The Well-Tempered Ear

Classical music: The Beethoven Year in Madison will include complete cycles of string quartets and piano trios as well as many other early, middle and late pieces. Here is a partial preview

September 21, 2019
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By Jacob Stockinger

As you may have already heard, 2020 is a Beethoven Year. It will mark the 250th anniversary of the composer’s birth. (He lived from mid-December of 1770 to March 26, 1827.  Dec. 17 is sometimes given as his birthday but it is really the date of his baptism. No one knows for sure the actual date of his birth.)

Beethoven, who this year overtook Mozart as the most popular composer in a British radio poll, clearly speaks to people — as you can see at the bottom in the YouTube video of a flash mob performance of the “Ode to Joy.” It has had more than 16 million views.

Locally, not all Beethoven events have been announced yet. But some that promise to be memorable are already taking shape. Many programs include early, middle and late works. And you can be sure that, although nothing formal has been announced yet, there will be special programs on Wisconsin Public Television and especially Wisconsin Public Radio.

Here is a partial round-up:

The UW’s famed Pro Arte String Quartet (below, in a photo by Rick Langer), for example, will perform a FREE and complete cycle of Beethoven’s 16 string quartets in six concerts. It will start later this fall.

This is not the first time that the Pro Arte has done a Beethoven cycle. But it is especially fitting since that is the same Beethoven cycle that the Pro Arte was performing in Madison at the Wisconsin Union Theater in May of 1940 when World War II broke out and the quartet was stranded on tour in the U.S. after its homeland of Belgium was invaded and occupied by the Nazis.

That is when the ensemble was invited to become musical artists-in-residence at the University of Wisconsin-Madison and accepted – thereby establishing the first such association in the world that became a model for many other string quartets.

The Bach Dancing and Dynamite Society with the San Francisco Trio (below) plans on performing a cycle of piano trios next summer. No specific dates or programs have been announced yet.

The 20th anniversary of the Ancora String Quartet (below, in a photo by Barry Lewis) will coincide with the Beethoven Year. That is when the Ancorans will complete the cycle of 16 string quartets that they have been gradually programming over the years. Three quartets remain to be performed: Op. 59, No. 2 “Rasumovsky”, Op. 130 and Op. 131.

Adds violist Marika Fischer Hoyt: “We’ll perform Op. 130 in February (with the original final movement, NOT the “Grosse Fuge”), and we plan to do the remaining two quartets in the summer and fall of 2020.”

Here are some other Beethoven dates to keep in mind:

On Nov. 2 in Shannon Hall at the Wisconsin Union Theater, and as part of the WUT’s centennial celebration of its Concert Series, pianist Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco), who since 1974 has played many solo recitals, chamber music recitals and piano concertos in Madison, will play Beethoven’s first three solo piano sonatas, Op. 2.

On Dec. 6 at the Wisconsin Union Theater, the Kalichstein-Laredo-Robinson Piano Trio will perform the famous “Archduke” Trio, Op. 97. Also on the program are works by Felix Mendelssohn and Robert Schumann.

On Feb. 1, UW-Madison pianist Christopher Taylor, who has performed all 32 piano sonatas in Madison, will continue his cycle of Beethoven symphonies as transcribed for solo piano by Franz Liszt. He will perform Symphony No. 1 and the famed Symphony No. 9, the ground-breaking “Choral” Symphony with its “Ode to Joy.” No chorus will be involved, but there will be four solo singers. Taylor said he will then complete the cycle with Symphony No. 2 at some future time.

The Mosaic Chamber Players (below, in a photo by John W. Barker) will perform two all-Beethoven programs: on Feb. 21, a FREE program offers two sonatas for violin and piano (Op. 12, No. 3 and Op. 30, No. 2, and one sonata for cello and piano (Op. 5, No. 1); on June 13, a ticketed program features three piano trios (Op. 1, No. 1; Op. 70, No. 2; and Op. 121a “Kakadu” Variations).

