The Well-Tempered Ear
Music con Brio starts an annual Black Composers project with a FREE virtual concert
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By Jacob Stockinger
The Ear has received the following announcement from Carol Carlson, the co-founder and Executive Director of the Madison-based Music con Brio (below), who is a violinist and holds a doctorate in music from the UW-Madison:
Hello friends,
Happy summer! I hope you are able to enjoy some rest, relaxation and fun in the sun.
I am emailing you because Music con Brio embarked on an exciting new project this year, and I want to share it with you.
In an effort to diversify our repertoire and guest artists, we have launched our new “Music by Black Composers” project. Last winter, our staff chose four pieces of music by Black composers and made student-accessible arrangements of them.
We then taught these new pieces during our online lessons this spring. On May 8, we gathered together outside at the Goodman Community Center, with four phenomenal local Black guest artists, to professionally record all four pieces.
And now, in lieu of our regular Community Concert Series this year, we are thrilled to present our first-ever Virtual Community Concert!
Click on the link to YouTube video at the bottom to watch and hear the 12-minute performance. Once there, click on Show More to see the composers, pieces and performers.
We are incredibly proud of our students and staff for all their hard work making this so successful. I’m sure you will enjoy their performance!
Please do feel free to pass the video along to anyone else you think might be interested in watching it.
And if you feel so inclined, we would really appreciate a donation in support of this work, which we plan to do every year from now on. To support Music con Brio and our Black Composers project by making a secure, tax-deductible donation, go to: https://www.musicconbrio.org/donate/
Thank you so much for your support! We hope to see you at a live concert again sometime soon!
If you wish to know more about Music con Brio, go to: https://www.musicconbrio.org
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This Saturday night the Wisconsin Chamber Choir and Grammy winner Sarah Brailey perform a free live-streamed concert of music by women
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By Jacob Stockinger
The Ear has received the following announcement to post:
The Wisconsin Chamber Choir (WCC, below) with a special guest — Grammy Award-winning soprano and UW-Madison graduate Sarah Brailey – will perform this Saturday, May 15, at 7 p.m.
“Music She Wrote” is a celebration of music composed by a highly diverse group of women from many ages.
Choir members will sing from their individual cars using wireless microphones, listening to the sound of the whole choir via their car radios.
The audience is invited to listen in live on YouTube and to let us know they are interested by sending an RSVP to our Facebook event.
There is no charge to view the livestream, but donations will be welcome.
Here are the links to hear the performance LIVE on YouTube or Facebook:
https://youtu.be/Iaz0wZhuG18 or:
https://www.facebook.com/events/1561155960751974/
The WCC had scheduled a regular concert with an all-female cast of composers for May 2020, which fell victim to Covid-19. As it became obvious that the pandemic would last longer, the WCC started exploring new ways of making and disseminating music.
From September 2020, we resumed activity in the shape of the Parking Lot Choir, generating local media coverage from WKOW-TV and Madison Magazine, whose story was headlined “Forget tailgates, parking lots are for choir practice.”
The result of this first rehearsal run was the widely acclaimed “Car Carols” concert in December 2020, whose format is the model for “Music She Wrote.”
In addition to the Parking Lot Choir, three smaller groups from the WCC assembled at the Edgewood College Amphitheater on Saturday mornings to rehearse (below) in widely spaced formations, wearing specially designed singer masks.
Another such group, made up of our members from southeastern Wisconsin, met in Whitewater on Sunday afternoons. Recordings by those four small groups will be aired during the May 15 broadcast in addition to live singing by the Parking Lot choristers.
The program includes: the Garden Songs by Fanny Hensel, née Mendelssohn (Felix’s sister, below), which were intended for outdoor performance; and Ethel Smyth’s March of the Women, the anthem of the women’s suffrage movement in the English-speaking world.
In addition to works by African American composers Ysaÿe M. Barnwell (below top) and Rosephanye Powell and by Cuban composer Beatriz Corona (below second), the program includes samples from outside the Western tradition — Lamma Badaa Yatathannaa, sung in Arabic, by Shireen Abu-Shader (below third), who hails from Jordan but received her academic education in the U.S. and Canada; and two pieces by Japanese composer Makiko Kinoshita (below bottom).
Western early music is represented by Italian composers Raffaella Aleotti (below top) and Chiara Cozzolani (below bottom), who lived in the 16th and 17th centuries.
