The Well-Tempered Ear

New York Times music critics pick 10 MUST-HEAR online virtual classical concerts to stream for October

October 3, 2020
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ALERT: Tonight’s concert by the choral group Roomful of Teeth for the Wisconsin Union Theater at the UW-Madison’s Hamel Music Center has been canceled and postponed indefinitely.

By Jacob Stockinger

Increasingly the coronavirus pandemic seems surging out of control. So it comes as no surprise that also more and more concerts of classical music are taking place virtually and online.

Coronavirus image CDC

There are many ways to choose among local, regional, national and international concerts.

But one good guide was published this last week and featured the choice of must-hear classical concerts by critics for The New York Times.

It is an interesting and varied selection, and includes times, links and brief descriptions.

It features concerts that emphasize Black composers such as Florence Price (below top) and women composers. It covers many genres from a solo piano recital by Jeremy Denk (below bottom) – who is supposed to perform here on Dec. 11 at the Wisconsin Union Theater – to chamber music, vocal music, orchestral concerts and operas.

Florence Price head shot University of Arkansas Libraries

Jeremy Denk playing CR Hiroyuki Ito NYTImes

Curiously, there is quite bit of new music but little early music, either Renaissance or Baroque. Perhaps more will appear around the holiday times, when that music is part of the traditional holiday celebrations.

You will find contemporary composers but also lots of certified, tried-and-true classics and masterworks.

Some are one-day only events but many run from a week through a month.

Here is a link to the story. PLEASE NOTE THAT TIMES ARE ALL EASTERN: https://www.nytimes.com/2020/09/29/arts/music/classical-music-stream.html

Please let The Ear know if you like this kind of listing and find it useful.

And please feel free to leave in the comment section other guides or events that the public should know about.


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Classical music: Grace Presents HD offers a free virtual online concert by the acclaimed Willy Street Chamber Players this Saturday at noon

August 19, 2020
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By Jacob Stockinger

Cellist and UW-Madison graduate student James Waldo has sent the following announcement about a FREE virtual online concert by Grace Presents, which he coordinates.

The hi-def, one-hour concert by the critically acclaimed and popular Willy Street Chamber Players (below) is at noon (CDT) this Saturday, Aug. 22.

Says Waldo:

“This is a pre-recorded event, and as such, I had the singular pleasure of sitting in the room while these fantastic musicians recorded their program. This event is not to be missed!

“Grace Presents HD brings you free, crystal-clear performances by local Madison musicians in the nave of historical Grace Episcopal Church – located downtown on the Capitol Square — from the comfort and safety of your own home.

“The Willy Street Chamber Players will have a video premiere that will be available on the Grace Presents YouTube channel on this Saturday, Aug. 22 at noon CDT. (This virtual concert is available for a limited time only!)

You can see and hear a preview of the concert in the YouTube video at the bottom.

Artists in the Willy Street Chamber Players are: Paran Amirinazari, artistic director, violin and viola; Eleanor Bartsch, violin and viola; Mark Bridges, cello; and Lindsay Crabb, cello, five-string cello.

You can find more information about the chamber music ensemble, including a link to a post in which The Ear named them as Musicians of the Year for 2016, at: http://willystreetchamberplayers.org

As is typical for The Willys, the program reflects diversity and includes both classical masters and contemporary composers:

Schubert: String trio in B-flat major, D. 47

Tania León (below) – Four Pieces for Solo Cello: II. Prayer

Heinrich Ignaz Franz Biber – Passacaglia

George Walker (below) – “Bleu”

J.S. Bach – Solo Cello Suite No. 6 in D major: I. Prelude and IV. Sarabande

Kimo Williams (below): “Quiet Shadows”

Beethoven: String Trio in G major, Op. 9, No. 1 / I. Adagio-Allegro

“We will be hosting a Zoom meet-and-greet with our guest artists following the performance. If you’d like to attend this virtual gathering, please RSVP to Grace Presents Program Coordinator James Waldo (gracepresents@gmail.com) for more information.

