The Well-Tempered Ear
Collaborative pianist Ingrid Haebler has died at 93
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By Jacob Stockinger
The Austrian pianist Ingrid Haebler (below) has died at 93.
I call her a collaborative pianist but, like so many other pianists, she was also a soloist.
That is inherent in learning the piano, especially at the beginning.
Here is an obituary, with links, where you can read more about her and her her music-making:
Truth be told, Haebler made quite a few recording as a soloist, include all the piano concertos and piano sonatas by Mozart, as well as other Austrian and German composers, including Haydn, Schubert and Beethoven. The Viennese school was her forte.
But what stands out to The Ear are her early duets (below) with Henry Szeryng and Arthur Grumiaux in the violin sonatas of Beethoven and Mozart. She knew how to blend rather than to stand out, and clearly was more interested in musicality than virtuosity. In fact, critics often praised her gentleness, clarity and transparency rather than her assertiveness or boldness, especially in Mozart. Not for nothing was a tulip named after her.
In a word, she was an ideal collaborative pianist back in the days when they were still called accompanists and received second billing.
Indeed, along with Gerald Moore she was one of the performers who brought currency and respect as the term “accompanist” as it morphed into the more accurate term “collaborative pianist.”
Of course that is just my opinion. You might disagree.
Decide for yourself. You can listen to and sample many of her solo and collaborative recording on YouTube, including the video below one of my favorite violin sonatas by Mozart, the Violin Sonata in e minor, K. 304, played by Haebler and Henryk Szeryng.
Do you know Ingrid Haebler’s playing?
What do you think of her as a soloist and as a collaborative pianist?
Which side of her career do you think is stronger?
The Ear wants to hear.
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They decoded Beethoven’s DNA. Here’s what they found
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By Jacob Stockinger
After 200 years, the DNA of Ludwig van Beethoven (below, 1770-1827) has been analyzed by a team of researchers.
The DNA was obtained from some of the famous composer’s hair.
The new study analyzed the German composer’s genes to get a better understanding of the health problems — deafness and liver failure among them — that plagued him.
Read about it — via Apple News, just click on continue — in a story from the Canadian-American VICE magazine: https://apple.news/AgGnJPZZcRyuC3nH2ycFL3A
Tags: #BlogPost, #BlogPosting, #FacebookPost, #FacebookPosting, #TheU.S., #ViennaAustria, alcoholism, America, American, analysis, analyze, Apple, Apple News, Arts, Austria, Beethoven, blog, Canada, Canadian, Chamber music, choral music, Classical music, code, composer, Concert, concerto, deaf, deafness, decode, disgestion, DNA, Facebook, failure, famous, gene, genetics, German, Germany, hair, Health, health problems, hearing, Jacob Stockinger, link, liver, Ludwig van Beethoven, magazine, Music, news, opera, Orchestra, Piano, problems, research, researcher, science, scientist, share, Sonata, stomach, symphony, tag, team, The Ear, U.S., understanding, United States, vice, Vienna, Viola, Violin, vocal music
Vivaldi turns 345 today. His irresistable music deserves more live performances
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By Jacob Stockinger
Today The Ear wishes Happy Birthday to composer Antonio Vivaldi (below), who was born on this day — March 4 — in 1678 in Venice. (He became famous but died in poverty at age 63 on July 28, 1741, also in Venice.)
The Ear likes Vivaldi and his music deserves many more live performances. Even local early music and modern music groups seems reluctant to program much Vivaldi besides “The Four Seasons,” despite the popularity of his other works. Vivaldi not only composed a lot but he did so for many instruments — strings, brass, winds — and in other genres than concertos including sonatas, choral works and operas.
Listen to Vivaldi in the morning. Who can resist him? The Italian style with its energetic rhythm, songful lyricism and major-key cheerfulness are caffeine for the ears.
There are so many fine groups and soloists who perform Vivaldi. Yet so much of his prolific output remains relatively unknown or unheard.
That’s too bad. Johann Sebastian Bach recognized a good thing when he heard it, so he “borrowed” and transcribed many of Vivaldi’s works. One imagines the Italian taste for transparency and tunes appealed to Bach and helped him leaven the often dense, even pedantic Germanic counterpoint and smothering religiosity. Vivaldi provided a model influence for Bach’s eclectic fusion of styles.
