay attention–a very exciting way to start.
  • Tovey’s Cloud: The odd resolution to the opening phrase (heard in the cello just seconds into the first movement) was identified by musicologist Donald Francis Tovey back in the first half of the 20th Century as a cloud that hung over the work and is not resolved until much later in the work.
  • The accents throughout the opening movement obscure the meter and propel the movement forward, and there are some exquisite dissonances in the first movement that increase a tension that does not truly resolve until the finale. It is almost as if the Romantic Period is struggling, as we listen in, to emerge from the composer’s pen.
  • Right before we return to the opening material in the first movement, the strings become as quiet as they have ever been and the horn barges in with an “accidental” statement of the first theme. Publishers and conductors at first thought it was a mistake in the parts, but the sketches for the piece included that little gag from the very beginning.
  • For the first time, the dance movement (the minuet in earlier symphonies, the scherzo by this work) has taken on a scope and weight equal to the rest of the piece.
  • The da capo or repeat of the scherzo movement is completely written out (a major use of ink in his day) so that he could insert just a few measures of duple meter in one spot–definitely a curious and charming moment.
  • The theme upon which the finale is based is one of those Prometheus melodies, but it also shows up in a set of piano variations and in a contredanse.  Overall, the finale has a definite feeling of dance to it.
  • The finale combines the idea of a set of variations and the sonata form concept.

Beethoven big

Napoleon

What did you program the Choral Fantasy with the Eroica Symphony?

Pairing Beethoven works together has benefits. It puts us in a Beethoven frame of mind, which helps the musicians focus on the style.  And with the length of the “Eroica,” the “Choral Fantasy” fits so well into a concert program. It is also nice to pair a lesser-known work with the familiar “Eroica.”

Who will perform the choral part in the Choral Fantasy? And what should we listen for in the work?

We are extremely excited to be joining with the Madison Symphony Chorus (below in a photo by Greg Anderson) for this endeavor.  It will be one of our first times working with a chorus, and we are all looking forward to the chance to collaborate with this first-rate ensemble.

The piece is an unusual one: it begins with a large piano solo section followed by a section that trades back and forth between the soloist and the orchestra.

It ends with the piano, orchestra and chorus joining together for a rousing finish that foreshadows the last movement (“Ode to Joy”) of the Ninth Symphony.

The piece was premiered on Dec. 22, 1808 (with the composer at the keyboard) at a concert that also included the Fifth and Sixth (“Pastoral”)  Symphonies. Listen for the improvisatory quality of the opening piano solo and for the text, written by Christoph Kuffner, which extols music and its great powers. (NOTE: In a YouTube video at the bottom, you can hear it performed live at the BBC Proms by Norwegian pianist and conductor Leif Ove Andsnes with the Mahler Chamber Orchestra and the BBC Singers.) 

Madison Symphony Chorus women CR Greg Anderson

Thomas Kasdorf, a talented Middleton native and a graduate of the University of Wisconsin-Madison School of Music, is the piano soloist in the Choral Fantasy. He has done a number of concertos by other composers such as Edvard Grieg, Wolfgang Amadeus Mozart and Peter Ilyich Tchaikovsky with you. Will he become a regular with the MCO? Might you do a cycle of Beethoven piano concertos with him?

We always enjoy having Mr. Kasdorf as our soloist. He is an excellent musician and he is what I might call a low-maintenance soloist–working with him is effortless. I sincerely hope to continue our collaborations, but I hesitate to speculate on any future repertoire. But the Fourth Piano Concerto of Beethoven is a favorite of mine, so Thomas and I may have to chat.

thomas kasdorf 2:jpg

Is there anything else you would like to say?

It is such an honor to work with these marvelous people in the Middleton Community Orchestra.  This is our sixth season and we continue to enjoy spending our Wednesday evenings making music together.

 


Classical music: What music best commemorates today’s 70th anniversary of D-Day, which marked the beginning of the end of Nazi domination of Western Europe? The Ear offers two works by Edward Elgar and Maurice Ravel.

June 6, 2014
9 Comments

By Jacob Stockinger

Today is June 6, 2014 –- the 70th anniversary of D-Day, when the Allies invaded the northwest coast of France on the beaches at Normandy and started the beginning of the end of Nazi domination in Western Europe by Adolf Hitler.

D-Day landing

A lot of music commemorates war and the troops who fell in battle.

I offer two that may not be the best choices but that move me.

First, I offer the ninth variation, “Nimrod,” from British composer Sir Edward Elgar’s “Enigma” Variations. American documentary filmmaker Ken Burns used it very effectively in a solo piano version in his epic film about World War II called simply “The War.”

But I cannot find that version. So here is the a haunting and deeply moving orchestral performance in a popular YouTube video played by the Chicago Symphony Orchestra under its former music director and conductor Daniel Barenboim:

And here is the “Pavane for a Dead Princess” by French composer Maurice Ravel. He actually wrote “Le Tombeau de Couperin” and dedicated each movement to a different friend of his who died in World War I. But there is something quietly eloquent about the way Ravel uses the stately and processional dance step of the Pavane to express understated sorrow.

Ravel usually composed on the piano, and then orchestrated his own work. So here are two versions, the first orchestral and the second done on the piano and played by the great Russian pianist Sviatoslav Richter, who captures just the right bittersweetness and poignancy.

You can decide which one best expresses your sentiments about today’s historic commemoration. Despite the coughing in the background, I tend to favor the simpler and more austere piano version. But both are deeply moving to me.

I am sure that many other works, from two famous funeral marches by Ludwig van Beethoven (in the Symphony No. 3 “Eroica” and the Piano Sonata in A-Flat Major, Op. 26) to the famous Funeral March by Frederic Chopin, would be appropriate.

Classical music –- instrumental, vocal and choral as well as operatic – offers so many appropriate choices. My guess is that NPR and Wisconsin Public Radio, like radio stations and even TV stations around the country and the world, will feature many such works in their programming for today. I would especially love to hear Requiems by Johannes Brahms, Wolfgang Amadeus Mozart and Gabriel Faure.

If you have a favorite, please leave a reply with a YouTube link if possible, plus the reasons why you like the work so much.

The Ear wants to hear.

Enhanced by Zemanta

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,190 other followers

    Blog Stats

    • 2,044,326 hits
    June 2019
    M T W T F S S
    « May    
     12
    3456789
    10111213141516
    17181920212223
    24252627282930
%d bloggers like this: