The Well-Tempered Ear

Classical music: Let us now praise — and program — Lou Harrison, the prophetic American composer who pioneered both personal and professional diversity in music

May 20, 2017
3 Comments

By Jacob Stockinger

The Ear has heard the name of Lou Harrison.

But he doesn’t recall ever actually hearing any music by Lou Harrison (below).

Maybe that will change, now that the centennial of Harrison’s birth is being marked.

Perhaps the UW-Madison or a smaller local group will do something, since neither the Madison Symphony Orchestra nor the Wisconsin Chamber Orchestra has programmed anything by Harrison in their next seasons.

The Ear certainly hopes to hear some of Harrison’s intriguing and prophetic music, which seems to be a harbinger of contemporary globalism and world music, performed live. Harrison’s work seems to presage Yo-Yo Ma‘s crossover and cross-cultural Silk Road Ensemble, but was way ahead of its time and without the commercial success.

In any case, it seems very few composers pioneered and championed both personal and professional diversity through Asian sounds and an openly gay identity. Completely genuine, Harrison seemed creative and imaginative in just about everything he touched and did.

If you, like The Ear, know little about the maverick Lou Harrison, an excellent background piece, recently done by Tom Huizinga of National Public Radio (NPR), is a fine introduction.

Here is a link to the story:

http://www.npr.org/sections/deceptivecadence/2017/05/13/525919082/lou-harrison-the-maverick-composer-with-asia-in-his-ears

Harrison composed a lot of music, including concertos for piano and violin, that shows Asian influences and combines them with traditional Western classical music. Below is a YouTube recording of his Double Concerto for Violin and Cello with Javanese Gamelan from 1981-82.

Have you heard or performed Harrison’s music?

What do you think of it?

Would you like to hear it programmed for live performance more often?

Leave your opinion in the COMMENT section.

The Ear wants to hear.

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Classical music: A new opera takes listeners back to The Bad Old Days of anti-gay America – and reminds us of the bigotry today that camouflages itself as religious freedom

July 2, 2016
1 Comment

CORRECTION: Yesterday’s post about the fourth annual Handel Aria Competition had a mistake about when it will be held. The correct time is next FRIDAY, July 8, at 7:30 p.m. in Mills Hall. The Ear regrets the error. General admission is $10. Here is a link with more information:

https://welltempered.wordpress.com/2016/07/01/classical-music-handel-aria-competition-announces-2016-finalists-to-sing-next-thursday-night/

By Jacob Stockinger

Issues pertaining to gays, lesbians, bisexuals and transgender people are much in the news these days.

Of course there were the shootings and mass murder at the Pulse gay bar in Orlando, Florida.

And there were the so-called “bathroom laws” enacted against transgender people and designed to protect “normal” people who ere never really threatened.

In contrast, the military announced that transgender people could serve under the usual conditions and regulations.

Then President Obama declared the Stonewall Inn (below) in Greenwich Village in New York City, a national historical landmark. In 1969 a police raid against the gay bar led to riots that, in turn, sparked the gay liberation movement to secure human rights and civil rights for homosexuals.

stonewall inn

This week saw a U.S. District Judge in Mississippi ruling against so-called “religious freedom” laws that many states have enacted in the wake of the U.S. Supreme Court legalizing same-sex marriage a year ago.

Such laws were ruled to discriminate against LGBT people and to unconstitutionally favor certain religions or forms of religion.

A lot of the proponents of such laws seem to have a false nostalgia for the good old days.

Well, maybe they were good for some people. But they were terrible times for many others, including LGBTQ people.

Gregory Spears’ new opera, called “Fellow Travelers” (below is a crucial scene in a photo by Philip Goushong for the Cincinnati Opera) has an interesting take on that historical era with its “Lavender Scare” that parallels the Red Scare of McCathyism.

Fellow Travelers and Lavender Scare CR Philip Groshong for the Cincinnati Opera

Here is a story that aired on NPR or National Public Radio:

http://www.npr.org/sections/deceptivecadence/2016/06/18/482307467/a-new-opera-illuminates-the-lavender-scare-a-little-explored-era-in-queer-histor


Classical music: What music would you play to honor and mourn the dead, wounded and traumatized victims of the gay night club shooting in Orlando, Florida?

June 19, 2016
4 Comments

By Jacob Stockinger

It has been a week now.

A very long, hard and emotional week.

The Ear has heard some classical music dedicated to the victims — 49 killed, some 50 wounded and countless traumatized — of the mass shooting at Pulse, a gay night club in Orlando, Florida, that took place one week ago. (Below is a vigil in support of the LGBT community.)

Orlando shooting vigil crowd 1

Others might choose a standard like the famous “Adagio for Strings” by Samuel Barber. It is undeniably moving and perfectly appropriate.

But so far the piece that most moved The Ear, unexpectedly, was a familiar one that aired on Wisconsin Public Radio: the “Nimrod” variation from the “Enigma Variations” by Sir Edward Elgar.

The Ear hears tenderness, gentleness and even love in the music. But in it he also hears strength, resilience and pride as well as sorrow, acceptance and resignation.

Plus, he likes the idea of enigma that is attached to it, given all the issues and questions — terrorism, Islamic radicalization and extremism, homophobia, self-hatred, hate crimes, gun control, protests, mass grieving — that still surround the incident and remain to be solved.

You can listen to the piece of music in the YouTube video at the bottom that features conductor Daniel Barenboim conducting the Chicago Symphony Orchestra. It has more than 3 million hits.

But The Ear is also sure that there is a great deal of other music that would suit the purpose. They include:

The passions, oratorios and cantatas by Johann Sebastian Bach.

The Requiems of Wolfgang Amadeus Mozart, Johannes Brahms, Giuseppe Verdi and Gabriel Faure.

The symphonies of Ludwig van Beethoven, Robert Schumann, Johannes Brahms, Peter Tchaikovsky and Antonin Dvorak.

The string quartets, piano trios, duo sonatas and other chamber music by Joseph Haydn and Franz Schubert as well as the solo piano music of Chopin, Schumann and so many others.

The masses of Haydn, Mozart, Beethoven and Schubert.

The songs of Schubert and arias and choruses from all kinds of operas, but especially those of Giacomo Puccini.

And on and on.

Leave your personal choice, with a YouTube link if possible, and your reason for choosing it in the COMMENT section.

The Ear wants to hear.


Classical music: Should Yannick Nézet-Séguin be the Metropolitan Opera’s next music director? Here are the pros and cons

May 22, 2016
6 Comments

By Jacob Stockinger

As you may have already heard, the legendary James Levine just retired as the music director of the famed Metropolitan Opera in New York City.

So now the question becomes: Who should succeed Levine?

Several names stand out.

But the smartest money seems to be on the relatively young conductor Yannick Nézet-Séguin (below). The French-Canadian and openly gay conductor now leads the Philadelphia Orchestra and is closely attached to the Rotterdam Philharmonic in the Netherlands.

Yannick Nezet-Seguin close up

A comprehensive profile of the charismatic and energetic conductor – who is known for his unique, subtle and powerful interpretations – with the pros and cons of an appointment to The Met was recently written by New York Times music critic Zachary Woolfe.

Yannick Nezet-Seguin in aciton

Woolfe raves about his conducting but then goes on to raise several important points about the difference between being a conductor and a music director. (You can hear a lot of recorded performances of his conducting on YouTube. At bottom is the beginning of an insightful two-part interview with Nézet-Séguin.)

The Ear found the criticism relevant, if a little lopsided, and was impressed overall with the story.

So read it for yourself and decide:

http://www.nytimes.com/2016/05/15/arts/music/for-yannick-nezet-seguin-questions-of-vision.html?_r=0

Then leave word in the COMMENTS section and let The Ear and his readers know whether you think Nézet-Séguin should be the next music director of The Met?

Or would you suggest another name?


Classical music: Civil rights pioneer Martin Luther King Jr. was the Abraham Lincoln of his age – a Great Emancipator. To celebrate his birthday, here is Aaron Copland’s “A Lincoln Portrait.”

January 18, 2016
4 Comments

By Jacob Stockinger

Today we celebrate the birthday of the civil rights pioneer Rev. Martin Luther King Jr.