Here is a link to an extended Wikipedia biography of the “Red Priest” (below) — Vivaldi’s nickname, used during his teaching at an all-girls school in Venice and derived from his bright red hair. It holds some surprises including the political controversy that surrounded Vivaldi in his day:
https://en.wikipedia.org/wiki/Antonio_Vivaldi
A lot of modern musicians and music historians seem to hold Vivaldi’s popularity and listener-friendly music against him. Opinions seem divided over who made the snide remark — Igor Stravinsky, Luigi Dallapiccola or both — that Vivaldi rewrote the same concerto 500 times.
Here is an informative takedown of that putdown:
https://notanothermusichistorycliche.blogspot.com/2018/10/did-stravinsky-say-vivaldi-wrote-same.html
In the YouTube video at the bottom is a favorite Vivaldi movement of mine. It helped give me a lifelong unforgettable moment as an accompaniment to viewing NASA’s recently taken moon footage at 37,000 feet in a plane on my way to Hawaii. It is the slow movement of the lute concerto played on the guitar by Julian Bream — and it was perfect for expressing weightlessness and space flight.
That was long ago.
These days for period-instrument performances, I tend to favor The English Concert under Trevor Pinnock , The Academy of Ancient Music under Christopher Hogwood, and the Academy of Ancient Music Berlin — although there are others terrific ensembles including the modern instrument groups I Musici and the Academy of St. Martin in the Fields.
For period string soloists — try the double concertos — look to Simon Standage, Monica Huggett, Andrew Manze and Rachel Podger. For modern instrumentalists, check out Victoria Mullova and especially the Israeli violinist Shlomo Mintz, who uses his own ordering and groupings of concertos. I also like the period cellist Christophe Coin and the modern cellist Jean-Guihen Queyras.
Do you have an opinion about Vivaldi — a like or dislike of his music?
Do you have a favorite Vivaldi work?
Do you have favorite performers of Vivaldi?
The Ear wants to hear.
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Ailing superstar maestro and pianist Daniel Barenboim, 80, quits longtime German opera post
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By Jacob Stockinger
Yesterday — Friday, Jan. 6, 2023 — superstar maestro and pianist Daniel Barenboim, 80, resigned his longtime post of over 30 years as director of the Berlin State Opera.
Barenboim (below) cited ill health — specifically a severe inflammation of blood vessels — as the reason for his resignation.
Local residents might recall his long tenure at the Chicago Symphony Orchestra, where many of them probably heard him conduct and perhaps even perform as a concert pianist.
Here is a long biographical entry in Wikipedia:
https://en.wikipedia.org/wiki/Daniel_Barenboim
Below are links to two news articles about Barenboim’s decision.
In them you can read a lot of details about: his philosophy of interpretation; his childhood as a Jewish child prodigy in Argentina; his training and early career as both pianist and conductor; his performances with marriage to British cellist Jacqueline du Pré, who died young; his love of German music and his role in Germany’s reunification; his controversial criticism of how Israel treats Palestinians; and the orchestra and music school he co-founded with the Palestinian activist and world-famous literary scholar Edward Said.
Here is a story from British newspaper The Guardian:
And here is the story from the German broadcasting network and media conglomerate Deutsche Welle:
https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.dw.com%2Fen%2Fconductor-daniel-barenboim-resigns-as-berlin-state-opera-director-over-ill-health%2Fa-63760683&data=05%7C01%7C%7Ceeb75c8f244542d0496e08daf02ed28b%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0e%7C638086381129033294%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=qmTwyPzkWpJKfAT4ohHJVWWnISE%2BxZS%2FxuM7hrC09zQ%3D&reserved=0
Finally, here is a recent compilation video from the outstanding arts website and streaming service medici.tv to celebrate Barenboim’s recent 80th birthday. It is called “80 Minutes with the Barenboim” and it features many other classical luminaries such as Itzhak Perlman, Pinchas Zukerman and Pierre Boulez who have been vital to his life and global career.
Do you know any of Barenboim’s many recordings?
Do you have a favorite recording to recommend?
Did you ever hear Barenboim in person conduct or play the piano?
What did you think of him? Of his conducting or playing?
The Ear wants to hear.
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Should the 1812 Overture be played this Fourth of July?
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By Jacob Stockinger
The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.
The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.
For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
An asterisk says programs are subject to change.
Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud 1812 Overture, be played again this year?
It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources.
But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program.
It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.
After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).
So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?
As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)
Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture
Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).
What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?
Do you have a suggestion?
The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?
Meanwhile, as comedian Stephen Colbert likes to say: What do you think?
Should the “1812 Overture” be played on this Fourth of July?
Why?
Or why not?
The Ear wants to hear.
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Ukraine’s most famous living composer is now a war refugee in Germany
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By Jacob Stockinger
He fights and defends his native country with beautiful sounds.
Ukraine’s most famous living composer has had to flee his war-torn country and — like some 3 million fellow Ukrainians in various other countries — is now living as a a war refugee in Germany.
He is Valentin Sylvestrov (below), 84, and has survived both World War II and the Nazi occupation as well as the Soviet rule experiencing democracy and freedom after the fall of the USSR and now the devastating Russian invasion five weeks ago.
The irony is that his music, which The Ear can’t recall ever hearing performed live in Madison — although Wisconsin Public Radio recently featured a beautiful choral work — seems calming and peaceful, even consoling.(Please correct me if I am mistaken.) Many people compare him to the style of Arvo Pärt, his Eastern European contemporary and colleague in Estonia.
Little wonder that his works have found a new popularity in worldwide concerts as the world hopes for the survival and victory of Ukraine — below is Ukraine’s flag — over Vladimir’s Putin’s army and war crimes.
His works have been particularly popular at fundraisers and memorials. They underscore the long history and importance of Ukraine’s tradition of making music, which has been recounted in the news features you find in the press, on TV, on radio and elsewhere in the media including live streams and recorded videos other media, especially the Internet.
As far as The Ear can tell, his most popular work in the concert hall these days is his hauntingly beautiful 1937 “Prayer for Ukraine.” You can hear it, in an orchestra version, in a YouTube video at the bottom.
As background here are two different interviews with the distressed and saddened Sylvestrov in exile.
The first interview, from The New York Times, is by a professor at Arizona State University who has published a book on postwar Eastern European composers and offers links to more works: https://www.nytimes.com/2022/03/30/arts/music/valentin-silvestrov-ukraine-war.html
The other interview is from the German media outlet Deutsche Welle, translated into English and featuring current photos: https://www.dw.com/en/ukrainian-composer-valentin-silvestrov-what-are-you-kremlin-devils-doing/a-61158308
The tragic occasion of the war in Ukraine could be the event that brings the soul-stirring music of Sylvestrov to a larger global public.
He certainly deserves it — along with some live performances here — and The Ear certainly plans on posting more of his music.
Have you heard the music of Valentin Sylvestrov?
Do you have favorite works from his piano music, chamber music, choral music and many symphonies?
The Ear wants to hear.
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Edgewood College will live-stream its FREE Spring Celebration concert this Friday night
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By Jacob Stockinger
At 8 p.m. CDT this Friday night, April 30, the music department at Edgewood College will live-stream its FREE online Spring Celebration concert.
Here is the link: music.edgewood.edu
Here is the program:
The Edgewood Chamber Orchestra (below) will perform music by the Austrian composer Johann Nepomuk Hummel, who studied with Mozart and knew Haydn, Beethoven and Schubert (see the Wikipedia bio at https://en.wikipedia.org/wiki/Johann_Nepomuk_Hummel; Krzysztof Penderecki, a Polish composer who died a year ago March; and the Argentinean “new tango” composer Astor Piazzolla, whose birth centennial was last month. Soloists include Gwyneth Ferguson on trumpet, and Malia Huntsman on oboe.
The Chamber Singers (below) will offer selections from Broadway musicals and contemporary choral arrangements, including Lord of the Rings by Enya, works from Josh Groban, and the Polish composer Henrik Gorecki.
The Guitar Ensemble will perform Haru no Umi (The Sea in Spring) by the Japanese composer Michio Miyagi (below), and a medley from the 1970s rock group Chicago: 25 or 6 to 4/Saturday in the Park, by Mark Lamm.
The Chamber Winds will perform selections from Crooner’s Serenade; Josef Rheinberger’s Evening Song (Abendlied, in the YouTube video at the bottom); and an arrangement of John Williams’ movie score for Star Wars: The Force Awakens.
