The Well-Tempered Ear

Here are the classical music nominations for the 63rd annual Grammy Awards in 2021

November 28, 2020
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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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October’s FREE virtual and online Just Bach concert is this Wednesday at noon. It lasts 30 minutes. Here are details

October 19, 2020
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By Jacob Stockinger

The Ear has received the following announcement about the month’s Just Bach virtual concert from co-founder and violist Marika Fischer Hoyt.

The online concert takes place at noon CDT this Wednesday, Oct. 21.

Please join us as Just Bach shares the timeless beauty of music by Johann Sebastian Bach (below) from our home in the nave of Luther Memorial Church (LCM), 1021 University Ave.

We are thrilled to participate in LMC’s weekly “Music at Midday” concert series.

As part of this virtual online series, Just Bach concerts (below) take place at NOON on the third Wednesday of each month: Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

The online programs last approximately 30 minutes instead of 60 minutes.

Because of the coronavirus pandemic, it is still too risky to have in-person audiences, so Music at Midday concerts are posted on the Luther Memorial website: https://www.luthermem.org/music-at-midday/

In addition, Just Bach concerts are posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel, where you can still hear the season’s opening concert in September. Links are below.

Viewing the concerts is FREE, but we ask those who are able to help us pay our musicians with a tax-deductible donation at https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

Just Bach co-founder and graduate student soprano at the UW-Madison Sarah Brailey (below) will provide the opening welcome remarks at this Wednesday’s program.

Our guest artists this month, the Madison-based baroque ensemble Sonata à Quattro (SAQ, below top in a photo by Barry Lewis) will perform the instrumental Sinfonia from Cantata 146, featuring organist Mark Brampton Smith (below bottom). You might recognize this as the first movement of the well-known Harpsichord Concerto in D Minor, BWV 1052.

Members of SAQ, who normally use period instruments and historically informed performance practices, will play modern instruments this time because of the organ pitch. SAQ members will continue the program with movements from the solo Cello Suite in G Major and the solo Violin Sonata in G Minor.

Sarah Brailey returns to lead the final chorale from Cantata 146, which uses the familiar tune from “Jesu, Joy of Man’s Desiring.” (You can hear “Jesu, Joy” in the YouTube video at the bottom.) 

We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the computer screen, as Mark Brampton Smith accompanies on the organ. 

We need this soul-centering music now more than ever. So we invite the music community to join us at noon this Wednesday, Oct. 21, for a wonderful program of music by J.S. Bach. 

OCT. 21 PROGRAM:

• Cantata 146: Opening Sinfonia

• Solo Cello Suite in G Major, BWV 1007: Menuets I and II, Courante

• Solo Violin Sonata in G Minor, BWV 1001: Adagio, Presto

• Cantata 146: Final chorale: Freu dich sehr, o meine Seele (Rejoice greatly, oh my soul)

Guest Ensemble: Sonata à Quattro, whose members are: Christine Hauptly Annin, violin; Nathan Giglierano, violin; Leanne League, violin; Marika Fischer Hoyt, viola; Charlie Rasmussen, cello; and Mark Brampton Smith, organ.

Sarah Brailey provides the welcome and leads the chorale.

Dave Parminter is the videographer.

Just Bach is also trying something new: a Zoom meeting at 12:30 p.m. to serve as a virtual Meet and Greet with performers and some of the artistic team, to answer questions and chat with interested viewers. Here is the link: 

Here, in order, are links to: the Just Bach webpage; the Just Bach Facebook page; and the Just Bach YouTube channel:

https://justbach.org

facebook.org/JustBachSeries

youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

 


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The Madison Bach Musicians will open its new season with a virtual online concert of Haydn and Mozart this Saturday night and Sunday afternoon

October 1, 2020
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By Jacob Stockinger

The Ear has received the following announcement, about a promising contrast-and-compare concert, from the Madison Bach Musicians:

The Madison Bach Musicians (MBM) will start its 17th season this Saturday night and Sunday afternoon, Oct. 3 and 4, with a virtual chamber music concert and livestream event featuring the irrepressibly joyous, witty and poised music of Classical-era masters Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791).

The performances features period instruments and historically informed performance practices.

See details near the bottom about the schedules and how to buy tickets.

Performers are violinist Kangwon Kim and cellist James Waldo (on gut-strung period instruments), fortepianist Trevor Stephenson, and soprano soloist Morgan Balfour — winner of the 2019 Handel Aria Competition. (Below top is Kangwon Kim; below middle is James Waldo; and below bottom is Morgan Balfour.)

The broadcast will begin with a 30-minute pre-concert lecture by MBM artistic director Trevor Stephenson (below, in a photo by Kent Sweitzer) illuminating the program’s repertoire, the lives of Haydn and Mozart, and the aesthetic aims of the period instruments.

While most of the pieces on the program are buoyant and full of celebration, the concert will begin with a pensive and melancholy work commensurate with our current pandemic times.

Mozart composed the Sonata in E minor for violin and fortepiano in 1778 at the age of 22 while on tour in Paris. His mother, who was with him on the tour, became suddenly ill and died unexpectedly. This sonata is the only piece of instrumental music Mozart ever composed in the key of E minor, and its blend of gravitas, sparseness and tenderness is heartbreakingly poignant.

Mozart’s Piano Trio in G major, composed in 1788, shows him at his sunniest and most affable, with one brilliant and catchy tune after another suspended effortlessly — at least in Mozart’s hands! ― within the balance of Classical form.

The program’s first half ends with five of Mozart’s songs. Mozart truly loved the soprano voice, and he lavished some of his greatest writing upon it. The set includes perhaps his best-known song, Das Veilchen (The Violet)―which is also, oddly enough, Mozart’s only setting of a text by the German poet Goethe.

The second half of the concert is devoted to the music of Mozart’s near contemporary, Joseph Haydn, who was just 24 years older than Mozart.

Though the two composers came from very different musical and socioeconomic backgrounds.

Haydn (below) was lower working class, rural, and musical but not professionally trained.

Mozart (below) was urban, solid middle class, musically trained, sophisticated, and ambitious.

Both managed to carve out successful careers in the fertile musical culture of Vienna and its environs. They certainly knew each other and even made music together on occasion, playing in string quartets — with Haydn on violin and Mozart on viola.

Haydn composed two sets of English Canzonettas (songs) during his visits to England during the early 1790s.

The Mermaid, with its flirtatious beckoning, stretches the confines of the parlor setting (where this music was most likely performed) and suggests a cabaret environment. Fidelity, on the other hand, stays within the parlor style, emphasizing how the bond of devotion can overcome physical separation. Haydn brilliantly interweaves stormy, naturalistic episodes with declarations of unbending loyalty.

The concert will close with Haydn’s mercurial Piano Trio No. 27 in C major. Also composed during his London visits in the 1790s, this trio is the first of a set of three dedicated to the London-based virtuoso pianist Therese Bartolozzi. The Presto finale―with its unbridled high spirits―is a supreme example of Classical Era cheeky, theatrically conceived wit. (You can hear the finale in the YouTube video at the bottom.)

SCHEDULE AND TICKETS

As a result of public health guidelines in response to Covid-19 that do not allow for an in-person audience, we will livestream our concert from Grace Episcopal Church, downtown on Capitol Square, on Saturday evening for at-home viewing. (Below are Trevor Stephenson and Kangwon Kim rehearsing in masks at Stephenson’s home.)

The event will begin with a pre-concert talk by Trevor Stephenson at 7:30 p.m., and after the 8 p.m. concert, the musicians will remain on stage to answer questions submitted by our audience.

On Sunday, starting at 3 p.m. we will rebroadcast the Saturday evening recording and follow that with a live question-and-answer session with our musicians from their homes.

After purchasing tickets for $15 per household, you will be sent a link to access the performance. The recorded lecture and video will be available for up to 72 hours after they take place.

To purchase tickets, go to: https://madisonbachmusicians.org/oct-3-4-haydn-mozart/ or to: https://madison-bach-musicians.square.site/product/haydn-mozart-oct-3-4-livestream/54?cs=true

For information about the Madison Bach Musicians’ full season, go to: https://madisonbachmusicians.org/season-overview/

 


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Season 3 of the free monthly Just Bach concerts begins at noon TODAY virtual and online. Each concert will be available for the following week. Here is the 2020-21 schedule

September 16, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the Just Bach monthly concert series – featuring singers as well as period instruments and historically informed performance practices — to post:

“We are thrilled to share the timeless beauty of Johann Sebastian Bach (below) with music lovers in Madison and beyond for another year.