“Here is biographical background: The Willy Street Chamber Players (WSCP) are dedicated to creating community through classical music. Established in 2015, the group has become a fixture of the Willy Street neighborhood’s vibrant cultural scene.

“Recently awarded a gold medal in Madison Magazine’s prestigious “Best of Madison” reader poll, WSCP has received numerous accolades for its accessible and exciting performances, intelligent and fun programming, and community partnerships.

“Today, the group consists of four core members. Led by Artistic Director and violinist Paran Amirinazari, each player brings a fresh, imaginative take to classical music.

WSCP convenes each July – this summer’s concerts were canceled because of the coronavirus pandemic — to present their popular summer concert series at Immanuel Lutheran Church (below) on Spaight Street. For these programs, the group has collaborated with many well-known guest artists from Madison and beyond.

“In addition, WSCP presents an array of events throughout the year including the admission-free Community Connect series that aims to bring classical music to inclusive spaces.

“WSCP has also performed at many other popular Madison venues including Marquette Waterfront Fest; Summer Serenades at Memorial Union Terrace; the Frank Lloyd Wright Taliesin compound in Spring Green; the Madison New Music Festival; and the Madison Museum of Contemporary Art (MMoCA).”

OTHER DETAILS

Video recording and editing has been done by: https://www.microtonemedia.com/

Audio engineering has been done by Bruce Kasprzyk.

Grace Presents is supported in part by generous project grants from Dane Arts, the Madison Arts Commission, the Episcopal Church Women (ECW) and the Grace Episcopal Development Fund Trust as well as individual gifts and in-kind support.

 


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Classical music: The Madison Symphony Orchestra announces its 2020-21 season to mark The Beethoven Year. Plus, this Sunday afternoon, the Edgewood Chamber Orchestra also celebrates The Beethoven Year

February 21, 2020
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ALERT: The Madison Symphony Orchestra has just announced its 2020-21 season, which is heavy on works from Beethoven’s mid-career “Heroic” period to mark the Beethoven Year celebrating the 250th anniversary of the birth of the composer (below).

Other composers to be featured include Haydn, Mozart, Dvorak, Tchaikovsky, Rachmaninoff, Ravel, Sibelius, Honegger, Grofé, Kabalevsky and the African-American composer George Walker.

Familiar soloists include pianists Olga Kern and Garrick Ohlsson; violinists James Ehnes and Gil Shaham. Also soloing are retired UW-Madison professor and MSO principal oboe Marc Fink and MSO concertmaster Naha Greenholtz.

The traditional Christmas Concert is in early December.

The “Beyond the Score” program in late January, with actors from American Players Theater in Spring Green,  focuses on Stravinsky’s revolutionary “The Rite of Spring.” And the MSO Chorus will perform in Beethoven’s Symphony No. 9 “Choral” and “Missa Solemnis.”

All concerts will be conducted by John DeMain.

Here is a link to details about the season and how to subscribe: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/

Let The Ear know what you think of the new MSO season in the Comment section.

By Jacob Stockinger

This Sunday afternoon, Feb. 23, the Edgewood Chamber Orchestra of Edgewood College presents a special winter concert.

The performance is at 2:30 p.m. in McKinley Performing Arts Center of Edgewood High School, 2219 Monroe Street, on Madison’s near west side.

The conductor is Blake Walter (below, in a photo by John Maniaci) and the guest soloist is violinist David Huntsman.

The concert celebrates the 250th anniversary of the birth of the Ludwig van Beethoven.

The Chamber Orchestra will perform the Symphony No. 2 in D Major, Op. 36, by Beethoven, who seems influenced in this work by Mozart and especially his teacher Haydn but who moved beyond them in this symphony. (You can hear the innovative Scherzo movement, which replaced the traditional minuet, in the YouTube video at the bottom.)

