The Well-Tempered Ear

Starting TODAY, the First Unitarian Society of Madison offers three free, online mini-concerts at noon on Fridays to celebrate Women’s History Month

March 12, 2021
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By Jacob Stockinger

The Ear has received the following announcement to post about three free, online mini-concerts to celebrate Women’s History Month through the Friday Noon Musicales at the First Unitarian Society of Madison.

The concerts start today:

UPCOMING PERFORMANCES

•   To celebrate Women’s History Month, the First Unitarian Society of Madison will present three Friday Noon Musicales during March. 

•   All three will be guest produced by Iva Ugrcic. 

•   Iva Ugrcic (below) is Founding Artistic Director of the Madison-based LunART Festival, which supports, inspires, promotes and celebrates women in the arts.  

•   Each program will feature highlights from past LunART Festival performances.

•   Each program will be approximately 45 minutes long.

DATES AND PROGRAMS

Each video will become available at noon on the indicated date, and will remain available for viewing in perpetuity.

This Friday, March 12 — Works by living composers Jocelyn Hagen, Salina Fisher and Missy Mazzoli (below top), as well as Romantic-era composer Clara Schumann (below bottom, Getty Images).  Specific titles are not named.

Performers include: Iva Ugrcic, flute; Matthew Onstad, trumpet; Tom Macaluso, trombone; Elena Ross and Todd Hammes, percussion; Kyle Johnson, Jason Kutz, Satoko Hayami and Yana Avedyan, piano; Beth Larson and Isabella Lippi, violin; Karl Lavine, cello (below); ARTemis Ensemble.

Friday, March 19 — Works by living composers Linda Kachelmeier, Elsa M’bala, Doina Rotaru (below top) and Eunike Tanzil, as well as Medieval mystic Hildegard von Bingen (below bottom) and Romantic-era Fanny Mendelssohn-Hensel. Specific works are not named. (In the YouTube video at the bottom, you can hear flutist Iva Ugrcic play Doina Rotaru’s haunting “Japanese Garden.”)

Performers include: Iva Ugrcic, flute; Jose Ignacio Santos Aquino, clarinet; Midori Samson, bassoon; Breta Saganski and Dave Alcorn, percussion; Satoko Hayami (below), Jason Kutz and Eunike Tanzil, piano; ARTemis Ensemble

Friday, March 26 — Alexandra Olsavsky, Edna Alejandra Longoria, Kate Soper and Jenni Brandon as well as post-Romantic era American composer Amy Beach (below bottom). Specific pieces are not named. 

Performers include: ARTemis Ensemble; a string quartet with violinists Isabella Lippi and Laura Burns, violist Fabio Saggin, and cellist Mark Bridges (below); Jeff Takaki, bass; Vincent Fuh and Kyle Johnson, piano; Jennifer Lien, soprano; Iva Ugrcic, flute.

THREE OPTIONS FOR ATTENDING

•   Website — https://www.fusmadison.org/musicales

•   Facebook — https://www.facebook.com/fusmadison

•   YouTube — https://www.youtube.com/fusmadison > “Playlists” > “Music at FUS”

ABOUT THE “FRIDAY NOON MUSICALES” RECITAL SERIES

•   The Friday Noon Musicales at First Unitarian Society is a free noon-hour recital series offered as a gift to the community. 

•   Founded in 1971, 2020-2021 is the series’ 50th season. 

•   The series has featured some of the finest musicians in the Midwest, who flock to perform in the Frank Lloyd Wright-designed Landmark Auditorium.

•   The music performed is mostly classical, but folk, jazz and musical theater styles are presented on occasion.

•   During the pandemic, the Musicales have largely been on hiatus.

JUSTICE AND MUSIC INITIATIVE (JAM)

•   The Justice And Music Initiative (JAM) at the First Unitarian Society of Madison represents a commitment to more socially equitable and earth-friendly music practices. 

•   This commitment includes music performed on our campus, both for worship and non-worship events. 

•   To help achieve our goal, we recognize and celebrate recognition days and months with our musical selections, such as Hispanic Heritage Month (9/15–10/15), LGBT History Month (October); Native American Indian Heritage Month (November), Black History Month (February), Women’s History Month (March), and African-American Music Appreciation Month (prev. Black Music Month; June).


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Which classical composer has helped you the most during the Covid-19 pandemic?