“Our host venue, Luther Memorial Church at 1021 University Ave., has resumed their weekly ‘Music at Midday’ concert series: https://www.luthermem.org/music-at-midday/

“As part of this series, the one-hour Just Bach concerts will take place at noon on the third Wednesday of each month. Here are the dates for the new 2020-21 season: today Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

“Because of the coronavirus pandemic, it is still too risky to have an in-person audience. So Music at Midday concerts will be virtual and online, posted on the Luther Memorial website.

“In addition, Just Bach concerts will be posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel.

“The concert footage should be available online for at least a week following the concert. At least that is the plan.

“Viewing the concerts is FREE, but we ask those who are able, to help us pay our musicians with a tax-deductible donation.

“Today’s concert program opens with the Pastorale in F, BWV 590, performed by organist Mark Brampton Smith (below).

“Violinist Kangwon Kim (below), concertmaster and assistant artistic director of the Madison Bach Musicians, will continue, with the Partita No. 2 in D Minor, with the famous Chaconne, for solo violin, BWV 1004 (see a brief preview in the YouTube video at the bottom).

“Co-founder and violist Marika Fischer Hoyt  (below) will lead the final chorale sing-along, from Cantata 99, Was Gott tut, das isn wohlgetan (What God does, is well done).

“The chorale sheet music (below) will be displayed on the screen, and Mark Brampton Smith will accompany on the organ. Cantata 99 is a timely choice. It was composed for the 15th Sunday after Trinity, which is next Sunday, Sept. 20.

“We need this soul-centering music now more than ever. We invite the music community to join us today and other Wednesdays for a wonderful program of J.S. Bach.”

Sept. 16 program:

  • Pastorale in F, BWV 590
  • Partita in D Minor for solo violin, BWV 1004
  • Chorale: Was Gott tut, das ist wohlgetan (What God does, is well done)

Performers: Kangwon Kim, violin 1; Mark Brampton Smith, organ

For more information go to: https://justbach.org and Facebook.org/JustBachSeries

 


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Classical music: This summer the Token Creek Festival goes online. The music starts TODAY at 4 p.m. Concerts run daily through Sept. 15 and remain up for this month

September 2, 2020
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By Jacob Stockinger

The annual Token Creek Chamber Music Festival normally occurs in the final weeks of summer, just before Labor Day, in the welcoming rustic comfort of the beautifully converted barn (below) located on the rural farm property of composer John Harbison and violinist Rose Mary Harbison.

With its normal concert season canceled due to Covid-19, the festival is pleased to announce an alternative for the summer almost ended.

Slightly later than usual, “MUSIC FROM THE BARN” is a two-week virtual season, a retrospective of concert compilations from 30 years of performances.

The topical programs will be released daily over the period Sept. 1–15 at 4 p.m. (CDT), and will remain posted and available to “attendees” throughout the month. From anywhere in the world, you can revisit whole programs or individual pieces.

The goal of the series has been to achieve the broadest possible representation of repertoire and artists who have graced the Token Creek stage since the series began in 1989.

To festival-goers, it will come as no surprise that the virtual season emphasizes music of Bach, Mozart, Haydn, and Beethoven, vocal music, works by artistic director John Harbison and his colleagues, and, of course, jazz.

In addition to the welcoming beauty of the barn and festival grounds, with sparkling creek and abundant gardens and woods, and the convivial intermissions at every concert, one of the features most beloved by audiences is the concert introduction by Pulitzer Prize-winning composer, MacArthur “Genius Grant” recipient and MIT professor John Harbison (below) that begins each program. Happily, these remain a feature of the virtual season as well.

Season Schedule

Tues., Sept. 1: Welcome and introduction from the artistic directors (below and  in the link to the YouTube video at the bottom)

TODAY, Wed., Sept. 2: Founders Recital

Thurs., Sept. 3: Haydn Piano Trios

Fri., Sept. 4: Bach I: Concertos

Sat., Sept. 5: A Vocal Recital (I)

Sun., Sept. 6: Beethoven

Mon., Sept. 7: Contemporaries

Tues., Sept. 8: Early Modernists

Wed., Sept. 9: A Vocal Recital (II): Schubert and Schumann

Thurs., Sept. 10: Jazz 2003-2019

Fri., Sept. 11: Neo-classicists: Pizzetti, Martinu, Stravinsky

Sat., Sept. 12: Schoenberg and His Circle

Sun., Sept. 13: Mozart

Tues., Sept. 14: John Harbison: Other Worlds

Wed., Sept. 15: Bach II: Preludes, Fugues, Arias, Sonatas

Programs will be posted on Token Creek’s YouTube Channel, accessible from the festival website (https://tokencreekfestival.org), which will also host concert details: works, artists, program notes and other information.