The Ear thinks of him as The Great Emancipator of the modern age.

As the Abraham Lincoln of our age.

Just as Lincoln freed slaves, Martin Luther King Jr. (below) helped free so many members of different social groups from discrimination.

martin luther king 2

Blacks, of course.

But also women.

Latinos.

Asians.

Gays, lesbians, bisexuals and transgender people.

Disabled people.

The poor.

The old and elderly.

So it seems fitting, then, to listen to Aaron Copland’s “A Lincoln Portrait.”

The Ear loves the way that the Gertrude Stein-like repetitions of Lincoln’s own words build into a moving testament of the need for both compassion and democracy – a combination that today’s right-wing freedom-spouting and Constitution-citing bigots might do well to cultivate.

So we can listen about one man and think about the other.

Here is a great version, in a YouTube video at the bottom, with actor Henry Fonda as the narrator. There are other fine versions, including one with Leonard Bernstein conducting and composer Aaron Copland speaking the narration. But this version is the one that most moves The Ear.

And please leave your COMMENTS about this offering or other music appropriate to mark Martin Luther King Jr. Day for others to read.


Classical music: The Wisconsin Chamber Orchestra opens its new season Friday night with an appealing and typical mix of a young guest soloist, a standard masterpiece and unusual repertoire.

September 28, 2015
7 Comments

By Jacob Stockinger

This coming Friday night, Oct. 2, at 8 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens its new indoor season.

WCO lobby

Now in his 15th year with the WCO, music director and conductor Andrew Sewell (below) continues to demonstrate his knack for creating appealing programs that are masterful in the way they combine the expected and the unpredictable.

andrewsewell

This opening concert, like so many others, features a mix of a young or up-and-coming soloist, standard masterpieces and unusual repertoire. Tickets are $15 to $80.

A New Zealander who is now an American citizen, Sewell has programmed “Landfall in Unknown Seas” by his fellow Kiwi, composer Douglas Lilburn. The work was written in 1940 by Douglas Lilburn to mark the centenary of New Zealand. Sewell personally knew Lilburn during his formative training.

Douglas Lilburn 2

The work is for strings with a text that is read aloud by a narrator, who in this case will be actor James Ridge (below) of American Players Theatre in Spring Green.

James Ridge

Then comes the standard concerto with the non-standard soloist. It is the glorious Violin Concerto by Ludwig van Beethoven with the boyish-looking 25-year-old American violinist Ben Beilman (below), who has won critical acclaim as well as major prizes and awards, and who plays a violin built in 2004. He has been praised for his virtuosic technique and his strong, beautiful tone.

His honors include winning the Montreal International Violin Competition at age 20, with a searing performance of the Violin Concerto by Jean Sibelius;  receiving an Avery Fisher Career Grant; and being invited to perform with the prestigious Chamber Music Society of Lincoln Center in New York City. (You can hear him in a profile of Beilman in a YouTube video at the bottom.)

For more information about Beilman (below), including a sound and video sample, and about the performance with a link to tickets, go to:

http://benjaminbeilman.instantencore.com/web/bio.aspx

Ben Beilman portrait

and to:

http://www.wcoconcerts.org/performances/masterworks-i-1/

Benjamin Beilman close up playing

Rounding out the program is the Symphony No. 2 by Camille Saint-Saens (1835-1921, below), a rarely heard work that is overshadowed by the Symphony No. 3, the “Organ” Symphony. Few people know that Saint-Saens was one of the great musical prodigies of all time, on a par with Wolfgang Amadeus Mozart and Felix Mendelssohn.

camille saint-saens younger

Recent scholarship suggests that Saint-Saens was a closeted gay man. For more about the life and personality of Saint-Saens, check out this site:

http://gayinfluence.blogspot.com/2011/08/charles-camille-saint-saens-1835-1921.html

A revival of the orchestral works and chamber music by Saint-Saens has been under way in recent years.

 


Classical music: The Ear celebrates marriage equality or same-sex marriage with a piece by Francis Poulenc and a list of LGBT composers. What music would you play to celebrate the occasion? And how many composers can you name?

June 27, 2015
5 Comments

By Jacob Stockinger

Less than 50 years ago, you could go to prison or jail for being gay.

