The Well-Tempered Ear

Classical music: There was so much to like about the Grand Tour finale of the 2019 Madison Early Music Festival. But where were the high notes in Allegri’s legendary “Miserere”?

July 19, 2019
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By Jacob Stockinger

Fair is fair.

Before he talks about last Saturday night’s conclusion of the successful 2019 Madison Early Music Festival – which marked its 20th anniversary — The Ear has a confession to make: He generally prefers later Baroque music and he generally prefers instrumental music to vocal or choral music.

That said, he nonetheless had a memorable and very enjoyable time on the “Grand Tour” during the well-attended All-Festival concert. There was so much to like and to admire.

The concert used the conceit of a Grand Tour by a composite 17th-century traveler going to London, Venice, Rome, Naples, Paris and Dresden to take in the local sights and local music, and included lesser-known composers such as William Lawes and William Child as well as such famous figures as Claudio Monteverdi, Giovanni Gabrieli , Jean-Baptiste Lullyand Heinrich Schütz.

Like most journeys, this one – once again assembled in an ingenious scissors-and-paste job by early music specialist Grant Herreid (below) – had many entertaining and uplifting moments.

But it also had one big disappointment.

The Ear really looked forward to hearing a live performance  of the famous “Miserere” by Gregorio Allegri (below) as a high point. But those haunting, ultra-high descant notes that give you goosebumps and that you never forget hearing just never materialized.

Maybe it had to do with the different ornamentation that the MEMF forces used. Maybe it was based on a different manuscript or score. Maybe there was no one capable of singing those spellbinding and unforgettable high notes.

Whatever the reason, The Ear’s hope for a live performance of the dramatic and iconic work were dashed and the famous, even classic, recorded versions – the 1980 recording by the Tallis Scholars is heard in the YouTube video at the bottom — remain for him the unsurpassed standard.

The evening also had its ironies. That same night on the NBC TV news The Ear saw a story about “overtourism” in Europe and China. Venice, for example, has now shrunk to only about 50,000 unhappy residents who put up with some 20 million tourists a year.

But centuries ago, travel was a rare and exotic luxury of the wealthy and well-educated, not an affordable indulgence or curiosity by ever-expanding middle classes. And this metaphorical trip proved an ideal vehicle to sample 16th- and 17th-century music in England, France, Germany and Italy.

Combining high culture and low, Herreid chose witty and detailed travelogue texts that gave the audience the rich flavor of various cultures at the time.

Details mattered to the four sharp-eyed travelers on which this tour was based. So as “our hero” wandered, we got to hear about the “libidinous ladies” of Naples and the musical talented courtesans of Venice as well as the richly attired archbishop of Paris attending a feast day service in the newly finished Notre-Dame cathedral.

Such descriptions were well delivered by unnamed narrators (below) from the chorus and proved a refreshingly earthy and entertaining counterpoint to the more serious spiritual and religious music of the era.

Another big satisfaction was the exceptional quality of the ensemble playing – exhibited even in large amounts of less interesting music — by the many singers and instrumentalists on the stage of Mills Hall, and, at one point, in the hall’s balcony.

Whether the players and singers were conducted by Herreid or by assistant conductor Jerry Hui — a UW-Madison graduate who is now a tenured professor at UW-Stout — the music sounded tight, authentic and expressive.

As for more superficial pleasures, it is great visual fun watching such early versions of modern string, wind and percussion instruments being played — trombone-like sackbuts, oboe-like shawms, flute-like recorders and lute-like theorbos. (Below are cello-like viols.)

The players, both faculty and students, were particularly convincing on their own in the sound painting done to depict battle scenes and political upheaval. And who will ever forget the surprise of loud foot-stomping by all the performers and conductor?

Herreid was absolutely spot-on to keep the program to about 80 minutes with no intermission. It helped the audience stay in the spirit of the Grand Tour and added cohesion to the program.

The Grand Tour, in short, proved outstanding in concept and excellent in execution.

But was The Ear alone in missing to those high notes?