Finally, there is singer-songwriter Judy Collins with her Song for Sarajevo, composed for the children of the war in Bosnia in 1994 and arranged by her longtime collaborator, Russell Walden. (You can hear it in the YouTube video at the bottom.)
For more details, visit: https://www.wisconsinchamberchoir.org/music-she-wrote.
Sarah Brailey (below, in a photo by Miranda Loud), a native of Wisconsin, studied at the Eastman School of Music and the University of Wisconsin–Madison, where she has just completed her doctorate. A consummate musician and internationally acclaimed soloist, she recently won a Grammy Award in the Best Classical Vocal Solo Album category for her role as The Soul in the world premiere recording of Ethel Smyth’s The Prison.
She is familiar to Madison audiences not only as a performer and co-founder of Just Bach but also as the co-host of WORT’s Musica Antiqua show on FM 89.9 and the director of Grace Presents.
As a graduate student, she joined the WCC for two seasons from 2004 to 2006. We are thrilled to welcome her back! For more information on Sarah, see her website at https://sarahbrailey.com
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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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Bach Around the Clock 2021 will incorporate many new aspects – including more audiences and artists of color — into the 10-day free virtual festival that runs March 17-26
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By Jacob Stockinger
The Ear has received the following update about Bach Around the Clock (BATC), the annual March free event to celebrate the birthday of Johann Sebastian Bach (below). Like last year, the year’s will be virtual and online and spread out over 10 days, from March 17 to March 26.
The BATC 2021 Festival is shaping up brilliantly. We have about 50 participants signed up so far, with musical selections totaling more than eight hours.
As always, it has a nice mix of ages and levels of performers, from young students to seasoned professionals. It also runs from traditional instruments like the violin, viola, cello, oboe, bassoon, piano and organ as well as the human voice to more unusual instruments like the clavichord, 6-string electric bass and a saxophone quartet.
We are so grateful to all the participants who have volunteered to share their talents. (Below is the Webb Trio playing last year from home.)
Last year’s virtual format forms the basis of this year’s festival, but we’ve expanded on that in some very exciting ways.
BATC board member Melanie de Jesus (below) is producing two mini-films aimed at making the festival more accessible to participants. For the tech-challenged among us, the “How to Film Yourself” video will make it easier for musicians to participate virtually.
This film will be available this THURSDAY, Feb. 25, in time to help participants film and submit their performances by the March 5 deadline. Would you like to perform? For information about signing up for slots. Click here to let us know!
Make your own recording or request a time slot at a BATC venue where a professional videographer will create a recording for you to keep. Harpsichord, piano and organ are available.
Melanie’s “Bach for Kids” film will be published during the festival, and will introduce basic musical concepts to the youngest participants. It will culminate in a sing-along, play-along, dance-along performance of some simple Bach tunes, as demonstrated by some (very) young students at the Madison Conservatory, where de Jesus is the director.
Another significant new element of this year’s festival will be our evening Zoom events, including receptions with performers, and guest artists giving special performances, lecture/demos, master classes and panel discussions.
In keeping with this year’s theme of “Building Bridges Through Bach,” we will celebrate and feature musicians and guest artists of color.
We are thrilled to announce Wisconsin Public Radio music host Jonathan Overby (below) as our keynote speaker. Overby’s work to research and demonstrate how music, especially sacred music, serves as a cultural bridge, has taken him all over the planet. His core values are in close alignment with the theme of this year’s festival, and his address will set the tone for the rest of the festival.
The virtual format enables us to bring in guest artists from afar. Lawrence Quinnett (below), on the piano faculty of Livingstone College, a private, historically black college in Salisbury, North Carolina, will perform all six French Suites, and give a brief talk on his approach to ornamentation. (You can hear Quinnett performing French Suite No. 1 by Bach in the YouTube video at the bottom.)
Clifton Harrison (below, in photo by Stephen Wright), violist in the Kreutzer String Quartet, in residence at Oxford University in England, will give a master class for interested BATC participants. Information on how to audition for this opportunity will be shared very soon.
We are extremely pleased that Trevor Stephenson (below), artistic director of the Madison Bach Musicians, will give an evening lecture and demonstration on the Goldberg Variations.
Through his performances, interviews and extremely popular pre-concert lectures, Trevor has served as a very important builder of bridges to the music of J.S. Bach in Madison and beyond. It would be hard to overstate the impact of Trevor’s work to make Bach’s music accessible to local audiences of all ages and backgrounds. We’re sure viewers will enjoy this event.
