The Well-Tempered Ear

Should the 1812 Overture be played this Fourth of July?

May 2, 2022
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By Jacob Stockinger

The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.

The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.

For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square

An asterisk says programs are subject to change.

Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud  1812 Overture, be played again this year?

It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources. 

But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program. 

It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.

After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).

So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?

As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)

Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture

Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).

What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?

Do you have a suggestion?

The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?

Meanwhile, as comedian Stephen Colbert likes to say: What do you think?

Should the “1812 Overture” be played on this Fourth of July?

Why?

Or why not?

The Ear wants to hear.

 


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The famed International Tchaikovsky Competition has been expelled from the World Federation of International Music Competitions

April 25, 2022
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By Jacob Stockinger

One of the granddaddies of all international music competitions — probably the best known and most prestigious — has been disowned.

The International Tchaikovsky Competition — the one that catapulted the young American pianist and first winner Van Cliburn (below, during the competition) to worldwide fame during the height of the Cold War, for which he received the only ticker tape parade in New York City ever given to a musician — has been expelled from the World Federation of International Music Competitions, which was founded in 1957 and represents 110 music competitions and programs to help young musicians build a career.

The move comes in response to recent events in Ukraine — including alleged Russian war crimes during its brutal, deadly and unprovoked invasion.

The famed Tchaikovsky Competition — which started in 1958 and is now for pianists, violinists, cellists, vocalists as well as woodwind and brass players — is held in Moscow and St. Petersburg and is financed and organized by the Russian government. It has launched the careers on many great musicians.

It is co-chaired by the discredited Russian conductor Valery Gergiev  (below right, in 2014), a close friend and avid supporter of Russian President Vladimir Putin (below left) and of the conflict in Ukraine.

The expulsion came about because the Tchaikovsky Competition refused to condemn the Russian invasion, as the federation requested.

Here is a link to the story that was published on the website Classical Music, an online publication of the BBC Music Magazine. It contains background on both the competition and the current state of affairs regarding Russian musicians and the Russian conflict in Ukraine. It has a lot of noteworthy links:

https://nam12.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.classical-music.com%2Fnews%2Finternational-tchaikovsky-competition-expelled-from-world-federation-of-international-music-competitions%2F&data=05%7C01%7C%7C6c24b49a0d734e9d8cba08da23b1b885%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C637861543449919994%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=RO2i3yy3HKXFxzEBotr4wTvrEONBM0%2FqUjxqt5CPhQc%3D&reserved=0

And here is the response from the organizers of the Russian competition, which takes place every four years. The 16th competition was held in 2019, and the 17th is still scheduled for 2023. (The announcement of the 2019 piano winners — by the Russian former piano winner Denis Matsuev, who has been boycotted because of Ukraine — is in the YouTube-Medici.TV video at the bottom.)

The response — which accuses the federation of “persecuting” Russian musicians and promises that it will be held as usual and remain open to contestants worldwide — is posted on the competition’s website:

https://tchaikovskycompetition.com/en/news/415.htm

It makes one wonder what the effects on the next Tchaikovsky competition will be.

Will potential jurors outside Russia boycott the competition?

Will non-Russian contestants — with the exception perhaps on Chinese and Belarusian performers — avoid participating?

And what will be the effect on the inaugural Rachmaninoff Competition for pianists, composers and conductors that is scheduled to take place this June in Moscow?

What do you think?

Is it the right call by the international federation?

Or the wrong call?

Why do you think so?

The Ear wants to hear.

 


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Ukraine’s most famous living composer is now a war refugee in Germany

April 2, 2022
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By Jacob Stockinger

He fights and defends his native country with beautiful sounds.

Ukraine’s most famous living composer has had to flee his war-torn country and — like some 3 million fellow Ukrainians in various other countries — is now living as a a war refugee in Germany. 

He is Valentin Sylvestrov (below), 84, and has survived both World War II and the Nazi occupation as well as the Soviet rule experiencing democracy and freedom after the fall of the USSR and now the devastating Russian invasion five weeks ago.

The irony is that his music, which The Ear can’t recall ever hearing performed live in Madison — although Wisconsin Public Radio recently featured a beautiful choral work — seems calming and peaceful, even consoling.(Please correct me if I am mistaken.) Many people compare him to the style of Arvo Pärt, his Eastern European contemporary and colleague in Estonia.