Also on the program are Handel’s Overture to the opera “Semele” and the virtuosic Introduction and Rondo Capriccioso by Camille Saint-Saens, which features soloist David Huntsman (below).

Tickets are $5 for general admission, and admission is free with an Edgewood High School or Edgewood College ID.


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Classical music: Are individuals and groups that perform classical music in the U.S., Wisconsin and Madison racist? If not, why don’t we hear more music from African-American, Hispanic and Asian composers?

August 18, 2013
20 Comments

By Jacob Stockinger

Is classical music in Madison — and in Wisconsin and the U.S. — racist?

Most of the classical musicians I know, and most of the performing and visual artists for that matter, take pride in being politically progressive and liberal in their political leanings and social sympathies.

Wisconsin Capitol

And yet.

And yet, I have to ask the difficult question: If that is true, why are we not hearing more music from “minority” composers who are African American, Hispanic and Latino, American Indian and Asian — but especially African American composers since the other kinds of music they have written, from spirituals and blues to jazz, seem to have inspired so much mainstream classical music, both American and European.

Could it be — at least when it comes to classical music — that this famously liberal city is not really as progressive as we hope or claim, that we are not as culturally tolerant and ethnically diverse as we think we are? Is that why I can’t recall a single live performance of a long or short work by William Grant Still (below)?

William Grant Still

Curiously, it was a famous and popular Czech composer, Antonin Dvorak (below), who is recognized for acknowledging black and American Indian music in his Symphony No. 9 “From the New World.”

dvorak

It is a difficult and embarrassing question to ask and issue to bring up. And I include myself, since my own collection of classical CDs, as I recently discovered, contains almost no music by African Americans.

In “Artists in Exile,” the extremely insightful cultural historian Joseph Horowitz (below) has written about and documented the bias and shows how the American classical music scene has always been Eurocentric and biased toward the Germanic school – Bach, Handel, Haydn, Mozart, Beethoven, Schubert, Schumann and Brahms for a start.

joseph horowitz

I would add that American musicians also seem biased toward Anglo-American composers. Even Italian composers are generally mainstream repertoire except when it comes to some baroque music and especially to opera, but not much else. And Spanish music seems to come into favor only whenever there is an outstanding Spanish performers – as happened with Isaac Albeniz and Enrique Granados in the hands of the late pianist Alicia de Larrocha.

Anyway, the issue of classical music and racism came to mind recently when I read a wonderful post on NPR’s outstanding blog “Deceptive Cadence.” Jeffrey Mumford (below), an African American composer, spoke about the situation in an NPR interview. He rightly questioned why more Americans don’t know and hear works, especially symphonies, by African American and black composers performed.

Jeffrey Mumford

Mumford specifically cited works by George Walker (below top), who won the Pulitzer Prize in 1996 and whose early “Lyric Suite” for string orchestra can be heard at the bottom in a YouTube video; and the “The Black Mozart,” Joseph Boulogne, also known as the Chevalier De Saint-Georges (below bottom), whose violin virtuosity and compositions were admired by Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven:

african_american_symphony

Joseph de Boulogne, Chevalier de Saint Georges

So I find myself asking: Does that same criticism apply to liberal Madison and its performing arts scene?

After all, I have a hard time recalling when groups that I love and attend frequently -– such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, various UW-Madison groups, large and small, and other ensembles — have indeed performed African American musicians and put them before the general public with a high profile. 

Could that be why more African Americans don’t subscribe to or attend their concerts?

Here is a link to the thought-provoking essay from the NPR blog, which also has terrific sound snippets:

http://www.npr.org/blogs/deceptivecadence/2013/08/10/210527949/the-american-symphonic-legacy-not-just-for-white-guys

Maybe I am mistaken in my musings and in my embarrassment at Madison sharing a form of artistic racism.

I look forward to reading the reactions, opinions and facts that I hope to get from other readers.

The Ear wants to hear.


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