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Classical music: The Madison Early Music Festival’s 20th anniversary Grand Tour includes a silent movie and rare books as well as lots of varied music to mark its success after 20 years. Part 2 of 2

July 6, 2019
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By Jacob Stockinger

A big anniversary deserves a big celebration – and that is exactly what the organizers of this year’s Madison Early Music Festival, which is marking its 20th year, have come up with.

All concerts include a pre-concert lecture at 6:30 p.m. The concerts begin at 7:30 p.m.

Here’s the link for all the information about MEMF: https://memf.wisc.edu/

Tickets are $90 for an all-event pass. Individual concerts are $22, $12 for students. Tickets are available for purchase online and by phone at 608-265-ARTS (2787) with a $4 service fee; or in person at the Campus Arts Ticketing Box Office @ Memorial Union.

Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A for this blog. Yesterday she spoke about the overall concept and the first weekend’s concerts. Here is a link to Part 1:

https://welltempered.wordpress.com/2019/07/05/classical-music-the-madison-early-music-festival-will-present-a-grand-tour-of-musical-styles-a-movie-and-rare-books-to-mark-its-success-after-20-years-the-tour-starts-this-saturda/

Here is Part 2 of 2:

What events take place next week?

The concert on Tuesday, July 9, is going to be a unique experience for MEMF audiences. HESPERUS creates the soundtrack for the 1923 silent film “The Hunchback of Notre Dame” with music (below) from 14th- and 15th-century France. (The cathedral was started in 1163 and finished in 1345.)

Compositions include French and Burgundian music from 1300 to 1500, featuring Guillaume de Machaut, Jehan l’Escurel, Guillaume Dufay, as well as lesser-known composers such as Vaillant, Morton and Borlet.

On Friday, July 12, the vocal ensemble Calmus (below) performs “Faith and Madness,” a program of a dialogue between sacred music masterpieces followed by madrigals that portray madness, love, war and loneliness.

Composers include Giovanni Pierluigi da Palestrina, Heinrich Schütz, Claudio Monteverdi, Carlo Gesualdo, Clement Janequin and others.

All of the singers are graduates of Leipzig’s renowned St. Thomas Church Choir School. Calmus was founded in 1999. This a cappella quintet embodies the rich choral tradition of its hometown, the city associated with Johann Sebastian Bach and Felix Mendelssohn.

To hear a preview of their arrangement of Bach’s “Nun komm, der Heiden Heiland,” BWV 659, visit: https://youtu.be/WNzzUU0GcF4

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 13?

The All-Festival Concert includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project. Grant Herreid (below) has created the All-Festival program this year. Grant is a genius at designing a program that tells a musical story featuring MEMF’s faculty and participants.

“Musical Postcards from The Grand Tour” features a narrator, loosely based on Thomas Coryat (below, at sea and in the Alps), the English 17th-century century travel writer, who, as a young man, travels throughout Europe in search of music. Beginning in London, 1641, the musical itinerary continues to Venice, Rome, Naples, Dresden, Paris, and back to London.

The program features so many wonderful composers, and the large ensemble pieces are: the Gloria from Monteverdi’s Selva morale et spirituale; the beautiful Miserere of Gregorio Allegri; Nun danket alle Gott by Heinrich Schütz; Domine salvum fac regem setting by Jean-Baptiste Lully; and, as an ending, This point in time ends all your grief from Ye tuneful muses by Henry Purcell.

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything! The concert series, lectures and workshops have so much to offer.

The special moments that I’m looking forward to are singing in the All-Festival concert and performing Allegri’s  Miserere,a stunning piece that I have never heard performed in Madison. (You can hear it in there YouTube video at the bottom.)

I also look forward to hearing the fantastic musical soundtrack created by HESPERUS for the silent movie “The Hunchback of Notre Dame” and the Calmus singing connection back to Bach through their musical education in Leipzig, plus experiencing all the different travelogues of the past as they come to life through narrations and music.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Grand Tour Dance Excursions, at the Memorial Union in the Great Hall on Thursday, July 11, at 7:30 pm. https://memf.wisc.edu/event/07-11-2019-2/

The lecture series features some well-known Madisonians like J. Michael Allsen (below top), who writes program notes and lectures for the Madison Symphony Orchestra and Maria Saffiotti Dale (below bottom), curator at the Chazen Museum of Art.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library. This curated display includes materials about the Grand Tour, including one of the oldest travelogues from 1611 written by Thomas Coryat.

