The Well-Tempered Ear

Classical music: Here are classical music winners — and nominees — of the 61st annual Grammy nominations for 2019.

February 17, 2019
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By Jacob Stockinger

This should have come out sooner since the Grammy Awards (below) were given out a week ago. But it has been such a busy week for Iive music in Madison – as will next week be – that this was the first occasion to post them.

In any case, for all their insider shortcomings they are a matter of interest to many, and can be helpful in understanding the contemporary classical scene and new music as you build your own playlists and recording library.

There are some points of interest including the fact that two Grammys were won by Canadian violinist James Ehnes for his performance of the Violin Concerto by the contemporary composer Aaron Jay Kernis.

Ehnes (below) is in town this weekend to play the Violin Concerto by Johannes Brahms with the Madison Symphony Orchestra (the last performance is this afternoon at 2:30 p.m. in Overture Hall. The Ear hopes he might return to perform the Kernis concerto with MSO.

Also, Apollo’s Fire, which won in the Best Solo Vocal category, will perform Baroque music by Johann Sebastian Bach, Antonio Vivaldi and Marco Uccellini at the Wisconsin Union Theater on Saturday, March 30.

Finally and unfortunately, some Madison nominees — including retired UW-Madison flute professor Stephanie Jutt and her co-director of the Bach Dancing and Dynamite Society pianist Jeffrey Sykes — got edged out in the Producer category, as did retired UW professor James P. Leary for his liner notes to “Alpine Dreaming.”

 In the orchestra category is John Harbison — who is in town marking his 80th birthday with many events, including the world premiere tonight at the W-Madison of his Sonata for Viola and Piano. In the Chamber Music category, Canadian pianist Marc-André Hamelin will solo in concertos by Maurice Ravel and Richard Strauss with the Madison Symphony Orchestra on April 12-14. 

Look at the winners carefully. Clearly, the recording industry is, by and large, skipping over the usual classical masters such as Bach, Beethoven and Brahms to focus instead on living composers and contemporary music or stories relevant to our times, such as the opera by Mason Bates about the late Apple wizard Steve Jobs.

One major exception is the third Grammy in a row for the cycle of symphonies by the famed Russian composer Dmitri Shostakovich being done by the Latvian-born conductor Andris Nelsons and the Boston Symphony Orchestra.

Here are the nominees and winners – the latter marked with an asterisk, a photo and the word WINNER — for the 61st Grammy Awards. Leave a comment with wa you think of the nominees and winners.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES. Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds).

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

*WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS. Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)

* WINNER — BLANTON ALSPAUGH (below)

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei)
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
    • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
    • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
    • Presentiment (Orion Weiss)
    • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus) 

ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
    • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

  • Beethoven Unbound (Llŷr Williams)
    • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
    • Bolcom: Piano Music (Various Artists)
    • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
    • Love Comes In At The Eye (Timothy Jones, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)
    • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
    • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
    • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
    • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
    • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
    • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)
  1. Best Orchestral Performance Award to the Conductor and to the Orchestra
  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) 
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony) 
  • RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)
  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas, conductor (San Francisco Symphony) 
  • * WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor (Boston Symphony Orchestra)

 76.  Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers) 
  • * WINNER –BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 
  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir) 
  1. Best Choral Performance. Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 
  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • * WINNER — MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing) 
  • RACHMANINOV: THE BELLS. Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 
  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  1. Best Chamber Music/Small Ensemble Performance. For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • * WINNER — ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet 
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Aizuri Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS. Leif Ove Andsnes & Marc-André Hamelin
  • VISIONS AND VARIATIONS. A Far Cry 

  1. Best Classical Instrumental Solo. Award to the Instrumental Soloist(s) and to the Conductor when applicable. 
  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang; Simon Rattle, conductor (Berliner Philharmoniker) 
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque) 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • * WINNER — KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)
  1. Best Classical Solo Vocal Album. Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble 
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles) 
  • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist 
  • * WINNER — SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles
  •  
  1. Best Classical Compendium. Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 
  • * WINNER — FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer 
  1. Best Contemporary Classical Composition. A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • * WINNER — KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis (below top), composer (James Ehnes, Ludovic Morlot & Seattle Symphony). You can hear the first movement in the YouTube video at the bottom.
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: WQXR names the best classical recording of 2018. Plus, here are other guides to help you use gift cards

January 5, 2019
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By Jacob Stockinger

Here is another gift list that The Ear just found. Even though it was compiled before the holiday, he looked for it but didn’t find it.

It’s another of the top classical recordings of 2018. But this time, the list – with plenty of sound samples — comes from WQXR, the famed classical music radio station in New York City.

It may be too late to use for holiday gift giving – unless it is for yourself. After all, there are a lot of gift cards waiting to be redeemed.