An astonishing new development resulted from BATC’s outreach efforts to local high schools: Steve Kurr (below), orchestra director at Middleton High School and former conductor of the Middleton Community Orchestra, decided to incorporate BATC into his curriculum this semester.
Fifteen of his students will perform for BATC, filmed by four other students, and then the students will all view the performances and write essays about them.
BATC is delighted with this creative initiative, looks forward to receiving the videos from this cohort of students, and hopes to expand on this kind of outreach in future years. Maybe we can include the final essays on our website, if the students agree.
There are a few other ideas still under construction; perhaps a panel discussion with educators, or one with local musical bridge-builders (aka “Angels in our Midst”)?
Please help us keep this festival free and open to all.
Bach Around The Clock is a unique program in our community. It offers everyone the opportunity to share their love of the music of Bach. There is no charge to perform or to listen.
But the festival is not free to produce! BATC provides venues, instruments, videographers, editors, and services for performers and audience.
We need your support!
Click on there link below to donate securely online with a PayPal account or credit card: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=WU7WWBW5LBMQJ
Or you can make a check out to Bach Around The Clock and mail it to: Bach Around The Clock, 2802 Arbor Drive #2, Madison, WI 53704
Bach Around The Clock is a 501(c)(3) organization; your donation is tax-deductible as allowed by the law. Donors will be listed on the acknowledgments page of the BATC website .
For the latest updates, please visit our website, bachclock.org, or our Facebook page, facebook.com/batcmadison.
We hope you will join us.
Marika Fischer Hoyt, Artistic Director, Bach Around The Clock, (608) 233-2646
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The eighth annual UW Schubertiade is this Sunday afternoon. It features a FREE online retrospective of the past seven years plus a new four-hand piano performance
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By Jacob Stockinger
The University of Wisconsin has posted the following announcement:
For the eighth consecutive year, the University of Wisconsin-Madison’s Mead Witter School of Music will present its annual Schubertiade — a special concert celebrating the music of Franz Schubert (below).
Traditionally these concerts have been held around the composer’s birthday. This year’s concert will in fact occur on his birthday — this Sunday, Jan. 31, at 3-4:30 p.m. CST. The pre-recorded premiere is at: https://youtu.be/7sshhKiFPAg
You can also use the link to prepare for the concert before or during the concert. You will find the program with song titles, the original German texts and English translation, and biographies of the performers by simply clicking on “SHOW MORE” on the YouTube website and follow the links to PDFs.
BECAUSE THERE ARE NO COPYRIGHT ISSUES, ACCORDING TO UW OFFICIALS, THE POST SHOULD BE UP AND AVAILABLE INDEFINITELY AFTER ITS PREMIERE.
As in past years, founders and performers Martha Fischer (below left), professor of piano and head of the collaborative piano program at UW-Madison, and her husband Bill Lutes (below right), an independent piano teacher, and UW emeritus artist-in-residence, will host the program.
These concerts have been presented in the sprit of the first Schubertiades (below, in a painting by Julius Schmid) that took place during the composer’s lifetime (1797-1828) in the homes of his friends and fellow artists, poets and fans.
These were social as well as musical occasions with Schubert himself presiding at the piano, giving his audience a chance to hear his latest songs, piano duets and chamber music, as well as pieces that had already become favorites.
This year’s Schubertiade will be different in response to the restrictions imposed by the Covid-19 pandemic. It will be an online look back — or Rückblick — at past concerts, with songs chosen from performances that have been preserved in the audio and video archive.
The featured performers will include faculty members, students and alumni from the Mead Witter School of Music, along with special guests.
In addition, pianists Fischer and Lutes will give a “new” performance recorded for this occasion of the great Fantasie in F minor for piano duet. (In the YouTube video at the bottom, you can hear that work, performed by Dutch brothers Lucas and Arthur Jussen and recorded live in Seoul, South Korea.)
The songs have been chosen to reflect themes that were not only relevant to Schubert and his circle, but also to all of us in the midst of this challenging time: hope for a brighter future; the need for connection with others; remembrance of happier times; and the consolation to be found in nature.
Schubert left a vast and precious legacy of beauty — an enormous output of music that he composed in his short lifetime.
In a sense, each time his music is performed and heard, it is a journey from the past to our own time, the sounds speaking to us today as vividly and consolingly as they did when they were created 200 years ago.