On May 8, the Wisconsin Chamber Orchestra (below top, in a photo by Mike Gorski), under conductor Andrew Sewell (below bottom, in a photo by Alex Cruz), will perform the popular Symphony No. 6 “Pastoral” – a pioneering piece of program music — to commemorate the Beethoven Year.

There is one very conspicuous absence.

You will notice that there is nothing by Beethoven programmed for the new season of the Madison Symphony Orchestra (below, in a photo by Peter Rodgers).

But The Ear hears rumors that music director John DeMain (below, in a photo by Greg Anderson) is planning something special for the following season that might involve both symphonies and concertos, both original Beethoven works and perhaps “reimagined” ones.

(For example, pianist Jonathan Biss, who has just completed recording the piano sonata cycle and who performed with the MSO several years ago, has commissioned and will premiere five piano concertos related to or inspired by Beethoven’s five piano concertos.) Sorry, but as of now only rumors and not details are available for the MSO. Stay tuned!

The Ear would like to hear complete cycles of the violin sonatas and cello sonatas performed, and a couple of the piano concertos as well as the early symphonies and the famed Ninth Symphony with its “Ode to Joy” finale. He fondly remembers when DeMain and the MSO performed Symphonies Nos. 1 and 9 on the same program. Talk about bookending a career!

What Beethoven would you like to hear live?

What are your most favorite or least favorite Beethoven works?

Do you know of other Beethoven programs during the Beethoven Year? If so, please leave word in the Comment section.

And, of course, there is the inevitable question: Can you have too much Beethoven?


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Classical music: The Choir of Trinity College Cambridge sings a varied program with organ accompaniment this Wednesday night in Overture Hall

September 9, 2019
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By Jacob Stockinger

The new season of the popular Overture Concert Organ series, sponsored by the Madison Symphony Orchestra and curated by MSO organist Greg Zelek, begins this Wednesday night, Sept. 11, at 7:30 p.m. in Overture Hall.

All single tickets are $20. (A subscription to all four organ concerts is $63.)

The opening program features the world-famous Choir of Trinity College Cambridge (below), on tour from its home in the United Kingdom.

Adds Zelek:

“Our season opens with the amazing Choir of Trinity College Cambridge, named by Gramophone Magazine as one of the best choirs in the world.

“Conducted by the choir’s music director Stephen Layton (below top) and accompanied on the mighty Klais concert organ (below bottom), this 25-voice choir will present a program of music spanning many centuries that will display its beauty of tone and depth of feeling. These rich voices will make this varied program soar through Overture Hall and leave everyone in the audience breathless.”


Here are some sample reviews:

Virtuoso is the right word. I, for one, can’t immediately think of any more appropriate way of describing singing of such staggering accomplishment.  – BBC Music Magazine

Sitting front and center at a recent Trinity Choir of Cambridge concert at Grace Cathedral was, sonically speaking, a heavenly experience.                    -The New York Times

Here is Wednesday night’s eclectic program:

William Byrd | Sing joyfully
William Byrd | O Lord, make thy servant, Elizabeth
Thomas Tallis | Salvator mundi
Henry Purcell | Thou knowest, Lord
Arvo Part | Bogoroditse Djévo
John Tavener | Mother of God, here I stand
Vasily Kalinnikov | Bogoroditse Djevo
Robert Parsons | Ave Maria
Eriks Esenvalds | The Heavens’ Flock (You can hear a different Esenvalds work, “Only in Sleep,” sung by the Trinity College Choir, in the YouTube video at the bottom.)
Morten Lauridsen | O magnum mysterium
Jaakko Mantyjarvi | Stuttgarter Psalmen
Herbert Howells | Take him, earth, for cherishing
Herbert Howells | Trinity St. Paul’s

For more information about the Overture Organ Series, detailed background about the Trinity College Choir and how to purchase tickets, call (608) 258-4141 or go to: https://madisonsymphony.org/concerts-events/overture-concert-organ-performances/ or https://madisonsymphony.org/event/organ-trinity-choir/ 


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Classical music: The Madison-based string quartet Quartessence will perform this Sunday afternoon at the Little Brown Church in Richland County

August 2, 2019
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By Jacob Stockinger

On this Sunday, Aug. 4, at 2 p.m. the Madison-based Quartessence string quartet (below, in a photo by Ralph Russo) will perform a rare public concert of classical music at the Little Brown Church in Richland County. (The group usually performs at private events.)