January 4, 2021
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By Jacob Stockinger

The holidays are over and as we close in on marking a year of the coronavirus and COVID-19 pandemic, The Ear has a question:

Which composer has helped you the most to weather the pandemic so far?

The Ear wishes he could say Bach, Haydn, Mozart, Beethoven, Schubert, Chopin or Brahms. And the truth is that they all played a role, some more than others.

But The Ear was surprised by the composer whose works he most listened to and liked — Antonio Vivaldi (below), the Red Priest of Venice who lived from 1678 to 1714 and taught at a Roman Catholic girls school.

Here is more about his biography, which points out that his work was neglected for two centuries and began being rediscovered only in the early 20th-century and still continues being rediscovered to the present day: https://en.wikipedia.org/wiki/Antonio_Vivaldi

The Ear isn’t talking about popular The Four Seasons although that set of 12 solo violin concertos has its charms and originalities.

The Ear especially appreciated the lesser-known concertos for two violins and the cello concertos, although the concertos for bassoon, flute, recorder, oboe, lute, trumpet and mandolin also proved engaging, as did the concerto grosso.

It was the 20th-century composer Igor Stravinsky (below) – the modern pioneer of neo-Classicism — who complained that Vivaldi rewrote the same concerto 500 times. “Vivaldi,” Stravinsky once said, “is greatly overrated – a dull fellow who could compose the same form many times over.”

But then did anyone turn to Stravinsky – who, The Ear suspects, was secretly envious — when they needed music as medicine or therapy during the pandemic? 

Vivaldi was, in fact, a master. See and hear for yourself.  In the YouTube video at the bottom, you can hear a performance of Vivaldi’s Concerto Grosso in G minor, RV 535,  performed by the Akademie für Alte Musik Berlin.

Why Vivaldi? You might ask.

Well, it’s nothing highbrow.

The best explanation is that Vivaldi’s music simply seems like caffeine for the ears and sunshine for the eyes. His music isn’t overly introspective or glum, and it isn’t too long or melodramatic.

The melodies and harmonies are always pleasing and energizing, and the tempi are just right, although bets are that the music is much harder to play than it sounds.

In short, Vivaldi’s extroverted music is infectious and appealing because it just keeps humming along — exactly as those of us in lockdown and isolation at home have had to do.

Happily, there are a lot of fine recordings of Vivaldi by period instrument groups from England, Italy and Germany and elsewhere that use historically informed performance practices. But some the most outstanding recordings are by modern instrument groups, which should not be overlooked.

With a few exceptions – notably Wisconsin Public Radio – you don’t get to hear much Vivaldi around here, especially in live performances, even from early music and Baroque ensembles. If you hear Vivaldi here, chances are it is The Four Seasons or the Gloria. Should there be more Vivaldi? Will we hear more Vivaldi when live concerts resume? That is a topic for another time.

In the meantime, The Ear wants to know:

Which composer did you most listen to or find most helpful throughout the pandemic?

Leave your choice in the comment section with, if possible, a YouTube link to a favorite work and an explanation about why you liked that composer and work.

The Ear wants to hear.

Thank you and Happy New Year!

 


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The New York Times music critics suggest 10 must-hear online classical concerts during December

November 30, 2020
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By Jacob Stockinger

Tomorrow is Dec. 1, 2020.

Lately, at the end of every month the music critics for The New York Times publish a list of 10 virtual and online classical concerts for the following month that they think deserve special attention.

Often – but not always — their choices feature the unusual: new music and world premieres; neglected repertoire; and lesser-known performers that most of us are not likely to hear locally.

The December choices, for example, include an oratorio “Perle Noire” (Black Pearl), by composer Tyshawn Sorey, about the famous African-American, Paris-based expat dancer Josephine Baker – she of the banana skirt (below). But she was more than just  a risqué dancer and entertainer. She fought in the French Resistance movement against the Nazis and was a civil rights champion.

But this list also includes seasonal fare such the holiday tradition by which the Chamber Music Society of Lincoln Center performs in one night all six Brandenburg Concertos by Johann Sebastian Bach (you can hear an excerpt in the YouTube video at the bottom); and other holiday celebrations such as a concert by the early music vocal group Tenet (below, in a photo by Nan Melville.)

But those suggestions do not take away from more local efforts and performances. 

The Ear is certain that those same critics would approve of supporting local musicians and music groups during the coronavirus pandemic. 

And there are many local offerings. The Madison Symphony Orchestra, the Wisconsin Union Theater, the University of Wisconsin-Madison’s Mead Witter School of Music, the Madison Bach Musicians and Just Bach all have virtual online concerts scheduled for December.