Performers
Martha Fischer and Bill Lutes, pianists
Alumni:
Jamie-Rose Guarrine, soprano (below, in a photo by Peter Konerko)
Emily Birsan, soprano
Michael Roemer, baritone
Jennifer D’Agostino, soprano
Daniel O’Dea, tenor
Wesley Dunnagan, tenor
Sarah Brailey (alumna and current DMA student)
Sara Guttenberg
Guests:
Marie McManama, soprano
Cheryl Bensman-Rowe, mezzo-soprano
Faculty:
Mimmi Fulmer, soprano
Paul Rowe, baritone (below)
Julia Rottmayer, soprano
Staff
David Alcorn, videographer, editor, etc.
Katrin Talbot, images for audio only tracks
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Bach Around the Clock 2021 will be virtual again. It runs March 17-26, and will feature daily performances plus new activities
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By Jacob Stockinger
The Ear has received the following announcement to post from violist Marika Fischer Hoyt – the founder, participant and artistic director of the annual Bach Around the Clock (BATC). It is one of the most enjoyable events in the area and celebrates the birthday of Johann Sebastian Bach (1685-1750, below).
It features performances by student, amateur and professional individuals and groups — local, regional and national. (Performance photos come from last year’s videos, thanks to Rich Samuels, who recorded and edited the WORT-FM radio show devoted to BATC 2020, which you can hear in the impressive 3-hour YouTube video at the bottom. Listen to it in its entirety or skip around.)
The Bach Around the Clock (BATC) Board of Directors is delighted to present the BATC 2021 Festival, a series of online and virtual events designed to make the joy of Bach’s music as widely available as possible.
Our theme this year is Building Bridges with Bach, and we look forward to expanding our activities to reach new performers and new audiences. (Below is pianist Vibhu Akella playing an electric keyboard.)
The 2021 Virtual Festival launches on Wednesday, March 17, with a concert by our Ensemble-In-Residence, Sonata à Quattro (below, in a photo by Barry Lewis). SAQ will present a program recorded in Luther Memorial Church, as part of the monthly Just Bach concert series.
BATC will add a new festival program every day for 10 days, through March 26, with all programs posted FREE on our home website at https://bachclock.com. (Below is the Webb Trio.)
Interested performers should visit the “Contact/Sign Up” page to submit their proposals and ideas.
BATC participants, who are located far and wide, have two options this year: they can pre-record their performances at home or elsewhere and submit them electronically; or they can request to perform in a BATC concert venue with a professional recording crew. (Below is cellist Derick Handley.)
We will provide keyboard players with the use of a concert-level piano, organ and harpsichord in a space roomy enough to safely accommodate small ensembles. (Below is harpsichordist Dan Sullivan.)
The resulting videos will be incorporated into one of the festival day’s free public programs, and will be available to the performers to keep. This option might be particularly attractive for high school seniors, looking to augment their college applications. (Below is clarinetist Brian Gnojek.)
Other new festival initiatives include Bach Chorale sing-alongs; evening Zoom receptions; mini-courses to help participants of all ages take part; and possibly a Guest Artist. More details will be announced closer to the festival.
The BATC Board hopes the 2021 Festival provides an outlet for musicians to share their talent and passion with the warmly appreciative local community.
Live music nourishes the soul of performer and audience member alike, and the transcendent, life-giving joy woven into the music of Johann Sebastian Bach is something we need now more than ever.