The exhibit will be in the lobby of Memorial Library (below) and open to the public from Saturday, July 6, through Thursday, July 18, with a special talk about the exhibit during the festival on Monday, July 8, at 11:30 a.m.

This partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

In 1611 Thomas Coryat, the author of the travelogue Crudities foretold what you will hear at MEMF in 2019:

“…I heard the best musicke that ever I did in all my life…so good that I would willingly goe an hundred miles a foote at any time to heare the like…the Musicke which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that never heard the like”.

Get your tickets for the concert series. Attend the lectures. Take some classes. See a movie. Come and dance with us. Join us to experience the ultimate musical gap year at our 20th anniversary celebration!


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Classical music: As Pride month comes to an end, let us proudly recall LGBTQ classical composers and musicians. Plus, you hear a concert of queer composers and performers

June 30, 2019
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By Jacob Stockinger

This past weekend, this whole past month, the Rainbow flags (below) have been flying openly and high.

We saw all sorts of major Pride parades for LGBTQ rights as well as the 50th anniversary of the riots at the Stonewall Inn in New York City that eventually gave birth  to a worldwide movement to ensure that queer people receive the human rights they deserve.

Since today is the last day of June, of Pride month, it seems fitting to recall the many LGBTQ composers and performers in classical music.

The gay rights movement has opened the closet doors not only of individual lives today but also of historical figures.

So here are several lists that may teach you something new about gay, lesbian, bisexual, transgender and queer musicians.

Some of the calls seem iffy, unconvincing or overstated. Beethoven, Schubert and Chopin, for example, lived when homoerotic friendship did not necessarily mean a queer sexual identity. But one way or the other, historical proof and documentation can be hard to come by. And clearly there is much more to know about the past.

But take a look. At least you will see how scholars are undertaking new research and often undermining the heterosexual assumption that has wrapped so many historical and even contemporary figures in wrong or mistaken gender identity.

And if you find someone missing, please leave the name and appropriate information in the comment section.

Freedom, acceptance and respect are not zero-sum games in which one person or group can win only if another one loses. There is enough of each to go around. All can celebrate pride.

So enjoy the information, whether it is new or not, and the respect it should inspire for the central role of LGBTQ people in the arts both past and present.

Here is a pretty extensive and comprehensive list, in alphabetical order, from Wikipedia of LGBT composers, both living and dead. It includes Chester Biscardi (below) who did graduate work at the University of Wisconsin-Madison and Pauline Oliveros who did a residency at the UW-Madison several years ago. You don’t have to click on each name. Just hover the cursor arrow over the name and you will see a photo and biographical blurb.

https://en.wikipedia.org/wiki/Category:LGBT_composers

And here is a list, also in alphabetical order and also from Wikipedia, of LGBT musicians and performers, not all of them classical. It works by clicking on sub-categories that include nationality – though one wonders if musicians from extremely homophobic countries and cultures are included.

https://en.wikipedia.org/wiki/Category:LGBT_musicians

Here is a more selective list from The Advocate, an LGBTQ magazine, of 18 queer composers — including Corelli — who made history and you should know about:

https://www.advocate.com/arts-entertainment/2017/2/08/18-queer-composers-who-made-music-history?pg=full

And here is a similarly selective list from radio station WFMT in Chicago of 15 LGBT composers — including Handel and Lully — you should know about:

https://www.wfmt.com/2015/06/25/15-queer-composers-know/

And in the YouTube video at the bottom is a Pride concert — 1 hour and 43 minutes long — recently held in New York City at the Greene Space, and hosted and recorded by radio stations WQXR and WNYC.

It features music by queer composers and performances by queer artists. Metropolitan Opera star Anthony Roth Constanzo performs. Also playing are pianists Steven Blier and Sara Davis Buechner, who have performed with the Madison Symphony Orchestra and the Token Creek Chamber Music Festival, respectively. The New York Gay Men’s Chorus sings. The Ear found the concert timely and moving.

If you have questions, comments or additional names, please do leave word in the comment section.

Happy Pride!

The Ear wants to hear.