Tags: #ArgentineanComposer, #BlogPost, #BlogPosting, #BroadwayMusical, #CentralTime, #ChamberMusic, #ChamberOrchestra, #ChoralMusic, #CoronavirusPandemic, #Crooner'sSerenade, #DaylightTime, #EdgewoodCollege, #EdgewoodCollegeChamberOrchestra, #EdgewoodCollegeChamberSingers, #EdgewoodCollegeChamberWinds, #EdgewoodCollegeGuitarEnsemble, #EveningSong, #FacebookPost, #FacebookPosting, #FranzSchubert, #GuitarMusic, #GwynethFerguson, #HaruNoUmi, #HenrickGorecki, #JacobStockinger, #JapaneseComposer, #JapaneseMusic, #JohannNepomukHummel, #JohnWilliams, #JosefRheinberger, #JoshGroban, #KrzysztofPenderecki, #LiveStreaming, #LordoftheRings, #LudwigVanBeethoven, #MailaHuntsman, #MarkLamm, #MichioMyagi, #MovieScore, #MusicalTheater, #NewMusic, #NewTango, #OboeMusic, #OnlineConcert, #OrchestralMusic, #PolishComposer, #RockandRoll, #RomanCatholic, #SergeiPavlov, #StarWars, #StarWars:TheForceAwakens, #TheEar, #TrumpetMusic, #VirtualConcert, #VocalMusic, #Wikipediaentry, #WindMusic, #WolfgangAmadeusMozart, #YouTubevideo, 1970s, Abendlied, Argentina, arrangement, arrangements, Arts, Asia, asian, audience, Austria, Austrian, Ástor Piazzolla, Beethoven, biography, blog, blog posting, Broadway, Broadway musical, Catholic, centennial, Central Time, Chamber music, chamber orchestra, Chicago, Choir, choral music, Classical music, composer, Concert, contemporary, coronavirus, coronavirus pandemic, crooner, Crooner's Serenade, daylight time, Edgewood College, Edgewood College Chamber Orchestra, Edgewood College Chamber Winds, Edgewood College Guitar Ensemble, Enya, evening, Evening Song, Facebook, film, forward, Franz Schubert, German, Germany, group, guitar, guitar music, guitarist, Gwyneth Ferguson, Haru no Umi, Henrik Gorecki, Hummel, Jacob Stockinger, Japan, Japanese, Johann Nepomuk Hummel, John Williams, Josef Rheinberger, Josh Groban, Krzysztof Penderecki, like, link, live-stream, livestream, Lord of the Rings, Ludwig van Beethoven, Madison, Malia Huntsman, march, Mark Lamm, medley, Michio Myagi, month, movie, movie score, Mozart, Musical theater, new, new nusic, new tango, Oboe, oboist, online, orchestral music, pandemic, Penderecki, perform, performer, Piazzolla, player, Poland, Polish, post, posting, Rock, rock and roll, Roman Catholic, Schubert, sea, seledtions, Serenade, Sergei Pavlov, share, sing, singer, Singing, soloist, song, Spring, Star Wars, Star Wars: The Force Awakens, Student, study, tag, tango, The Ear, Trumpet, trumpeter, Viola, Violin, virtual, vocal music, Wikipedia, wind instruments, wind music, Wisconsin, Wolfgang Amadeus Mozart, works, year, YouTube
This Sunday at 4 p.m., the Salon Piano Series debuts an online recital by pianist Kangwoo Jin. He plays music by Scarlatti, Beethoven, Liszt and Schumann. It is up until May 9
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By Jacob Stockinger
This Sunday afternoon at 4 p.m. CDT, the Salon Piano Series, hosted by Farley’s House of Pianos, will debut an online concert by pianist Kangwoo Jin (below, in a photo by Andy Manis).
The concert, which was recorded at Luther Memorial Church, costs $10 and will be available online through May 9.
The program is:
Scarlatti – Sonatas in D minor and D Major, K. 213 and 214 (ca. 1756-1757)
Beethoven – Sonata in C-sharp minor, Op. 27, No. 2, “Moonlight” (1801)
Liszt – Transcriptions for solo piano of the songs “Widmung” (Dedication) by Robert Schumann and “Litanei” (Litany) by Franz Schubert
Schumann – Symphonic Etudes, Op.13 (1830)
Bishop – Home, Sweet Home
Tickets are only available online at eventbrite.com. Service fees apply. Complete program and concert information is at salonpianoseries.org
PROGRAM NOTES
Jin has written the following program notes for The Ear:
“As a musician, I am always eager to share music with the public. I am very excited to be able to reach out to the audience with this unprecedented Salon Piano Series Virtual Concert.