Performers (below, from left) are: violinist Suzanne Beia; cellist Sarah Schaffer; violinist Laura Burns; and violist Jennifer Clare Paulson. Beia, Burns and Paulson are members of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Pro Arte String Quartet. Schaffer has a career in arts management and organizes the annual summertime Token Creek Chamber Music Festival.

The location is 29864 Brown Church Road at the intersection of Highway 130 and Highway B, approximately five miles north of Highway 14.

Tickets cost $10 for adults and $5 for students, and will be available at the door.

The program includes: music by baroque composer Antonio Vivaldi; the “Brook Green” Suite by Gustav Holst; the String Quartet in G Major, K. 156, by Wolfgang Amadeus Mozart; “Household Music: Three Preludes on Welsh Hymn Tunes” by British composer Ralph Vaughan Williams (originally written for organ, one of the preludes can be heard in an orchestral arrangement in the YouTube video at the bottom); and “Painting the Floors Blue” and “Thanks, Victor” by the contemporary American composer John Harbison.

The concert is sponsored by a family, and proceeds will be used by the Friends of the Little Brown Church for maintenance of the building. The donors are happy to be able to provide this opportunity to music lovers in the community.

The refurbished building is air-conditioned, so you can take a break from the hot weather while you enjoy the music.

Here is some background from Harriet Statz (below, far right), who organizes the event because the Little Brown Church is special to her:

“Last year we started what is turning out to be an annual event (maybe) at the Brown Church (below) in Richland County. That’s up the road (Highway 131) from where I lived in the late 1970s.

“Since then Julie Jazicek and I have been in contact about fencing for this historic place, as she is sort of the manager and deserves much credit for keeping both the building and grounds beautiful. Over the years some concerts have been held in the church, but until 2018 nothing classical. So we fixed that!

“Last year’s concert by the Quartessence Quartet was a resounding success. An audience of about 60 people encouraged us to keep going, so we did, and hope for even a larger turnout to fill up the place. As it turns out the acoustics are outstanding!

“The location is west of Spring Green and north of Lone Rock. It’s a lovely drive. So I invite you to mark this Sunday Aug. 4, on your calendar and come out to the country for a lovely afternoon of music. Bring friends! Share rides!”

For information, call 608-356-8421 or send an email to: FriendsOfLittleBrownChurch@gmail.com


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Classical music: Today is the Fourth of July. Here is patriotic music to help celebrate, including a portrait of a truly presidential president for the purpose of comparison

July 4, 2019
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By Jacob Stockinger

Today is the Fourth of July – a celebration of Independence Day when the United States officially declared its separation from Great Britain in 1776.

The day will be marked by picnics and barbecues, by local parades and spectacular fireworks – and this year by armored tanks and fighter jets in yet another expensive display of military power by You Know Who: that loudmouth man who overcompensates for dodging the draft by acting more like King George than George Washington.

The “Salute to America” sure looks like it is really going to be a “Salute to Trump.”

But whatever your politics, your preferences in presidents or the festive activities you have planned for today, there is classical music to help you mark and celebrate the occasion. Just go to Google and search for “classical music for the Fourth of July.”

Better yet, tune into Wisconsin Public Radio, which will be featuring American classical music all day long.

In addition, though, here are some oddities and well-known works that The Ear particularly likes and wants to share.

