The Well-Tempered Ear

Will the public pay for online virtual concerts? Will you? Consider the fate of newspapers

August 23, 2020
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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

More and more local classical musicians and music presenters are moving concerts and music-making to virtual online events, at least for the fall and early winter – and quite possibly for the rest of the season. (Below is Shannon Hall in the Wisconsin Union Theater.)

And although we are still waiting for details, it seems all but certain that many of them will be pay-per-view and require tickets.

True, the move from free streaming to pay-for-view might be very useful in helping performers earn a much-needed living.

But it could also be disastrous – or at least extremely disruptive and disappointing.

Anthony Tommasini (below), the senior music critic for The New York Times, recently wrote a long story defending the move from being free to becoming paid for both livestreams and pre-recorded music concerts.

Tommasini — whose profession demands that he follow wherever the music goes —  thinks it will, or should, work.

Here is a link to his story that includes concerts at The Metropolitan Opera and elsewhere with international stars such as soprano Renée Fleming (beow top) and pianist Daniil Trifonov (below bottom).

https://www.nytimes.com/2020/08/11/arts/music/classical-music-livestream.html

But The Ear isn’t so sure.

For one thing, many listeners might find alternatives. They might like watching outstanding performances of the same works by great and even historical performers on YouTube for free.

They might like exploring their own collections of recordings, or listening to the radio and watching TV, or even making more music as amateurs.

The Ear also suspects that now that the habit of going to live concerts has been interrupted, many people will simply find that they miss going to live performances much less than they thought they would – or than various arts groups hoped they would. (Below is the Wisconsin Chamber Orchestra in a photo by Mike Gorski.)

In addition, even since the coronavirus pandemic lockdown last March, listeners have become used to the free events that many organizations offered if only to keep a presence in the public’s mind.

The strategy was understandable and made sense at the time.

But The Ear thinks of what happened with newspapers.

In the early days of the internet, newspapers offered online stories for free, as a kind of extra attraction or added benefit to secure subscribers.

But as the newspapers lost both advertisers and subscribers and tried to “monetize” their online editions, they found that the horse was already out of the barn.

Many viewers did indeed subscribe to digital editions, but many others abandoned newspapers and instead turned to free online media for their news.

So what will happen in cases less prestigious than what Tommasini describes?

What do you think?

Will local pay-per-view concerts, perhaps with bigger volume if lower individual ticket prices, be successful?

Will you pay to “attend” such virtual online events?

The Ear wants to hear.


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Classical music: Middleton Community Orchestra and UW-Madison cellist Andrew Briggs perform music by Mendelssohn, Rossini and Dvorak this Wednesday night. Also, University Opera’s David Ronis discusses Benjamin Britten’s “The Turn of the Screw” at noon on Wisconsin Public Radio

February 27, 2017
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ALERT: Today at noon on Wisconsin Public Radio’s “The Midday,” host Norman Gilliland will interview artistic director David Ronis about the University Opera’s production of Benjamin Britten’s “The Turn of the Screw,” which will be performed this Friday night, Sunday afternoon and next Tuesday night.

By Jacob Stockinger

The mostly amateur Middleton Community Orchestra (below, in a photo by William Balhorn), under the baton of Steve Kurr, will perform the winter concert of its seventh season on this Wednesday night, March 1, at the Middleton Performing Arts Center at 7:30 p.m.

Middleton Community Orchestra by William Ballhorn

The Middleton PAC is attached to Middleton High School and is attached to Middleton High School.

Middleton PAC2

Middleton Community Orchestra CR Brian Ruppert

General admission is $15.  Students are admitted free of charge. The box office opens at 6:30 p.m. and the auditorium doors open at 7 p.m.

The program includes the “Turk in Italy” Overture by Gioachino Rossini; “Silent Woods” and Rondo in G minor, two rarely performed cello pieces by Antonin Dvorak; and the Symphony No. 5 (“Reformation”) by Felix Mendelssohn. (You can hear Dvorak’s “Silent Woods,” with cellist Yo-Yo Ma and Seiji Ozawa conducting the Boston Symphony, in the YouTube video at the bottom.)  