Little wonder that his works have found a new popularity in worldwide concerts as the world hopes for the survival and victory of Ukraine — below is Ukraine’s flag — over Vladimir’s Putin’s army and war crimes. 

His works have been particularly popular at fundraisers and memorials. They underscore the long history and importance of Ukraine’s tradition of making music, which has been recounted in the news features you find in the press, on TV, on radio and elsewhere in the media including live streams and recorded videos other media, especially the Internet.

As far as The Ear can tell, his most popular work in the concert hall these days is his hauntingly beautiful 1937 “Prayer for Ukraine.” You can hear it, in  an orchestra version, in a YouTube video at the bottom.

As background here are two different interviews with the distressed and saddened Sylvestrov in exile.

The first interview, from The New York Times, is by a professor at Arizona State University who has published a book on postwar Eastern European composers and offers links to more works: https://www.nytimes.com/2022/03/30/arts/music/valentin-silvestrov-ukraine-war.html

The other interview is from the German media outlet Deutsche Welle, translated into English and featuring current photos: https://www.dw.com/en/ukrainian-composer-valentin-silvestrov-what-are-you-kremlin-devils-doing/a-61158308

The tragic occasion of the war in Ukraine could be the event that brings the soul-stirring music of Sylvestrov to a larger global public. 

He certainly deserves it — along with some live performances here — and The Ear certainly plans on posting more of his music.

Have you heard the music of Valentin Sylvestrov?

Do you have favorite works from his piano music, chamber music, choral music and many symphonies?

The Ear wants to hear.

 


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The Pro Arte Quartet plays the fourth installment of its FREE Beethoven string quartet cycle online TONIGHT at 7:30 CDT

October 23, 2020
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By Jacob Stockinger

The historic Pro Arte Quartet, in residence at the University of Wisconsin-Madison’s Mead Witter School of Music, will perform the fourth installment of its FREE Beethoven string quartet cycle TONIGHT — Friday, Oct. 23 — at 7:30 p.m. CDT. (It should be posted for about a day, but will not be archived due to copyright considerations.)

Because of the coronavirus pandemic, the live concert will take place online and will be live-streamed without an audience from the Mead Witter Foundation Concert Hall in the new Hamel Music Center.

You can stream it live from https://youtu.be/IhmNRNiI3RM

The whole series of concerts are part of the Pro Arte Quartet’s yearlong retrospective to celebrate the Beethoven Year. This December marks the 250th anniversary of the birth of the composer (below).

Members of the Pro Arte Quartet (below, in a photo by Rick Langer) are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

A pre-concert lecture by UW-Madison musicology Professor Charles Dill (below, in a photo by Katrin Talbot) starts at 7:30 p.m. CDT.

The program consists of one early and one late quartet: the string Quartet in C Minor, Op. 18 No. 4 (1798-1800), and you can hear the first movement played by the Dover Quartet in the YouTube video at the bottom; and the String Quartet in E-Flat Major, Op. 127 (1825).

The Pro Arte Quartet is one of the world’s most distinguished string quartets. Founded by conservatory students in Brussels in 1912, it became one of the most celebrated ensembles in Europe in the first half of the 20th century and was named Court Quartet to the Queen of Belgium.

Its world reputation blossomed in 1919 when the quartet (below, in 1928) began the first of many tours that enticed notable composers such as Bartok, Barber, Milhaud, Honegger, Martin and Casella to write new works for the ensemble.

The Pro Arte Quartet performs throughout the United States, Europe, and Asia and continues to champion both standard repertoire and new music.

Since being stranded in the U.S. when Belgium was invaded by Hitler and the Nazis in World War II, the group is an ensemble-in-residence at the Mead Witter School of Music and resident quartet of the Chazen Museum of Art.

The quartet, the longest active string quartet in the history of music, has performed at the White House and, during the centennial celebration, played for the King’s Counselor in Belgium.

Recent projects include the complete quartets of Bartok and Shostakovich and, in collaboration with the Orion and Emerson String Quartets, the complete quartets of Beethoven.

Regular chamber music collaborators that perform with Pro Arte include Samuel Rhodes and Nobuko Imai, viola; Bonnie Hampton, cello; and the late Leon Fleischer and Christopher Taylor, piano. 

Together since 1995, the quartet has recorded works of Mendelssohn, Dvorak, Rhodes, Shapey, Sessions, Fennelly, Diesendruck, Lehrdahl and the centennial commissions.