The first is the Russian immigrant composer and virtuoso pianist Sergei Rachmaninoff playing his own version of our national anthem, “The Star-Spangled Banner,” something he apparently did out of respect for his adopted country before each recital he played in the U.S.:

And the second is by another Russian immigrant and piano virtuoso, Vladimir Horowitz, who was a friend and colleague of Rachmaninoff. Here he is playing his piano arrangement, full of keyboard fireworks that sound much like a third hand playing, of “The Stars and Stripes Forever” by American march king John Philip Sousa. Horowitz used the patriotic march to raise money and sell war bonds during World War II, then later used as an encore, which never failed to wow the audience:

For purposes of artistic and political comparisons of presidents, you will also find Aaron Copland’s “A Lincoln Portrait” – with famous actor and movie star Henry Fonda as the narrator of Honest Abe’s own extraordinary oratory and understated writing — in the YouTube video at the bottom.

And in a ironic twist The Ear can’t resist, here are nine pieces — many orchestral and some choral –chosen by the official website of the BBC Music Magazine in the United Kingdom to mark and honor American Independence Day. It has some surprises and is worth checking out:

http://www.classical-music.com/article/nine-best-works-independence-day

If you like or favor other works appropriate to the Fourth of July or have comments, just leave word and a YouTube link if possible, in the Comment section.

The Ear wants to hear.


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Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience

June 9, 2019
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By Jacob Stockinger

Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:

The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.

The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).

We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.

Here are the arias, from opera and oratorios, sung by the three winners:

Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”

Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”

Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”

Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com

Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”

All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)

You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions

Did you go to the competition?

Did you agree with the judges about the winners and the Audience Award?

What did you think of the annual competition?

The Ear wants to hear.


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Classical music: This afternoon is the last performance by the Madison Symphony Orchestra of Mahler’s “Symphony of a Thousand.” The critics and public agree: “Don’t miss it!”

May 5, 2019
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By Jacob Stockinger

This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) perform Gustav Mahler’s monumental Symphony No. 8, called the “Symphony of a Thousand.”

The big work celebrates a big event: The closing of the 25th anniversary season of music director and conductor John DeMain (below, in a photo by Prasad), who discussed the Mahler symphony and played recorded excerpts with radio host Norman Gilliland on last Thursday’s edition of The Midday on Wisconsin Public Radio:

https://www.wpr.org/shows/symphony-thousand

The critics are unanimous in their praise.

Sure, they voice a few minor quibbles here and there.

But mostly they agree: This is a must-hear performance of an epic and complex 90-minute work by Mahler (below) that is rarely heard live because it requires such massive forces and such accomplished performers. (In the YouTube video at the bottom, you can hear Klaus Tennstedt, the London Philharmonic and soloists perform the finale to the rapturous “Symphony of a Thousand.”)

Specifically, that means that if you go, you will hear more than 500 performers who include: the symphony orchestra; the concert organ; eight highly acclaimed guest vocal soloists; and three choirs, including the University of Wisconsin Choral Union.

But you can see and judge for yourself.

Here is a link to a posting last week on this blog with more information about the concert, the performers and other tickets:

https://welltempered.wordpress.com/2019/04/29/classical-music-this-coming-weekend-the-madison-symphony-orchestra-and-other-individuals-and-groups-join-forces-to-close-john-demains-25th-season-with-mahlers-monumental-s/

Here is a link to the review of the opening night that John W. Barker wrote for Isthmus:

https://isthmus.com/music/monumental-closer/

Here is a link to the review that Matt Ambrosio wrote for The Capital Times:

https://madison.com/ct/entertainment/arts-and-theatre/madison-symphony-closes-its-season-with-spectacular-symphony-of-a/article_44b26d91-e0f0-5d67-88b9-10cd5e8c5c6d.html

And here are some reviews on Facebook by ordinary listeners and concertgoers:

https://www.facebook.com/pg/MadisonSymphony/posts/

You can also leave your opinion in the comment section of this blog.

The Ear wants to hear.