But now, given Friday’s ruling by the U.S. Supreme Court that same-sex marriage is legal across the country — IS indeed The Law of the Land under the U.S. Constitution — the same people can now be heading to the chapel (or city hall) where they’re gonna get married!

And have it recognized in all 50 states.

Rainbow flag

So how can one celebrate this long-awaited occasion, which so many gay composers would have wished for and benefitted from?

One way is to feature a piece by a gay composer.

The Ear chose the lovely slow movement from the Concerto for Two Pianos by Francis Poulenc (below), that tuneful and forthright 20th century French composer who said, “If I were not homosexual, I could not compose my music.”

You can hear the music, performed by the composer at one of the keyboards, at the bottom in a YouTube video.

Francis Poulenc

What piece would you choose to mark the occasion? Leave your answer and, if possible, a YouTube link to a performance of the work in the COMMENT section. The Ear wants to hear!!

Now, how many LGBT composers and songwriters can you name?

Here is one pretty impressive list with a lot of names that even The Ear didn’t know.

https://musescore.com/groups/lgbt-composers-and-songwriters/discuss/83075

 


Classical music: The great Russian pianist Sviatoslav Richter was born 100 years ago yesterday. Here is a short but comprehensive memoir and appreciation with a lot of biographical information and a good critical appraisal of his playing.

March 21, 2015
4 Comments

By Jacob Stockinger

Yesterday — Friday, March 20, 2015 – brought us the first day of spring.

It also marked the centennial of the birth of the great Russian pianist Sviatoslav Richter (below).

Sviatoslav Richter

Richter was such a complex and towering figure that it would take a book to really do justice to him and to his career.

But the following essay by Steve Wigler for the outstanding Deceptive Cadence blog on NPR (National Public Radio) does an excellent job for a short-form piece of criticism.

With one exception that gets no mention.

We now know beyond question that Richter (below) was a gay man who was forced by the Soviet government into a marriage of convenience and camouflage.

Somehow that information seems particularly pertinent to The Ear, given the growing acceptance of LGBT people and of marriage equality.

richterwithcross1

Still, Wigler’s essay is an excellent read and includes a YouTube video – there are many, many YouTube videos of Richter, who had an immense repertoire, playing. This video is of a live performance by Richter in which he plays the last movement of the first piano sonata by Ludwig van Beethoven in the Great Hall of the Moscow Conservatory.

You can hear the power and energy, the subtleties and excitement, to say nothing of the originality of interpretation, that Richter brought to music.

Richterconcerto

Enjoy it -– and tell us if you ever heard Richter live and what is your favorite performance by Sviatoslav Richter with a link to a YouTube video is possible.

http://www.npr.org/blogs/deceptivecadence/2015/03/19/393778706/sviatoslav-richter-the-pianist-who-made-the-earth-move

 


Classical music: World-class conductors are making news with two retirements, a death and a contract renewal. Who will emerge as the new and younger star maestros? Plus, today is the last performance by the Madison Symphony Orchestra and pianist Ingrid Fliter of music by Benjamin Britten, Frederic Chopin and Robert Schumann. Read two reviews of the concert.

February 15, 2015
4 Comments

ALERT: Today at 2:30 p.m. in Overture Hall is the last performance by the Madison Symphony Orchestra under John DeMain and pianist Ingrid Fliter (below) of the “Variations on a Theme of Frank Bridge” by Benjamin Brittten, the Piano Concerto No. 2 in F Minor by Frederic Chopin and the Symphony No. 4 in D Minor by Robert Schumann. Here are two reviews to tempt you.

Here is a review that John W. Barker wrote for Isthmus:

http://www.isthmus.com/daily/article.php?article=44522&sid=841e6fa0653921af622026d5ee793a0f

And here is a review that Jess Courtier wrote for The Capital Times and the Wisconsin State Journal:

http://host.madison.com/ct/entertainment/arts_and_theatre/reviews/review-mso-gives-an-engaging-performance-of-variations/article_20ea0913-bf1b-5a71-a8fb-173831888a6e.html

ingrid fliter with keyboard

By Jacob Stockinger

Sometimes things just seem to happen in waves and clusters.