Also below are several other lists so that you can cross-check and compare. The CD of Chopin ballades and nocturnes by Norwegian pianist Leif Ove Andsnes (below), for example, makes almost all the lists, which is a good sign of quality. (You can hear Andsnes play the Ballade No. 4, The Ear’s favorite, in the YouTube video at the bottom.) 

Here is the link to WQXR:

https://www.wqxr.org/story/best-classical-releases-2018/

Here is a link to the top picks by critics for The New York Times and the Top 10 for National Public Radio (NPR):

https://welltempered.wordpress.com/2018/12/22/classical-music-gift-guide-or-gift-or-both-critics-for-the-new-york-times-name-their-top-25-classical-recordings-of-2018-so-does-national-public-radio-npr/

And here are the nominations for the 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/


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Classical music: Wikipedia offers a comprehensive overview of classical music in 2018. Plus, the annual New Year’s Day concert by the Vienna Philharmonic airs this morning on radio and tonight on TV

January 1, 2019
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By Jacob Stockinger

Today – January 1, 2019 – brings just two items or stories to the blog.

NEW YEAR’S DAY FROM VIENNA

The first item is a kind of ALERT.

One of the most popular and beloved worldwide musical traditions is the annual Great Performances broadcast by National Public Radio (NPR) of “New Year’s Day From Vienna” with the Vienna Philharmonic.

This year’s conductor is Christian Thielemann  (below top) of the Munich Philharmonic and the host is Hugh Bonneville (below bottom in a photo by Nick Briggs) of PBS’ “Downton Abbey.”

The concert is a sold-out feast of waltzes, polkas and marches (including the famous clap-along “Radetzky March,” with Herbert von Karajan conducting in 1987, in the YouTube video at the bottom).

The radio version will be broadcast on Wisconsin Public Radio from 10 a.m. to noon THIS MORNING, Tuesday, Jan. 1, 2019.

Then at 8-9:30 p.m. TONIGHT, Wisconsin Public Television will broadcast the visual version of the event, complete with ballet and wonderful landscape, interior and architectural shots in and around Vienna. There will also be encore performances: https://wptschedule.org/episodes/48242142/Great-Performances/From-Vienna-The-New-Years-Celebration-2019/

For a playlist and more background, go to: http://www.pbs.org/wnet/gperf/from-vienna-the-new-years-celebration-2019-about/9076/

2018 IN REVIEW

The first day of the new year seems like the perfect time to look back and see what happened in classical music during the past year.

And this year, The Ear found something truly comprehensive and international.

Wikipedia has put together a year-end overview that is astonishing for its amount of detail. 

You will find a global day-by-day calendar that includes links, in blue, for more details.

You will find news items and major events – including the effect of the #MeToo movement as well as deaths and obituaries, jobs and retirements.

You will find a list of new music.

You will find a list of new operas.

You will find lists for several major awards for classical recordings.

It is a terrific resource — a good long read, both informative and entertaining. Perfect for New Year’s Day.

Here is a link: https://en.wikipedia.org/wiki/2018_in_classical_music

Happy New Year!


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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)

December 22, 2018
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By Jacob Stockinger

Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday. 

In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.

They seem to be running late this year, probably too late for many shoppers.

But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).

This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.

This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)

It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.

Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.

So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:

Here is a link:

https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html

Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/

And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:

https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018

What recordings would you suggest? 

The Ear wants to hear.


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Classical music: The New Yorker critic Alex Ross profiles and praises violinist Augustin Hadelich, who performs Dvorak with the Madison Symphony Orchestra this weekend

April 11, 2018
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By Jacob Stockinger

The timing could not be more perfect.

Alex Ross, the National Book Critics Circle Award-winning writer who writes for The New Yorker and is considered by many to be the best classical music critic today, recently went to Detroit to report about the dramatic the rebirth of the Detroit Symphony.

He ended up devoting half the story to a great profile of the Italian-German violinist Augustin Hadelich (below), who was there as a guest soloist to play the rarely programmed Violin Concerto by the British composer Benjamin Britten.

Now it just so happens that the Grammy Award-winning Hadelich returns to Madison for the third time this weekend to perform another rarely heard violin concerto – the Violin Concerto by Antonin Dvorak – with the Madison Symphony Orchestra under MSO music director and conductor John DeMain (below in a photo by Peter Rodgers).

The “String Fever” program includes the rarely performed Sinfonia da Requiem by Benjamin Britten and the “Spring” Symphony by Robert Schumann, which is surprisingly the MSO’s first performance of this well-known work.

Performances are in Overture Hall of the Overture Center, 201 State St., on Friday night at 7:30 p.m.; Saturday night at 8 p.m.; and Sunday afternoon at 2:30 p.m.

Tickets are $10-$90.

For more information about the artists and the program as well as how to obtain tickets, go to:

https://www.madisonsymphony.org/hadelich

For program notes by MSO trombonist and UW-Whitewater professor Michael Allsen, go to:

http://www.allsenmusic.com/NOTES/1718/7.Apr18.html

And as usual there will be a Prelude Discussion – this time by John DeMain — one hour before each performance.