Cello soloist Andrew Briggs (below), is returning to perform with the MCO for a second time. 

You can hear last season’s performance of the Dvorak cello concerto by Briggs with the MCO here: https://www.youtube.com/watch?v=3wc1WLWhtb4

Briggs (below) is completing his doctorate at the University of Wisconsin-Madison this spring, so this may be your last chance to hear him in Madison.

Andrew Briggs

SOMETHING NEW

This concert will open with a special guest, Middleton Tribune writer, Matt Geiger who will read two short stories from his new book (below).

Here is a sample from the cover of this book collection: “His little sister joins the circus. His parents buy a nerdy horse. He’s surrounded by hundreds of men dressed up as Ernest Hemingway. He tries to order a monkey through the mail. And now his baby is eating dog food.”

GC-BookCoverFinal

Matt Geiger’s award-winning stories reveal the sublime in the mundane and the comical in the banal. There is existential dread. There is festivity amid detritus. There are moments of genuine introspection on what it means to be human. And it’s all laugh-out-loud funny when told by a humorist who is determined to live an examined life, even if he’s not always entirely sure what he’s looking at.

Matt Geiger (below) was born in Brunswick, Maine, in 1979. He studied philosophy and religion at Flagler College and went on to write for newspapers and magazines in Florida, Wisconsin and the United Kingdom. He is the winner of numerous journalism awards. He currently lives in Wisconsin with his wife, his daughter, two dogs, a cat and a flock of chickens.

Matt Geiger oif Middleton

As always, there will be a FREE reception for the musicians and the audience after the concert.

MCO June 2014 reception

For more information about the Middleton Community Orchestra, including its upcoming concerts and review as well as how to join it and support it, go to: http://middletoncommunityorchestra.org

mco-march-2017-poster


Classical music: “Creature Quartet” by UW-Madison composer Laura Schwendinger will be premiered by the JACK Quartet this Friday night at the Wisconsin Union Theater.

May 5, 2015
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By Jacob Stockinger

The Ear has received the following announcement from Laura Elise Schwendinger (below), a prize-winning professor of composition at the University of Wisconsin-Madison School of Music. (You can hear a sample of her chamber work “High Wire Act” in a YouTube video at the bottom.)

“Creature Quartet,” composed by University of Wisconsin-Madison Professor Laura Elise Schwendinger (below), will be premiered by The JACK Quartet on this Friday, May 8, at 8 p.m. in Shannon Hall at the Wisconsin Union Theater.

Laura Schwendinger 2

For more information, including ticket prices and reservations as well as other works on the program and the JACK’s concert to be played in the dark on this Thursday, go to:

http://www.uniontheater.wisc.edu/Season14-15/jack-quartet-creaturequartet.html

Schwendinger, a Guggenheim winner and the first composer recipient of the Berlin Prize, wrote the Creature Quartet, a one-movement work for string quartet, with “portraits in music” of extinct, mythological or endangered creatures.

The quartet will be accompanied by an evocative animation by the gifted French artist, Pauline Gagniarre. The animation depicts the creatures in the quartet, and was commissioned by Memorial Union Concerts for this premiere

Each of the quartet’s movements feature different creatures such as extinct birds, like the Ivory Billed Woodpecker, the Passenger Pigeon (the last surviving Passenger Pigeon died 100 years ago this year), the marvelously funny looking Dodo Bird, as depicted in Alice’s Adventures in Wonderland, as well as mythological creatures like the Yeti, Chupacabra, and the famous “sea monster” Nessy.

Here are more details from program notes:

The Creature Quartet is a one-movement work for string quartet, played without break, comprised of 12 short movements, each a paean or character portrait in music to an extinct, mythological, or endangered creature. It is my personal response to the current mass extinction that we are facing.

The work starts with a “hymn for lost creatures,” which comes back in various forms between the sections or movements devoted to each animal.