Classical music: Madison Opera’s “A Little Night Music” proved totally satisfying as both music and theater

February 13, 2019
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By Jacob Stockinger

Larry Wells – The Opera Guy for The Well-Tempered Ear – went to both performances in the Capitol Theater of the Overture Center last weekend by the Madison Opera of Stephen Sondheim’s “A Little Night Music” and filed the following review. Photos are by James Gill.

By Larry Wells

Although I was familiar with the recording, my first experience seeing “A Little Night Music” by Stephen Sondheim (below) was in London 25 years ago. I remember it as a theatrical experience – it featured Judi Dench and was performed at the National Theatre – more than as a musical event.

Two years ago, I saw it performed by Des Moines Metro Opera, and although it was “operatic” it was also sabotaged by a confusing, even chaotic, production designed by Isaac Mizrahi.

I finally experienced the complete package with the recent performances by the Madison Opera. It was a totally satisfying combination of acting, music and theatrical design.

Inspired by Ingmar Bergman’s film “Smiles of a Summer Night,” which in turn was inspired by Shakespeare’s “A Midsummer Night’s Dream,” “A Little Night Music” concerns itself with mismatched lovers who are eventually properly paired or else reconciled.

Without going into detail, suffice it to say that the carryings-on are amusing, the dialogue is witty, and the lyrics are sophisticated.

One of the earliest numbers in the show — the trio of songs “Later,” “Now” and “Soon” — set the tone for the evening musically. Each was performed individually by three fine singers – Quinn Bernegger, Jeni Houser (below left) and Daniel Belcher (below right).

In a musical tour-de-force, the three songs ultimately combined into one. Houser’s clear tone, Benegger’s intense passion, and Belcher’s suave lyricism promised an outstanding musical experience to come. Special praise must go to Bernegger (below) who sang while comically, but skillfully, miming playing a cello.

One show-stopper was Sarah Day’s “Liaisons” which was really perfect in its world-weariness. Day (below) — from American Players Theatre in Spring Green — half-declaimed and half-sang such memorable lines of regret as, “What once was a sumptuous feast is now figs. No, not even figs. Raisins.” Or amusing internal rhymes like “…indiscriminate women it…”.  (I am completely taken by Sondheim’s clever use of language.)

Likewise, the singing of “Miller’s Son” by Emily Glick (below) was a good old Broadway rendition – no operatic pretense – and the audience, and I, loved it.

Charles Eaton (below left) as a puffed-up dragoon and Katherine Pracht (below right) as his long-suffering wife were both outstanding vocally and deftly comic.

The center of most of the activity was the character Desirée Armfeldt portrayed by Emily Pulley (below). At first I thought she was overacting, but then I realized that, of course, she was portraying a veteran stage actress – a matinee idol type – who had internalized theatrical gestures into her own character. Her “Send in the Clowns” stopped the show, and the lyrics finally made sense to me. (You can hear the familiar Judy Collins interpretation in the YouTube video at the bottom.)

But I would have to say that the star of the show was the chorus, a quintet of excellent voices – Stephen Hobe, Kirsten Larson, Benjamin Liupaogo, Emily Secor and Cassandra Vasta. They waltzed through the action while sliding the panels and frames that comprised the set, moving props, and commenting on the action.

Never obtrusive but always necessary, I thought they were a delight. The three women got to sing a brief round “Perpetual Anticipation” that is another wonder of Sondheim’s musical imagination.

As mentioned, sliding panels, along with dropping frames and panels, comprised the set. The continuous changing of the panels, the blocking and the movements of the quintet were the creative product of stage director Doug Schulz-Carlson (below). There was often a whirlwind of activity, but I was never distracted.

The costumes by Karen Brown-Larimore seemed straight out of Edward Gorey – which is a good thing.  And altogether I felt it was the best production of the musical I’ve seen.