This past week has been a rough one for the media, for example.

There were the deaths of reporter Bob Simon (he was 73) of CBS News and “60 Minutes” and columnist David Carr (he was 58) of The New York Times.

Then there are the ongoing truth-telling problems of NBC’s top-rated anchor Brian Williams. And comedian-host Jon Stewart is leaving The Daily Show.

The same seems to go for orchestral conductors.

Female Orchestra Conductor With Baton

ITEM: Edo DeWaart will step down at the Milwaukee Symphony Orchestra after the 2016-17 season. It is a major loss for the orchestra that many critics say has never sounded better.

http://www.bizjournals.com/milwaukee/news/2015/02/12/edo-de-waart-to-step-down-as-milwaukee-symphony.html?surround=etf&ana=e_article

edo de waart conducting

ITEM: Alan Gilbert will step down from The New York Philharmonic after only eight seasons, after the 2016-17 season. He has his reasons for leaving such a prestigious post, especially after all the praise he has earned for programming and performing during his tenure.

Here is a terrific story from NPR (National Public Radio):

http://www.npr.org/blogs/deceptivecadence/2015/02/06/384318430/a-friday-surprise-alan-gilbert-will-leave-the-new-york-philharmonic

And another story for the revered British magazine Gramophone:

http://www.gramophone.co.uk/classical-music-news/alan-gilbert-to-leave-the-new-york-philharmonic

New York Philharmonic Alan Gilbert

ITEM: The conductor Israel Yinon – known for exploring neglected repertoire — has died at the age of 58, during a performance in Lucerne, Switzerland of Richard Strauss’ “An Alpine Symphony.”

http://www.gramophone.co.uk/classical-music-news/conductor-israel-yinon-has-died

Israel Yinon

But there is some good news:

On the other hand, the acclaimed Yannick Nézet-Séguin -– the openly gay French-Canadian maestro — has just extended his contract with the Philadelphia Orchestra through 2022.

Here is a story:

http://www.gramophone.co.uk/classical-music-news/yannick-nézet-séguin-extends-his-contract-with-the-philadelphia-orchestra

Yannick Nezet-Seguin close up

 


Classical music: Why hasn’t anyone written an opera about Martin Luther King Jr. and the civil rights movement?

January 19, 2015
11 Comments

By Jacob Stockinger

Today is a federal holiday in the US: Martin Luther King Jr. Day.

And The Ear has just one question: Why hasn’t anyone yet composed an opera about MLK?

martin luther king 2

His larger-than-life existence has all the necessary operatic elements about it, from being a prisoner in jail and winning the Nobel Peace Prize to meeting with President Johnson in The White House and being assassinated while defending garbage workers in Memphis.

He took part in momentous events, some of them dramatic and violent, that involved huge masses of people.

Plus, he and his staff experienced major individual and personal conflicts.

And the cause he fought for forever altered the course of American history and the civil rights of other individuals and groups advocating women’s rights, Latino rights, gay rights and disabled rights among others.

Martin Luther King speech

Could it be that MLK has not been treated in an opera because the composers are white or non-American?

Who, then, could or should do it?

The contemporary American composer John Adams (below top) comes immediately to mind. He used President Richard Nixon (below bottom is a scene from “Nixon in China, as it was staged at the Metropolitan Opera); physicist J. Robert Oppenheimer and the Manhattan Project in “Doctor Atomic: to create the atomic bomb; and in the still controversial opera “The Death of Klinghoffer” the question of terrorism examined through the story of Jewish tourist Leon Klinghoffer and his Palestinian murderers, to create his successful reality-based historical operas.

John Adams

nixon in china plane

So, why not Martin Luther King Jr.?

Music certainly was vital to King and his campaign.

But what hasn’t he himself been treated as the central figure of an opera?

Maybe the difficulties posed by the King estate would have something to do with it, as they did with the current movie “Selma.”

But one can’t imagine that they are insurmountable.

Anyway, tell us what you think.

Should there be an opera about Martin Luther King Jr.?

Who would be a good composer to write one?

And why do you think one hasn’t already been written? Does racism play a role?

The Ear wants to hear.

 


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