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Classical music: Here are classical music winners — and nominees — of the 61st annual Grammy nominations for 2019.

February 17, 2019
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By Jacob Stockinger

This should have come out sooner since the Grammy Awards (below) were given out a week ago. But it has been such a busy week for Iive music in Madison – as will next week be – that this was the first occasion to post them.

In any case, for all their insider shortcomings they are a matter of interest to many, and can be helpful in understanding the contemporary classical scene and new music as you build your own playlists and recording library.

There are some points of interest including the fact that two Grammys were won by Canadian violinist James Ehnes for his performance of the Violin Concerto by the contemporary composer Aaron Jay Kernis.

Ehnes (below) is in town this weekend to play the Violin Concerto by Johannes Brahms with the Madison Symphony Orchestra (the last performance is this afternoon at 2:30 p.m. in Overture Hall. The Ear hopes he might return to perform the Kernis concerto with MSO.

Also, Apollo’s Fire, which won in the Best Solo Vocal category, will perform Baroque music by Johann Sebastian Bach, Antonio Vivaldi and Marco Uccellini at the Wisconsin Union Theater on Saturday, March 30.

Finally and unfortunately, some Madison nominees — including retired UW-Madison flute professor Stephanie Jutt and her co-director of the Bach Dancing and Dynamite Society pianist Jeffrey Sykes — got edged out in the Producer category, as did retired UW professor James P. Leary for his liner notes to “Alpine Dreaming.”

 In the orchestra category is John Harbison — who is in town marking his 80th birthday with many events, including the world premiere tonight at the W-Madison of his Sonata for Viola and Piano. In the Chamber Music category, Canadian pianist Marc-André Hamelin will solo in concertos by Maurice Ravel and Richard Strauss with the Madison Symphony Orchestra on April 12-14. 

Look at the winners carefully. Clearly, the recording industry is, by and large, skipping over the usual classical masters such as Bach, Beethoven and Brahms to focus instead on living composers and contemporary music or stories relevant to our times, such as the opera by Mason Bates about the late Apple wizard Steve Jobs.

One major exception is the third Grammy in a row for the cycle of symphonies by the famed Russian composer Dmitri Shostakovich being done by the Latvian-born conductor Andris Nelsons and the Boston Symphony Orchestra.

Here are the nominees and winners – the latter marked with an asterisk, a photo and the word WINNER — for the 61st Grammy Awards. Leave a comment with wa you think of the nominees and winners.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES. Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds).

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

*WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS. Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)

* WINNER — BLANTON ALSPAUGH (below)

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei)
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
    • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
    • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
    • Presentiment (Orion Weiss)
    • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus) 

ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
    • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

  • Beethoven Unbound (Llŷr Williams)
    • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
    • Bolcom: Piano Music (Various Artists)
    • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
    • Love Comes In At The Eye (Timothy Jones, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)
    • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
    • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
    • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
    • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
    • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
    • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)
  1. Best Orchestral Performance Award to the Conductor and to the Orchestra
  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) 
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony) 
  • RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)
  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas, conductor (San Francisco Symphony) 
  • * WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor (Boston Symphony Orchestra)

 76.  Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers) 
  • * WINNER –BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 
  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir) 
  1. Best Choral Performance. Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 
  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • * WINNER — MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing) 
  • RACHMANINOV: THE BELLS. Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 
  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  1. 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.
  • * WINNER — ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet 
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Aizuri Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS. Leif Ove Andsnes & Marc-André Hamelin
  • VISIONS AND VARIATIONS. A Far Cry 

  1. Best Classical Instrumental Solo. Award to the Instrumental Soloist(s) and to the Conductor when applicable. 
  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang; Simon Rattle, conductor (Berliner Philharmoniker) 
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque) 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • * WINNER — KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)
  1. 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.
  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble 
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles) 
  • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist 
  • * WINNER — SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles
  •  
  1. 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. 
  • * WINNER — FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer 
  1. 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.
  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • * WINNER — KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis (below top), composer (James Ehnes, Ludovic Morlot & Seattle Symphony). You can hear the first movement in the YouTube video at the bottom.
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. 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.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. 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. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. 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.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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