The orchestra was situated on stage behind the set, which made additional seats available close to the stage. People seated in those rows had to bend their necks to read the supertitles, but the diction was so consistently excellent that I rarely needed to even glance at the supertitles.

Praise is due for members of the Madison Symphony Orchestra, and particularly conductor John DeMain (below, in a photo by Prasad). I heard subtleties in the music that had heretofore eluded me, and that is always a reward for attending a live performance and is a tribute to the maestro.

I was happy to see a younger audience, particularly Friday night. Let us hope that they were enchanted enough to attend the upcoming production on April 26 and 28 of Antonin Dvorak’s “Rusalka.”

This is an opera I have never seen; and until recently, I was familiar only with one of its arias, the so-called “Song to the Moon.”

But now that I have a recording, I realize that it is a musical treasure that should not be missed. I suppose the reasons it is not so frequently performed are that it is in Czech and its plot involves water sprites. But don’t let that stop you. The music is wonderful.


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Classical music: We should hear more operas sung in English translation – like Wisconsin Public Radio’s live broadcast TODAY at noon of the Metropolitan Opera’s shortened version of Mozart’s “The Magic Flute”

December 29, 2018
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By Jacob Stockinger

The Ear thinks that we in English-speaking countries should hear more operas sung in our native language.

Yes, sung in English – not the original Italian, French or German.

You can see how you’d like it for yourself if you listen at noon TODAY– Saturday, Dec. 29 — to Wisconsin Public Radio. That’s when you can hear the Metropolitan Opera’s live broadcast of its family-friendly production of Mozart’s “The Magic Flute.”

The Ear did so and – except for deleting the wonderful overture — loved it.

So, apparently, did a lot others. (You can hear Nathan Gunn in a sample in the YouTube video at the bottom.)

After many years, the production has now become a holiday tradition for the Met to offer children while school is out for the holidays.

And one suspects it is developing new audiences – especially with the colorful staging and costumes by Julie Taymor, who won such acclaim for her staging of “The Lion King” on both the stage and film.

Sure, a lot of purists will probably object to substituting English for the original Italian, French, German and Russian. But it is so freeing and feels so good to understand what you are hearing without the distraction of constantly going back and forth trying to look at both the supertitles and the stage.

It also seems worth a try, given the problems that many opera companies are having competing with the “Live from the Met in HD” productions that you can see in movie theaters for far less money, and the decline of both season subscribers and single tickets.

To be honest, of course even in English you will miss some of the words. That’s the nature of singing. But excellent diction helps. And if you are lucky enough to see the production in person, supertitles in Italian, French German and Spanish and, yes, English are still provided.

It is not a completely new idea. After all, Great Britain has the English National Opera, which performs standard operas by Verdi and Puccini, Monteverdi and Handel, Mozart and Wagner, in English. So, many of the very great operas have already been translated into English and could be staged in English elsewhere.

Here are links where you can learn more about the English National Opera:

https://www.eno.org

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

Do you question how the text is hurt in translation?

It’s worth remembering that Mozart himself used the vernacular German instead of his usual opera house Italian so that he would reach the general public. Why not do the same today? Translation could make opera much more accessible, less pretentious and more populist.

The same is true for cutting the show down to 100 minutes from almost 3 hours. Let’s just admit that the attention span of the general public is much shorter than it used to be.

Orchestra and chamber music concerts as well as solo recitals are trimming their running times often down to 90 minutes or less, and meet with great approval from the public. Why not try the same approach with opera? Indeed, both the Madison Opera and the University Opera have limited but successful experiences with editing operas and using English.

It is also worth recalling that in translation we read greater words than an opera libretto. If we can translate Homer and Shakespeare, Dostoevsky and Proust, why can’t we translate opera librettos? One just has to be sure to find a great translator with a sensitive musical ear– such as American poet Richard Wilbur is with his award-winning, rhyming translations of Moliere’s comedies and Racine’s tragedies. Similarly, American poet J.D. McClatchy has done a fine job with The Met’s “Magic Flute.”