“I believe music soothes our mental health in difficult times regardless of age, gender or race. I very much hope my performance will contribute to this collective healing we feel through music.
“I wanted to include three different styles, as I usually do for recitals. This time I have Baroque, Classical and Romantic music.
“I chose one of the most famous Beethoven sonatas in order to celebrate his 250th birth year (2020), which I did not have a chance to mark last year.
“This piece is popular with the title of “Moonlight,” which Beethoven (below) never intended. Five years after his death, the German critic Ludwig Rellstab used the word “Moonlight” in order to describe the first movement. But it was really inspired by the funeral march in Mozart’s opera “Don Giovanni.” I try to bring out the tragic color of the first movement. (You can hear Jin play the exciting final movement of the sonata in the YouTube video at the bottom.)
“I also wanted to play the virtuosic masterpiece “Symphonic Etudes,” Op. 13, by Robert Schumann (below), including the beautiful posthumous variations 4 and 5.
I find this piece special in the sense that Schumann intended to make this piece “symphonic.” He created multiple layers of voices in various ways through each etude and created orchestral sounds. This polyphonic writing with multiple layers and a thick texture is what makes this piece difficult to play.
“I also specifically wanted to include one of the piano transcriptions by Franz Liszt (below) of Schubert’s Litanei auf das Fest Aller Seelen (Litany for the Feast of All Souls), D. 343.
“Schubert (below) used the poem “Litany” by Johann Jacobi (1740-1814). It is written for comforting the deceased. Robert Capell, the author of the book “Schubert’s Songs” (1929), said about this lied: There was never a truer or more touching expression of simple devotion and consoled grief … “The music rises from a pure well of affection and humility.”
“I would like to dedicate this piece to all the people who suffered from Covid 19.”
BACKGROUND
Here is a link to Kangwoo Jin’s impressive website where you can see many photos, learn about his extensive career as a teacher and hear many samples of his playing: https://www.pianistkangwoojin.com
Praised for his “refined tone quality with powerful energy” (Chosun Daily Newspaper), Jin (below, in a photo by Steve Apps for the Wisconsin State Journal) concertizes nationally and internationally, including performances in Germany, Italy, China, Indonesia and South Korea.
He gave his debut concert at the Sejong Arts Center in Seoul, South Korea, sponsored by the Chosun Daily Newspaper. He has given live performances on Wisconsin Public Radio and WORT 89.9 FM.
Jin appears frequently as a guest artist at music festivals, universities and various concert series. Recent invitations include UW-River Falls, Texas A&M University-Corpus Christi, and Tongji University in Shanghai. Kawai Pianos USA has also invited him as a guest artist at the annual Piano Technicians Guild Convention and Technical Institute in Florida.
Jin completed the Bachelor of Music degree at Hanyang University in South Korea, then earned his Performer Diploma and Master’s of Music at Indiana University, where he worked as an associate instructor.
He is the recipient of the J. Battista Scholarship for performance excellence at Indiana University and received the Collins Distinguished Fellowship for his doctoral studies, completed last year, at the University of Wisconsin-Madison, where he studied piano with Christopher Taylor and piano pedagogy with Jessica Johnson.
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The Madison Bach Musicians host a virtual online Baroque Tour starting this Saturday, April 24, and lasting through May 8
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By Jacob Stockinger
The Ear has received the following notice from Trevor Stephenson, the founder and artistic director of the Madison Bach Musicians (MBM), who will debut their season-closing concert live and online this coming Saturday night, April 24:
Stephenson (below) writes:
Since travel has been so very limited during the pandemic, Madison Bach Musicians is elated to conclude its 2020-21 season with a musical journey through both space and time, and invites you to join us from the intimacy and safety of your own home.
A Baroque Tour is a musical travelogue of instrumental masterworks from 17th- and 18th-century Europe. Luminaries like Handel, Vivaldi, Purcell and Buxtehude are in the mix on this program with their brilliant though lesser-known contemporaries such as Louis-Gabriel Guillemain (below top), Marc-Antoine Charpentier, Andrea Falconieri (below bottom) and Francisco Jose de Castro.