Musical relationships exist as well, between the various movements, for instance, the repeated pattern of the Ivory-Billed Woodpecker (below) in Movement I, played in pizzicato (plucked string) then col legno (or with wood of the bow) comes back in the movement VII. the Javan Rhinocerous, but in a triple-forte fff (very loud) and much more aggressive, grumpy manner, and then again in movement XI. The Thalycine (or Tasmanian Tiger), but this time a little more active and agile yet still fearsome.

ivory-billed woodpecker

The music heard in movement II. Passenger Pigeon (below), is characterized by tremolando figures (trembling string with shifting bow), which represents the evocative yet mysterious flight of the large flocks of birds that were known to fill the skies. This music is also hinted at, through chromatic transformation, and string tremolando, in movement IV. Yeti, where it is introduced now pianisissmo (very, very soft), but when the Yeti is finally seen, turns and growls ffff (very, very loud). This tremolando music is referenced and developed in the longest of the movements VIII. Mustang, when the tremolando moves with the energy of running horses.

passenger pigeon stuffed

Movement III — the sad and poignant music of the Dodo Bird (below), expressed in the solo viola, with awkward pizzicato accompaniment and reflecting the funny image we have of this charming large, flightless bird — is referenced again in inversion (upside down) in movement X. Lowland Gorilla, this time with the solo cello moving from the instrument’s majestic lower register through a higher singing line, and again with a combination of awkward pizzicatos and more aggressive tremelandos, all leading to a final fff (very loud tremelando) as the Gorilla beats his chest.

Dodo bird

Movement V. Chupacabra, has its own distinctive creepy, yet harried character, captured in trills, the piercing red of the animal’s eyes in the night heightened with harmonic notes that jump out of the frenzied texture. This chilling character is amplified for movement IX. Tasmanian Devil, when the strings play frenzied lines in sul ponticello (over the bridge for a sharp and piercing string sound), and finally just loud growling sounds, made by the bows being played behind the bridge, literally sounding like the voice of the Taz Devil.

The music of Movement VI. Nessy (below), is captured in a rolling string figure that reflects the undulating motion of the waves of the deep and mysterious lake waters of Loch Ness, the melody itself dark and mysterious. This music returns, yet brighter and more open sounding, for movement XII. the Northern Right Whale.

Loch Ness Nessie

These relationships give the work a sense of symmetry and balance. The animals are part of a musical “ecosystem” as it were, and organically lead from one to another, with only the hymn in between to remind us of their sad fate.

The hymn too, starts to reflect the character of the animal that precedes or follows, as the tremelandos of the Thalycine and Mustang and Gorrilla,for instance, sit somewhere in the quartet, not yet freed from its setting and sometimes in the cello, as a grumpy echo of the animal that still lingers.

Nessy is featured in the trailer by Pauline Gagniarre’s for the Creature Quartet. https://vimeo.com/118388679.

Also depicted is the adorable yet irascible Tasmanian Devil (below), famously portrayed in the Looney Tunes cartoons, and the Tasmanian Tiger, a fearsome yet elegant animal, the last of which died in captivity in 1936.

tasmanian devil

Pauline Gagniarre has created fantastic animated video that introduces the audience to each creature as each movement of music starts, in order to help the listener visualize each animal.

The JACK Quartet (below) is arguably one of the finest string quartets performing today, and one of the best interpreters of new music.

Jack Quartet 2015

As winners of numerous awards for adventurous programming, JACK has performed premieres to critical acclaim internationally at venues such as Carnegie Hall, Lincoln Center, Wigmore Hall in London, The Venice Biennale, the Lucerne Festival, the Bali Arts Festival (Indonesia) and the Cologne Philharmonic.

Jack Quartet

The quartet has commissioned and premiered new works with such composers as John Luther Adams, Chaya Czernowin, Brian Ferneyhough, Beat Furrer, Georg Friedrich Haas, György Kurtág, Helmut Lachenmann, Steve Mackey, Steve Reich, Wolfgang Rihm, Salvatore Sciarrino and John Zorn.

 

 

 


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