Tags: #10Days, #AtHome, #AudienceMember, #BachAroundtheClock, #BachChorale, #BaroqueMusic, #BarryLewis, #BlogPost, #BlogPosting, #BoardofDirectors, #BrassMusic, #ChamberMusic, #ChoralMusic, #ChristianaLiberis, #ChristianChurch, #ConcertSeries, #CoronavirusPandemic, #COVID-19, #ElectricKeyboard, #Ensemble-in-residence, #FacebookPost, #FacebookPosting, #FrenchHorn, #GuestArtist, #HighSchool, #HomeWebsite, #JacobStockinger, #JohannSebastianBach, #JustBach, #LiveMusic, #LutherMemorialChurch, #MarikaFischerHoyt, #MeadWitterSchoolofMusic, #MusicaAntiqua, #OnlineConcert, #OnlineFestival, #RecordedMusic, #RichSamuels, #SarahBrailey, #SignUp, #SonataaQuattro, #TheEar, #TheUW, #UniversityofWisconsin-Madison, #VirtualConcert, #VirtualFestival, #VocalMusic, #WindMusic, #WORT-FM89.9, #YouTubeChannel, #YouTubevideo, #ZoomMeeting, 10 days, 2021, accommodate, add, ages, amateur, announcement, annual, application, appreciative, area, around, Artistic director, Arts, at home, attractive, audience, augment, available, Bach, Bach Around the Clock, Bach chorale, Baroque, Barry Lewis, BATC, birthday, blog, Blog post, blog posting, Board of Directors, brass, bridge, building, celebrate, cellist, Cello, Chamber music, choral music, Chorale, Christian church, Christianity, church, clarinet, clarinetist, Classical music, closer, college, community, composer, Concert, concert series, concert-level, concerto, contact, coronavirus, courses, crew, daily, days, delight, designed joy, details, Early music, edit, electric, electric keyboard, electronically, elsewhere, enjoyable, enough, evening, event, ever, every day, everyday, expand, Facebook, far, festival, forward, founder, free, group, guest artist, hear, high school, home website, Horn, hour, idea, impressive, incorporate, individual, initiative, interested, Jacob Stockinger, Johann Sebastian Bach, Joy, Just Bach, keep, Keyboard, launch, life-giving, like, link, listen, live, live music, local, locate, Luther Memorial Church, march, Marika Fischer Hoyt, Mead Witter School of Music, member, mini-course, Music, Musica Antiqua, Musician, need, new, nourish, online, option, Orchestra, organ, organist, outlet, page, pandemic, pandemic playlist, participant, Passion, performer, photo, Pianist, Piano, play, playing, pre-record, present, professional, program, proposal, provide, public, reception, record, recorded, recorded music, recording, Rich Samuels, roomy, safely, Sarah Brailey, senior, seniors, share, sign-up, sing-along, skip, Sonata, Sonata à Quattro, soul, space, Student, submit, symphony, tag, talent, The Ear, theme, transcendent, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Madison, venue, Viola, Violin, violist, virtual, virtual festival, vocal music, we, Website, wide, Wind, Wisconsin, WORT, year, YouTube, Zoom
Due to popular demand, Wisconsin Youth Symphony Orchestras (WYSO) opens its FREE virtual master classes to the public. Today features the violin and Monday features the bass
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By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO) welcomes back two distinguished and successful alumni this weekend to teach the fifth and sixth master classes in an ongoing series that has already wowed observers. (WYSO alumni are noted below with an asterisk.)
Each virtual event is free and open to the general public with registration required in advance.
“The series has been so fabulous that, due to popular demand, we’ve opened up the events to anyone who wants to attend,” says Susan Gardels, marketing and communications director for WYSO.
TODAY – Sunday, Jan. 10 — from 5:30-7:30 p.m. CST Derek Powell, a violinist with the National Symphony Orchestra in Washington, D.C., will coach four WYSO violin members in a two-hour master class.
This will be followed the next evening with a master class coached by Scott Pingel, Principal Bass with the San Francisco Symphony Orchestra (Monday, Jan. 11, 6:30-8:30 p.m. CST).
A master class presents a one-on-one opportunity for a student musician to learn from a guest artist with an audience invited to observe the process.
In previous master classes in this series, the audience has learned instrument performance techniques and musical interpretation tips from a wide variety of guest artists who professionally play music around the world.
With the master classes presented in an intimate Zoom setting, the audience learns along with the student— and it is amazing to see the sudden growth in a student’s musical prowess as a master class proceeds.
Derek Powell’s bio includes his experience with the New World Symphony where Powell (below) performed as concertmaster with famed conductor Michael Tilson Thomas and as a violinist with the Army Strings, as well as his current experience with the National Symphony Orchestra.
Scott Pingel (below) was a trumpet player in his WYSO days with a side love for electric bass. Pingel switched to concert bass as an undergraduate at UW-Eau Claire, continued studies at the Manhattan School of Music, and played with the New World Symphony and the Charleston Symphony before joining the San Francisco Symphony as Principal Bass in 2004. He recently created buzz by playing with Metallica in a packed house with the San Francisco Orchestra.