Here is a link to more information about the production, including a synopsis:

https://www.metopera.org/season/2018-19-season/the-magic-flute/

And here is a review of the Met’s  “Magic Flute” by Tommasini:

https://www.nytimes.com/2018/12/20/arts/music/review-mozart-magic-flute-met-opera.html

What do you think?

Should more operas be staged in English?

Should long operas be edited?

Why or why not?

The Ear wants to hear.


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Classical music: It’s Mother’s Day 2018. The Ear remembers his mom with a Rachmaninoff prelude

May 13, 2018
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By Jacob Stockinger

Today is Mother’s Day 2018.

To celebrate The Ear’s late mom, here is a piece of music with a story to tell with it.

The Ear remembers it well.

He was 13, maybe 14, and living on Long Island, New York.

It was in the afternoon, after school.

His mom was talking to a stranger long-distance on the phone. The conversation, something about preparing wild rice, was with a person in Minnesota.

The Ear was at the piano practicing and playing the famous Prelude in C-sharp minor by the young Sergei Rachmaninoff (below) – the “Bells of Moscow” – which you can hear Evgeny Kissin play in the YouTube video at the bottom.

It was music that The Ear first heard live when a babysitter played it for him. And he immediately fell in love with it.

It was hard to play, a Romantic piece with big loud chords (below is part of the score) and fast passage work. Perfect for a teenager.

Rachmaninoff's Prelude Op. 3 No. 2, The Recapi...

Rachmaninoff’s Prelude Op. 3 No. 2, The Recapitulation of the theme, in four staves (Photo credit: Wikipedia)

It was The Ear’s first big piece, the right vehicle for an ambitious young piano student who was anxious to use the piano to make an impression.

Anyway, the person on the other end of the phone heard the piano playing and asked if they could listen a while longer.

Mom said, Sure!

Then she placed the phone near the piano — and beamed with pride at me while gesturing for me to continue playing.

Mom didn’t know a lot of classical music. But she knew her son loved it and she did everything she could to encourage that love.

She also liked this particular Rachmaninoff prelude because it was accessible and dramatic, easy to understand and to appreciate, and most of all because her son liked it and played it.

That’s how moms are.

The other person on the line listened until the end of the prelude, then offered praise and thanks, said good-bye, and hung up.

Mom told that story over many years and always with great pride.

For a long time after, it seemed that particular prelude fell out of fashion – probably because it was too popular and too melodramatic. Even Rachmaninoff grew to despise it and referred to the work disdainfully as “It,” which he often had to play as an encore.

But lately, as often happens to overexposed pieces that fall into neglect, it finally seems to be making something of a comeback.

Several years ago, Garrick Ohlsson played it as an encore after a concerto he performed with the Madison Symphony Orchestra. These days, The Ear has heard the young up-and-coming, prize-winning young Georgian-British pianist Luka Okros play it on YouTube and Instagram.

Anyway, here it is, offered with fond memories of a proud mom.

Is there a piece of classical music you identify with your mom? Maybe Antonin Dvorak’s “Songs My Mother Taught Me,” which you can hear on Wisconsin Public Radio‘s “Sunday Brunch” program at about 12:30p.m. today?

Maybe an opera aria or song?

Leave a comment, with a link to a YouTube performance if possible, and let us know.

The Ear wants to hear.

Happy Mother’s Day, all!


Classical music: UW Choral Director Beverly Taylor talks about her life with Bach’s “St. Matthew Passion,” which she will conduct this Sunday afternoon and night

April 20, 2018
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By Jacob Stockinger

Johann Sebastian Bach’s “St. Matthew Passion” always ranks high on the short list of the greatest choral works ever composed.

And for good reason.

It represents a peak of Bach’s sacred music and his choral compositions.

This Sunday afternoon and night in Mills Hall, Beverly Taylor, director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music and the assistant music director of the Madison Symphony Orchestra, will conduct the UW Choral Union (below) — comprised of university and community singers — plus soloists and an orchestra, in a performance of the complete work.