All concerts are FREE and open to the browsing public.

In addition to the virtual concert season, the Token Creek Festival is pleased to release two new CDs.

A Life in Concert (below) features music written for Rose Mary Harbison by John Harbison, and performances of diverse music by the two of them. It includes the world premiere recordings of Harbison’s Violin Sonata No. 1 and Crane Sightings: Eclogue for Violin and Strings, inspired by frequent encounters with a pair of sandhill cranes at the Wisconsin farm.

Wicked Wit, Ingenious Imagination (below) offers four piano trios by Haydn, a beloved genre the festival has been surveying regularly since 2000.  CDs will be available at the festival website by mid-September.

For more information, go to: https://tokencreekfestival.org

https://tokencreekfestival.org/2020-virtual-season/welcome/#


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Classical music: This year’s virtual Bach Around the Clock proved a 10-day success. Here is a news update with a date for 2021

August 31, 2020
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By Jacob Stockinger

The Ear has received the following message from artistic director and violist Marika Fischer Hoyt (below top) about this year’s virtual Bach Around the Clock and the dates for next year’s festival when amateur and professional musicians will again celebrate the birthday of Johann Sebastian Bach (1685-1750):

Greetings! I hope this finds you well and finding ways to maintain equilibrium in these tumultuous times.

I’d like to thank you all again for making our 10-day 2020 Virtual Festival (one example is in the YouTube video at the bottom) such a success.

After the sad cancellation of our in-person festival, it was wonderful to see so many of you playing and singing Bach! It reminded me of the Dr. Seuss book; the COVID Grinch may have stolen the trappings of our festival, but we just held it anyway! (Below are members of the Suzuki Strings from a previous BATC festival.)

With the summer over, the BATC board of directors is looking ahead to next year’s festival, which will take place on Saturday, March 20, 2021. We don’t yet know what format it will take — whether in-person, virtual or some combination — but we will explore all available options.

If you have suggestions, please contact us.

Meanwhile, with so many concerts canceled, I hope you can find other ways to include music in your lives. I’ll continue posting Bach-related articles and performance links on our Facebook page

If you have the means, please consider donating to artists and ensembles whose livelihoods have vanished for the foreseeable future.

Thank you again for being part of the BATC community, and please take care.

 


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Classical music: What composer or piece of music would you like to hear once the coronavirus is contained and concert halls open again?

August 15, 2020
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By Jacob Stockinger

The news can be confusing and even contradictory about some specifics, but the general direction of reports and statistics about the coronavirus pandemic and deaths from COVID-19 is clear.

It is going to be a long haul until we safely get to go hear live music in large crowds again, just as The Ear talked about earlier this week. (Below is a photo of conductor John DeMain and the Madison Symphony Orchestra in Overture Hall.)

Here is a link to that post: https://welltempered.wordpress.com/2020/08/11/classical-music-its-clear-to-the-ear-it-will-be-at-least-another-full-year-before-music-lovers-in-the-u-s-can-safely-attend-live-concerts-what-do-you-think/

When performers finally get to play, and the concert halls finally get to open, and audiences finally get to listen in person, here is what The Ear wants to know:

What composer would you like hear?

Maybe Beethoven (below) because so much of the Beethoven Year – marking the composer’s 250th birthday this coming December – has been canceled or postponed?

Maybe Johann Sebastian Bach (below) because he just seems so basic, varied and universal?

And what specific piece of music would you like to hear?

Perhaps Beethoven’s Ninth Symphony “Choral” with its “Ode to Joy”? Or maybe the “Eroica” Symphony? Or one of the string quartets?

Perhaps the “St. Mathew Passion” or the Mass in B Minor? Maybe one or more of the cantatas?