In addition, the MSO encourages audiences to arrive early because of security check-ins at the Overture Center.

But let’s go back to the profile by Alex Ross (below) of Augustin Hadelich.

In it you will read that:

Hadelich is focusing more on unusual repertoire by Britten, Henry Dutilleux, Gygorgy Ligeti and Thomas Adès than on the well-known violin concertos by Bach, Mozart, Beethoven, Mendelssohn, Brahms, Tchaikovsky, Sibelius and Bartok.

(An impressive virtuoso, whom Ross praises for both technical brilliance and musicality, Hadelich can be heard performing the famously difficult and familiar Caprice No. 24 by Paganini in the YouTube video at the bottom.)

Hadelich has high praise for regional symphony orchestras that gave his career a boost, including the Madison Symphony Orchestra, which he mentions by name along with the Milwaukee Symphony Orchestra. He also points out how underappreciated many such regional orchestras are.

Hadelich is a methodical performing artist. The interview has fascinating background about how he works, including taking notes about each performance, and how he prepares for performances, including what kind of food he eats and when he eats it.

And there is more about Hadlelich’s compelling personal story as a recovered burn victim, about his outstanding playing, and about the life of an up-and-coming concert artist on the road.

The Ear found it fascinating on its own and excellent preparation for hearing Hadelich live. He hopes you do too. Here is a link:

https://www.newyorker.com/magazine/2018/04/09/augustin-hadelichs-bold-violin-explorations


Classical music: Grammy-winning Eighth Blackbird performs Saturday night at the Wisconsin Union Theater. Go early and don’t miss the half-hour student “warm-up” show

February 28, 2018
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By Jacob Stockinger

Of course the main event at the Wisconsin Union Theater this Saturday night at 7:30 p.m. is the performance by the four-time Grammy-winning group Eighth Blackbird (below), which specializes in performing contemporary composers and new music.

Here is a link with more information –  videos, sound samples, reviews, the program and tickets — about the concert by Eighth Blackbird, which you can hear giving a Tiny Desk Concert for National Public Radio (NPR) in the YouTube video at the bottom.

https://union.wisc.edu/events-and-activities/event-calendar/event/eighth-blackbird/

But if you can, go to the concert early.

That’s because The Ear wants to give a loud shout-out to the Wisconsin Union Theater for offering a pre-concert concert of student players at 7 p.m. (There is also a free pre-concert lecture by conductor Randal Swiggum at 6 p.m.)

The students play Bach, Vivaldi, folk music and more. They set the mood and get you ready, kind of like the warm-up band at a rock concert. They also restore your faith in the future of classical music.

This time the young performers will be the Suzuki Sonora Strings of Madison.

They are fun, impressive and inspiring. The Ear remembers hearing violin virtuoso Hilary Hahn praise the Suzuki Sonora Strings and the Suzuki method for starting her on her own career. (Hahn, far right in the front, is seen below with the students.)

And below is a statement provided by Esty Dinur,  the director of marketing for the Wisconsin Union Theater, about why they feature the students — an idea that The Ear praises highly because he thinks it expands and rewards the audience as well as the students.

Music education needs more of this kind of public visibility that doesn’t isolate the young learners and performers but instead integrates them into the mainstream classical music scene.

Here is the statement by Dinur:

“We have so far hosted two groups of young musicians, the Suzuki Sonora Strings and the group known previously as Madison Music Makers and currently as the Wisconsin Youth Symphony Orchestras (WYSO) Music Makers.

“The Sonora Strings (below, seen from the balcony) performed before the concerts by Hilary Hahn in the 2015-2016 season and Joshua Bell in the 2016-2017 season. They will be performing again this Saturday ahead of the concert by Eighth Blackbird.

“WYSO Music Makers (below) performed before last season’s Los Angeles Guitar Quartet (and I learned that one of the LAGQ musicians played with them—from behind the shell!). We may add other young musicians in the future.

“We view them as the artists, teachers, audience members and advocates of the future, the people who will continue loving and spreading the love of classical and other music.

“As such, we’re excited to have the ability to provide them with experiences by world-class musicians in a world-class venue.

“It is always wonderful to see them working so hard on stage, being serious and intent and excited. It is also wonderful to see their parents and families derive such pleasure and justified pride for the accomplishments of their kids.

“We are also delighted to be able to present groups that are more diverse than the usual classical music crowd. The future promises to be significantly more diverse than the present. It’s nice to be able to bring that future onto our stage and our audience right now.

“Reactions from all quarters have been great. The kids, their teachers and their families are all very appreciative of the opportunity. So far, I’ve heard nothing but good feedback from the audience which seems to enjoy both watching and listening to the youngsters and to appreciate the intent behind their performances.

“Finally, these shows may be taxing at times for our staff but they’re happy to shoulder the challenges in order to participate in this important work.”


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