A Baroque Tour will explore the glorious sonic landscapes of Italy, Spain, France, England and Germany.
Our ensemble for this program consists of five strings plus harpsichord, and we are thrilled that baroque bassoon virtuoso Marc Vallon (below, in a photo by James Gill), who teaches at the UW-Madison’s Mead Witter School of Music, will join us for Vivaldi’s exuberant Bassoon Concerto in B-Flat Major. (You can hear the opening movement in the YouTube video at the bottom.)
A Baroque Tour will be broadcast via live-streaming from the acoustically spectacular sanctuary of Grace Episcopal Church on this Saturday evening, April 24. (Rebroadcasts will be available on demand through May 8.)
Tickets are $15 and available online at: https://madison-bach-musicians.square.site/product/a-baroque-tour-april-24-2021-livestream-on-demand-until-may-8/57?cs=true&cst=custom
If you wish to purchase tickets through the mail, use this downloadable form: https://madisonbachmusicians.org/wp-content/uploads/2021/03/MBM-2020-21-Live-Stream-Ticket-Form-A-Baroque-Tour.pdf
Here is the schedule for the concert and related events:
From 7:30-8 p.m., in a pre-concert lecture, MBM artistic director Trevor Stephenson will discuss the composers, the repertoire and the historical instruments.
The performance will run from 8 p.m. until approximately 9:15 p.m.
The evening will then conclude with a live Question-and-Answer session with the musicians who will be socially distanced on the concert platform.
Listeners should submit their questions—in advance or during the broadcast—via email to Karen Rebholz at madisonbachmusicians.manager@gmail.com.
THE MUSICIANS are:
Marc Vallon – baroque bassoon soloist
Kangwon Kim (below) – baroque violin
Emily Dupere – baroque violin
Micah Behr – baroque viola and baroque guitar
Martha Vallon – baroque cello and viola da gamba
James Waldo – baroque cello (and tambourine)
Trevor Stephenson – harpsichord
THE PROGRAM is:
HANDEL – Sonata in A major for Violin and Continuo, HWV 361
CHARPENTIER – Concerto for Four Viols, H 545
PURCELL – Trio Sonata in C major, Z 795
VIVALDI – Bassoon Concerto in B-flat major, RV 503
GUILLEMAIN – Sonata in A minor for Two Violins, Op. 5, No.1
BUXTEHUDE – Trio Sonata in G major, BuxWV 271
DE CASTRO – Trio Sonata in C major, Op. 1, No. 6
FALCONIERI – La Folia (Folías de España)
Here is a link to some brief biographies and interesting facts about these remarkable composers: https://madisonbachmusicians.org/april-24-a-baroque-tour-a-livestream-event/
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The Well-Tempered Ear 
Critics for The New York Times name their Top 10 online classical concerts for May
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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
Even as we wait to see whether concerts in the next season will be mostly streamed or live, the critics for The New York Times have named their Top 10 classical concerts to stream and hear online in May.
The Times critics have been doing this during the pandemic year. So perhaps if and when they stop, it will be a sign of returning to concert life before the pandemic.
Then again, maybe not, since The Ear suspects that many listeners have liked the online format, at least for some of the times and for certain events. So maybe there will be a hybrid format with both live and online attendance.
As the same critics have done before, they mix an attention to contemporary composers, world premieres and up-and-coming performers, including the Finnish conductor Susanna Maliki (below top) in a photo by Hiroyuki Ito for The New York Times).
In a welcome development, the recommendations for this month also seem to mention more Black composers, performers and pieces than usual, including the rising star bass-baritone Davon Tines (below, in a photo by Vincent Tullo for The New York Times).
But you will also find many of the “usual suspects,” including Haydn, Mozart, Schubert, Bartok, Benjamin Britten, Olivier Messiaen and Shostakovich. (On the play list is Schubert’s last song, “The Shepherd on the Rock,” which you can hear in the YouTube video at the bottom.)
You will also find dates and times (all are Eastern), links to the event and some short commentaries about what makes the concerts, programs and the performers noteworthy.
Here is a link to the story: https://www.nytimes.com/2021/04/29/arts/music/classical-music-streaming.html
Do you know of local, regional, national or international online concerts that you recommend? Leave word with relevant information in the Comment section.
Happy Listening!
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