At 4 p.m. they will do Part 1 and then at 7:30 p.m., Part 2.

Tickets (one ticket is good for both parts) are $15, $8 for students and seniors. To purchase tickets, go to: https://www.music.wisc.edu/about-us/tickets/

Tickets will also be available at the door.

The Ear is always curious to learn more about the relationship between a professional musician and a towering masterpiece.

He found out more when Taylor (below) recently answered an email Q&A about her past and current experiences with the “St. Matthew Passion”:

When did you first hear the “St. Matthew Passion” and what was your reaction?

I never heard it until my late 20s, would you believe? I’d been through grad school and all its training, and learned German, knew a lot of Bach; and when Seiji Ozawa and the Boston Symphony did it on Good Friday, I sat spellbound for over three hours.

I was shaken to the core by its beauty, and even though it was hardly an early music performance, it was well handled, and one of my favorite British singers, Robert Tear, was the Evangelist. I’ve never forgotten it!

Where do you place the “St. Matthew Passion” among Bach’s works and especially among his many choral works?

As with all masterpieces, it’s hard to choose. It’s the longest work, and its size and scope alone make it a frequent choice of many for favorite work.

It’s more dramatic than the breath-taking B Minor Mass and more meditative than the St. John Passion, but I also love the unbelievable variety of cantatas that Bach (below) produced.

Don’t make me choose!

What role has the “St. Matthew Passion” played in your personal and professional life?

I’d say it’s a pinnacle work. This is only my second time performing it, and I’m unlikely to have the chance again, although one hopes. So I’m invested in its beauty and in its core message of hope in the face of tragedy.

Are there things you would like audiences to know about your upcoming performance?

There are several things.

We have a wonderful cast of soloists, and the orchestra is not the usual student orchestra, since the UW Symphony Orchestra is committed to another program in the near future, but is instead a mixture of students, semi-pros and pros.

The work is set for the two choruses and two orchestras that play with them. Many of the choral movements are set for both orchestras, but Bach varies the texture of each movement by varying who plays in what.

If a listener hasn’t been to a Passion performance before, then you might want to know that:

The character of the Evangelist (sung superbly in this case by Wesley Dunnagan, below) is the narrator of the drama. He is accompanied by the continuo part—which is made up of a keyboard (usually organ with sacred works) and a low melody instrument, usually cello.

The chorus members sing sometimes in the character of Greek chorus commentary, sometimes as characters in the roles of Mob, Roman soldiers, Pharisees, and disciples. Most of this text comes from the book of St. Matthew. However, German theologians wrote commentary that is used for the beautiful Chorales-which basically are hymn-style settings of well-known Lutheran tunes. These chorales turn personal—for instance when Judas betrays Jesus, the chorus, after being a mob, turns around and says in repentance—It is I, I’m the one that killed you. (You can hear the final chorus in the YouTube video at the bottom.)

The text is so important, and Bach uses myriad details to bring it out. It is typical that when the text is about death, or evil, or sin, the writing is chromatic, or full of augmented fourth intervals (once nicknamed the devil’s interval). When Jesus has died and been buried, the chorus sings what feels like a lullaby, with the rocking cradle motion. When an earthquake follows Jesus’ death and the curtain of the temple is torn, the continuo cello breaks out of accompaniment mode and tears down the scale like lightning

Although this work presents Bach’s Christian view in the heart of the church year, the scope and issues of faithfulness and disloyalty, trust and fear, should resonate with listeners of all faiths.

We’ve chosen, as some other presenters have, to have a dinner/snack break between the two parts of the three-hour work. One ticket will get you into either or both halves. We do this to give singers and players a little rest, and a little movement to our listeners. Part I runs from 4 p.m. to about 5:15 p.m., and Part II runs from 7:30 p.m. to about 9:15 p.m.


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