For more information and background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-iv/

For more about the challenges and modifications – including wearing masks and social distancing — of doing the Beethoven cycle for the virtual online performances and about the other dates and programs in the cycle, go to: https://welltempered.wordpress.com/2020/09/29/classical-music-uw-madisons-pro-arte-quartet-to-resume-its-free-beethoven-cycle-virtual-and-online-this-friday-night-with-two-other-programs-this-semester/

 


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Classical music: This Friday night, Nov. 22, the UW-Madison’s Pro Arte Quartet begins its 14-month complete cycle of Beethoven’s 16 string quartets. Here are programs and information about the six concerts

November 19, 2019
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By Jacob Stockinger

As you might have already heard, 2020 is a Beethoven Year. Musicians are already marking the 250th anniversary of the birth of Ludwig van Beethoven (1770-1827, below).

One of the big local events – unfolding over the next 14 months — is that the University of Wisconsin-Madison’s acclaimed Pro Arte Quartet will perform a complete, six-concert cycle of Beethoven’s 16 string quartets, which are considered to be a monumental milestone in chamber music and in the development of the genre.

They encompass the styles of Beethoven’s early, middle and late periods, and often served as an experimental laboratory for musical ideas he used on other works. Each of the Pro Arte’s programs wisely features works from different periods, which makes comparisons and differences easier to understand. (You can hear Beethoven biographer Jan Stafford discuss the late quartets in the YouTube video at the bottom.)

For more about Beethoven’s string quartets, go to: https://en.wikipedia.org/wiki/Category:String_quartets_by_Ludwig_van_Beethoven

A Beethoven cycle is also what originally brought the Pro Arte Quartet from Belgium — where it was founded by students at the Royal Conservatory in 1912 — to Madison, where they performed it at the Wisconsin Union Theater in 1940. In fact, they were in the process of performing the cycle when they heard that their homeland of Belgium has been invaded by Hitler and the Nazis, and they could not go home.

Stranded here by World War II, they were offered a chance to be artists-in-residence at the UW-Madison. They accepted — and the quartet has remained here since, becoming the longest performing quartet in music history.

For more about the history of the Pro Arte (below, in 1928), go to: https://www.music.wisc.edu/pro-arte-quartet/

Current members of the Pro Arte Quartet (below from left, in a photo by Rick Langer) are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

PROGRAM I: Friday, Nov. 22, 8 p.m. in Collins Recital Hall

String Quartet in G Major, Op. 18, No. 2 (1798-1800)

String Quartet in F Minor, Op. 95 “Serioso” (1810)

String Quartet in B-Flat Major, Op. 130 (1825-6)

 

PROGRAM II: Friday, Feb. 28, 8 p.m., Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 18, No. 1 (1798-1800)

String Quartet in E-Flat Major, Op. 74 “Harp” (1809)

String Quartet in C-Sharp Minor, Op. 131 (1826)

 

PROGRAM III: Thursday, April 16 (NOT April 23, as was mistakenly listed in a press release), 7:30 p.m., Mead Witter Foundation Concert Hall

String Quartet in D Major, Op. 18, No. 3 (1798-1800)

String Quartet in E Minor, Op. 59, No. 2 (1806)

String Quartet in E-Flat Major, Op. 127 (1825)

PROGRAM IV: Friday, Oct. 2, 2020, 8 p.m., Mead Witter Foundation Concert Hall

String Quartet in A Major, Op. 18, No. 5 (1798-1800)

String Quartet in C Minor, Op. 18, No. 4 (1798-1800)

String Quartet in A Minor, Op. 132 (1825)

 

PROGRAM V: Friday, Nov. 20, 2020, 8 p.m., Mead Witter Foundation Concert Hall

String Quartet in B-Flat Major, Op. 18, No. 6 (1798-1800)

String Quartet in F Major, Op. 135 (1826)

String Quartet in C Major, Op. 59, No. 3 (1806)

 

PROGRAM VI: Saturday, Jan. 30, 2021, 8 p.m., Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 59, No. 1 (1806)

String Quartet in B-Flat Major, Op. 130 with the Great Fugue Finale, Op. 133 (1825)

 


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

September 21, 2019
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By Jacob Stockinger

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

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

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

Here is a partial round-up:

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

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

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

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

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

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

Here are some other Beethoven dates to keep in mind:

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

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

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

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

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

There is one very conspicuous absence.

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

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

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

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

What Beethoven would you like to hear live?

What are your most favorite or least favorite Beethoven works?

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

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


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