For more information, go to: WYSO Amazing Masterclass Series:
Here are details and links to register:
*Derek Powell, Violin Master Class
TODAY, Sunday, Jan. 10, 5:30-7:30 p.m. CST
Free and open to the public
Click here to register in advance
_______________________________
*Scott Pingel, Bass Master Class
Monday, Jan. 11, 6:30-8:30 p.m. CST
Free and open to the public
Click here to register in advance
Here are is a schedule of future WYSO alumni master classes:
Katherine Steele (below), oboe
Sunday, Jan. 17, 6-8 p.m. CST
(Principal Oboe, Milwaukee Symphony Orchestra) https://wysomusic.org/katherine-steel-masterclass/
James Shields (below), clarinet
Sunday, Jan. 24, 7-9 p.m. CST
(Principal Clarinet, Oregon Symphony Orchestra)
Read more about James Shields
*Nancy Goeres (below), bassoon
Sunday, Feb. 7, 6-8 p.m. CST
(Principal Bassoon, Pittsburgh Symphony Orchestra)
Danbi Um (below), violin
Sunday, Feb. 21, Time TBD
(Soloist, member Chamber Music Society of Lincoln Center)
Megumi Kanda (below), trombone
Sunday, Feb. 28, 5:30-7:30 p.m. CST (Principal Trombone, Milwaukee Symphony Orchestra)
David Perry (below), violin
Sunday, March 7, 6-8 p.m. CST
(First Violin, UW-Madison Pro Arte Quartet and UW-Madison Music Professor)
Naha Greenholtz (below), violin
Sunday, March 28, 6-8 p.m. CST
(Concertmaster, Madison Symphony Orchestra and Quad Cities Symphony Orchestra)
*Sharan Leventhal (below), violin
Sunday, April 11, 6-8 p.m. CST
(Boston Conservatory)
For more information, go to https://wysomusic.org or call (608) 733-6283.
Tags: #African-Americanmusician, #ArmyStrings, #AugustaReadThomas, #BassPlayer, #BlackAmericans, #BlogPost, #BlogPosting, #BostonConservatory, #ChamberMusic, #ChamberMusicSocietyofLIncolnCenter, #CharlestonSymphony, #ClarinetMusic, #CommunicationsDirector, #ConcertBass, #DanbiUm, #DavidPerry, #DerekPowell, #ElectricBass, #FacebookPost, #FacebookPosting, #FacultyMember, #GeneralPublic, #GuestArtist, #HomeWebsite, #JacobStockinger, #JamesShields, #KatherineSteele, #LincolnCenter, #MadisonSymphonyOrchestra, #ManhattanSchoolofMusic, #MarketingDirector, #MeadWitterSchoolofMusic, #MegumiKanda, #MichaelTilsonThomas, #MilwaukeeSymphonyOrchestra, #MilwaukeeWisconsin, #MusicCoach, #MusicEducation, #Musicfaculty, #MusicProfessor, #NahaGreenholtz, #NancyGoeres, #NationalSymphony, #NationalSymphonyOrchestra, #NewWorldSymphony, #OboeMusic, #OnlineConcert, #OrchestralMusic, #OregonSymphonyOrchestra, #PittsburghSymphony, #PopularDemand, #PrincipalBass, #PrincipalBassoon, #PrincipalClarinet, #PrincipalOboe, #PrincipalTrombone, #ProArteQuartet, #QuadCitiesSymphonyOrchestra, #RegistrationForm, #RockandRoll, #SanFranciscoSymphony, #ScottPingel, #SharanLeventhal, #TheEar, #TheUW, #UniversityofWisconsin-Madison, #USArmy, #UW-EauClaire, #VirtualConcert, #WashingtonD.C., #WisconsinYouthSymphonyOrchestras, #YouTubevideo, #ZoomMeeting, advance, African American, alumni, alumnus, anyone, Army, Army Strings, Arts, asterisk, audience, bass, Bassoon, bio, black, blog, Boston Conservatory, buzz, call, Chamber music, Chamber Music Society of Lincoln Center, Charleston, Charleston Symphony, clarinet, Classical music, coach, communications, Concert, concert bass, concertmaster, conductor, current, D.C., Danbi Um, David Perry, demand, Derek Powell, details, director, distinguished, electric bass, evening, event, experience, Facebook, Facebook post, Facebook posting, faculty, forward, free, general public, go, guest artist, home website, information, instrument, invite, Jacob Stockinger, James Shields, Katherine Steele, learn, like, LIncoln Center, link, Love, Madison, Madison Symphony Orchestra, Manhattan School of Music, marketing, master class, masterclass, Mead Witter School of Music, Megumi Kanda, member, Mettalica, Michael Tilson Thomas, Milwaukee, Milwaukee Symphony Orchestra, Monday, MSO, MTT, Music, Music education, music faculty, Musician, Naha Greenholtz, Nancy Goeres, National Symphony, National Symphony Orchestra, New World Symphony, noted, Oboe, oboist, observe, observer, online, open, opportunity, Orchestra, orchestral music, Oregon, Oregon Symphony Orchestra, PAQ, performance, Pittsburgh Symphony Orchestra, play, popular, popular demand, post, posting, Principal Clarinet, Principal Oboe, Principal Trombone, prinicipal, Pro Arte Quartet, process, professor, prowess, public, Quad Cities, Quad Cities Symphony, registration, require, rock and roll, San Francisco Symphony, Scott Pingel, series, Sharan Leventhal, share, side, society, solo, soloist, Student, studies, successful, Sunday, switch, symphony, tag, technique, techniques, The Ear, Trombone, trombonist, U.S. Army, undergraduate, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Eau Claire, UW-Madison, Violin, violin music, violinist, virtual, Washington, Washington D.C., Website, weekend, welcome, Wisconsin, Wisconsin Youth Symhony Orchestras, wowed, WYSO, Zoom
The Wisconsin Chamber Orchestra cancels its first Masterworks concert and launches an online virtual Winter Chamber Series in January
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By Jacob Stockinger
With the surge in the coronavirus pandemic, the dominos are starting to fall again — this time for the spring series of live, in-person concerts that had been planned.