Should the music pay homage to the suffering, loss and death – perhaps with Mozart’s “Requiem”? Or Brahms’ “A German Requiem”? Or Mahler’s “Resurrection” Symphony?

Or should the music be upbeat and joyous, like Dvorak’s “Carnival Overture” (below in the YouTube video)? Or some glittering and whirling waltzes by the Strauss family?

Is there an opera that seems especially relevant?

Would you prefer instrumental, choral or vocal music?

And what period, era or style would you prefer?

It will be great to be reacquainted with old and familiar friends. But it would also seem an ideal time to commission and perform new music.

Leave your suggestions in the Comment section with, if possible, a link to a YouTube performance to help us decide.

The Ear wants to hear.

 


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Classical music: The weeklong 21st annual Madison Early Music Festival is virtual and will be free online here and worldwide starting this Saturday

July 8, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the directors of the Madison Early Music Festival and the UW-Madison Division of the Arts to post:

Due to the coronavirus pandemic and concerns about public health for performers and audiences, the 21st annual Madison Early Music Festival (MEMF) will be virtual.

It will be held as MEMF Online! from this Saturday, July 11, through next Saturday, July 18. It can be accessed at Facebook.com/MadisonEarly or madisonearlymusic.org.

All events are FREE. Lectures and special features begin at NOON (not 11 a.m., as first listed) and concerts begin at 7 p.m. (CDT). All events will be available nationwide and internationally.

The Madison Early Music Festival is internationally recognized as a top early music festival that features music from medieval, Renaissance and baroque eras from award-winning performers and distinguished faculty.

The uncertainty of the future for the arts and MEMF is daunting, but we have persevered and put together a virtual experience to showcase the musicians and faculty members that were supposed to perform this summer.

Each ensemble prepared a special video of highlights from past performances, and other faculty members recorded lectures.

Our focus was going to be “Musical Life from the Burgundian Court,” and the videos of the Orlando Consort, Piffaro, performances and lectures by Michael Allsen and Peggy Murray reflect that theme.

The other two ensembles, Trefoil and Nota Bene, sent us live concert recordings of Trecento and Italian repertoire.

Due to the coronavirus pandemic, we are launching a fundraiser campaign to help support the artists that were to perform this season. It is critical that we help these musicians as many of them have lost substantial and irreplaceable income for the foreseeable future.

People can donate online at madisonearlymusic.org — where you can also see the concert programs — and click on the Support tab at the top of our home page. All money raised is for the MEMF musicians.

HERE IS A COMPLETE SCHEDULE OF MEMF ONLINE:

Different events will be released each day of the festival, but the content will be available after that time for later viewing.

Saturday, July 11, at 7 p.m.: Orlando Consort (below) in 15th-Century Chansons from the Library of Congress

Sunday, July 12, at 7 p.m.: Piffaro, The Renaissance Band: (below) Excerpts from Burgundian Beginnings and Beyond, Philadelphia

Monday, July 13, at noon: Michael Allsen (below), Musical Life and History at the Burgundian Court

Tuesday, July 14, at 7 p.m.: Trefoil (below): Trecento Music from Bowerbird Concert Series, Philadelphia

Wednesday, July 15, at noon: T-shirt challenge!  Post a photo wearing a MEMF T-shirt!  #MEMF2020; plus Lecture by William Hudson (below) on style in singing and ornamenting Baroque songs

Thursday, July 16, noon: Renaissance Valois Dance at the Burgundian Court, a lecture by Peggy Murray (below)

Friday, July 17, at 7 p.m.: Nota Bene viol consort (below) in Sonetti Spirituali; Italian Madrigals and Divine Poetry of the High Renaissance composed by Pietro Vinci (c.1525–1584) to settings of the poetry of Vittoria Colonna (1492-1547) Brandeis University in Boston

Saturday, July 18, at 7 p.m.: All-Festival Concert videos from previous festivals. There will be a sing-along of Pastime With Good Company! by King Henry VIII (below). It will be led by a virtual MEMF Faculty Ensemble. You can hear the popular song — also known as “The King’s Ballad” — in the YouTube video at the bottom. (You can download the music and lyrics at: https://memf.wisc.edu/annual/online-program/)

We hope to see everyone in 2021, and that a vaccine is approved to help us gather again as a community experiencing all the arts with musicians, artists and audiences — at MEMF in Madison and around the world.

 


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