Friday night brought important news from the Wisconsin Chamber Orchestra (below, in photo by Mike Gorski).
The Wisconsin Chamber Orchestra (WCO) has canceled its first Masterworks concert, with guest cellist Amit Peled, in late January. In its place the WCO is launching its first-ever digital Winter Chamber Series.
The virtual, online series of digital concerts will feature the ensemble’s 34 players in smaller groups of four to eight, That will be safer for both players and audiences during the COVID-19 pandemic.
Four home-viewable virtual online concerts are planned: Jan. 22, Feb. 26, March 26, and April 16. Programs are not available except for the first concert.
Also included are a pre-concert talk with WCO music director and maestro Andrew Sewell (below top, in a photo by Alex Cruz) and Wisconsin Public Radio host Norman Gilliland (below bottom), and post-concert reflections with musicians of the WCO.
The ticket price for each concert, which will run 60-75 minutes, is $30 per household. A ticket entitles you to one viewing of the concert between Friday, Jan. 22, and Monday, Jan. 25. The concert will start streaming at 7:30 p.m. on Friday.
Patrons who have already purchased season subscription tickets can apply that to the full series of four concerts.
Tickets are available online at the Overture Center box office. See below.
The program for the first Winter Chamber Concert on Jan. 22 is:
Four Canzonas by the Baroque Italian composer Giovanni Gabrieli (below):
“Tzigane” (a term for music by Hungarian gypsies or Romani) for Wind Quintet by the contemporary American composer Valerie Coleman (below):
The first movement of the famed String Quintet in C major, D. 956, by the Austrian Romantic composer Franz Schubert (below):
Four Octets by the 20th-century American composer and jazz musician Alec Wilder (below), which you can sample in the YouTube video at the bottom.
To see more background about the composers, more details about the concert and purchase tickets, go to: https://www.overture.org/events/wco-chamber-series
You can also check out the series as it progressively gets announced on the WCO home website: https://wcoconcerts.org/concerts-tickets/winter-chamber-series
The concert series sounds like a terrific substitution for the regular concerts that cannot yet take place.
But The Ear wonders if the price per concert is a bit steep, given that comparable concerts by UW-Madison Mead Witter School of Music , the Wllly Street Chamber Players and Just Bach are free – although they do ask for donations — and that the Madison Opera charged $50 for its entire fall digital series while the Wisconsin Union Theater charges between $10 and $20 per virtual concert.
The Ear likes the eclectic programming, but also thinks it is kind of teasing and unsatisfying to offer just the first movement of such an organic masterpiece and profoundly beautiful work as the Schubert Cello Quintet. Doing one movement of a chamber music work somehow seems very different from doing one movement of a symphony.
It would also be nice to see the programs for all the concerts plus a series discount as an incentive.
What do you think about the WCO’s Winter Chamber Series?
What do you think about the price and the programming?
The Ear wants to hear.
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November’s “Just Bach” FREE online concert is this Wednesday morning at 8 instead of noon. It features two favorites: “Air on the G String” and the Concerto for Two Violins
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This Wednesday, Just Bach again shares the timeless beauty of the music by Johann Sebastian Bach (below) from their home in the nave of Luther Memorial Church (LCM), 1021 University Avenue.
The group participates in LMC’s weekly ‘Music at Midday’ concert series at https://www.luthermem.org/music-at-midday. (Please note: Now that the concerts are online instead of in person, the videos will be posted early Wednesday mornings at 8 a.m., instead of at noon. They will remain online indefinitely so viewers can see them at their convenience.).
As part of this series, Just Bach concerts take place on the third Wednesday of each month. Remaining concerts are: Nov. 18, Dec. 16, Jan. 20, Feb. 17, March 17, April 21 and May 19. The programs last approximately 30 minutes.
It is still too risky to have in-person audiences. So in addition to the Luther Memorial website, they will be posted on:
The Just Bach home website at: https://justbach.org/concerts/
The Just Bach Facebook page at: https://www.facebook.com/JustBachSeries
And the Just Bach YouTube Channel, where previous concerts are still posted, at: https://www.youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ
Viewing the concerts is FREE, but the group asks those who are able, to help pay the musicians with tax-deductible donations at: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url
PLEASE NOTE: New this month will be a half-hour live ZOOM post-concert reception on this Wednesday night at 7:30 p.m. CST. Those who would like to join us and chat with the performers can follow this link: https://us02web.zoom.us/j/87144868956?pwd=aHUrR3BNZFF5Y1hlVG1EWkNvMklkQT09
The November concert opens with Just Bach co-founder, UW graduate student and nationally concertizing soprano Sarah Brailey (below), who will provide welcoming remarks and an overview of the program.
Our guest artists this month (below, in a photo by Barry Lewis) are a quartet of string players from the Madison Symphony Orchestra: violinists Leanne League and Xavier Pleindoux; violist Marika Fischer Hoyt; and cellist Lindsey Crabb. Also performing is harpsichordist John Chappell Stowe, a professor in the UW-Madison Mead Witter School of Music. Dave Parminter is the videographer.
League and Pleindoux (below, in a photo by Barry Lewis) will play the solo parts in the familiar and beautiful Concerto in D Minor for Two Violins (the ‘Bach Double’), BWV 1043.
Madison Symphony Orchestra audiences will remember their gorgeous performance of this piece at a Christmas Spectacular concert a couple of years back. (You can hear the beautiful and poignant slow movement in the YouTube video at the bottom.)
The ensemble will continue with a movement from the Orchestral Suite No. 3 in D major, BWV 1068, the serenely transcendent “Air on a G String.”
Sarah Brailey returns to lead the final chorale from Cantata 139, composed for the 23rd Sunday after Trinity, which happens to be this coming Sunday. The stirring title, Dahero Trotz der Höllen Heer! translates as “Therefore Defiance to the Host of Hell.”
We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the screen, as Stowe accompanies on the organ.
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The Well-Tempered Ear 
Here are the classical music nominations for the 63rd annual Grammy Awards in 2021
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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
It’s time again for the annual Grammy Awards (below).
Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.
After all, the coronavirus pandemic has changed our listening habits.
Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.
Perhaps you listen to Compact Discs using home stereo systems.
Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.
However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.
You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.
They can help you judge how many or how few contemporary composers and new works get performed.
Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.
Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.
The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.”
Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.
Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec.
Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.
If you notice more local connections, please leave word in the Comment section.
The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.
73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
· DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· GERSHWIN: PORGY AND BESS
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
· HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
· IVES: COMPLETE SYMPHONIES (below)
Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
· SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)
·
74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
· BLANTON ALSPAUGH
• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)
· DAVID FROST (below)
• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)
· JESSE LEWIS
• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)
· DMITRIY LIPAY
• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)
· ELAINE MARTONE
• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
· ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
· CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
· COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
· IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
· LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
· DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
· FLOYD, C.: PRINCE OF PLAYERS
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
· GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
· HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
· ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)
·
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
· CARTHAGE
Donald Nally, conductor (The Crossing)
· DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
· KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
· MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
· ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
·
78. 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.
· CONTEMPORARY VOICES
Pacifica Quartet
· HEALING MODES
Brooklyn Rider
· HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
· HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
· THE SCHUMANN QUARTETS
Dover Quartet
·
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
· BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
· BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
· DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
· THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)
·
80. 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.
· AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
· CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
· FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
· A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
· SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
·
81. 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.
· ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
· SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
· SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
· THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
· WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
·
82. 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.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
· DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
· HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
· ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)
If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list
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