You can check out their offerings at their websites and here on this blog as the month unfolds.

But if the Times’ choices interest you – and they should — here is a link: https://www.nytimes.com/2020/11/25/arts/music/classical-music-stream-december.html

Note that the blurbs show Eastern Time but also include how long the performances are posted for and links to the organizations presenting the concerts. 

Happy listening!

And Happy Holidays!

Do you have other online performances – local, regional, national or international — to suggest?

Please leave the necessary information in the Comment section.

The Ear wants to hear.

 


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The Madison Opera launches its Digital Fall this Sunday afternoon and Sept. 27 with more to come through December. The cost is $50 per household

September 18, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the Madison Opera about its Digital fall season, which will open with an artists’ panel discussion this Sunday afternoon, Sept. 20, and then an original world-premiere production on Sept. 27, a week from this Sunday.

“Although the coronavirus pandemic has closed the Overture Center for the Arts this fall, Madison Opera is not going silent.

“We are creating a fall season that lasts from September through December. It includes both digital content and live performances at the Margaret C. Winston Madison Opera Center, our home in downtown Madison.

“All content will be available to subscribers for at least one month from the “live” date, so you can watch at your leisure, and as often as you wish.”

A Digital Fall subscription is $50 per household. It can be purchased on its own, or as part of a new subscription package. It can be purchased through the link at the bottom.

Here is how it will work: About 48 hours before each event, subscribers will receive an email with the private link to that event.  (You may need to check your spam folder).  If you have not received an email the day before an event, email info@madisonopera.org and we’ll send you the link directly.

The link remains active for one month, so if you cannot watch an event live – or want to re-watch it – you won’t miss out.

Do you miss operatic conversation? Join us online! Opera Up Close is a favorite event for Madison Opera subscribers, usually featuring a discussion of the upcoming opera from a historical context and with cast members.

For our Digital Fall, this conversation is reimagined via technology to discuss broader opera topics, featuring favorite Madison Opera company members, interviewed by Madison Opera’s general director Kathryn Smith (below, in a photo by James Gill).

Opera Up Close Cocktail Hour Discussions take place on Sunday afternoons, 4– 5:30 p.m. Subscribers will have the opportunity to ask questions both in advance and during the talk.

UP CLOSE COCKTAIL HOUR DISCUSSION

This Sunday, Sept. 20, 4-5:30 p.m.

Many singers have debuted at Madison Opera (MO) early in their careers, before going on to sing around the world.

Featured in this discussion are: Kyle Ketelsen of Sun Prairie (below top in a photo by Lawrence Brownlee, MO debut 2000); Emily Fons (below middle, MO debut 2012); and Will Liverman (below bottom, MO debut 2015). Join us for a wide-ranging discussion about their careers, training paths, and much more.

WORLD PREMIERE OF  A SONG CYCLE

Jeni Houser and David Blalock, singers

Saturday, Sept. 26, 7:30 p.m.

Featuring the world premiere of “Keep Moving” by Madison composer and UW-Madison graduate Scott Gendel

Married singers Jeni Houser and David Blalock (below) have a long history with Madison Opera. Jeni was one of our first Studio Artists in 2012, and has returned many times, most recently as Anne in Stephen Sondheim’s “A Little Night Music.”

David debuted in Beethoven’s “Fidelio” (2014), and both artists sang at Opera in the Park 2019 (below). This past season, Jeni and David made (separate) Metropolitan Opera debuts, and were slated to sing the leads in Offenbach’s “Orpheus in the Underworld ” in Madison last spring, which was canceled due to the coronavirus pandemic.

The Wisconsin residents will launch our Live from the Opera Center series in a joint recital, accompanied by principal pianist Scott Gendel (below).

Gendel is also an acclaimed composer, and the recital will feature the world premiere of his song cycle “Keep Moving,” set to poetry by Maggie Smith, which he is writing specifically for Jeni and David. (below, in a photo by David Scott, are all three are rehearsing in the Madison Opera’s Winston Center.)

Here is a link to the initial schedule of events, including a cooperative production of Jean Cocteau’s monologue opera “The Human Voice” with the Austin Opera in Texas, and biographies of various singers and participants.

More events will be added and announced in the coming months.

You will also a find a button to click on to subscribe to the Digital Fall: https://www.madisonopera.org/Fall2020


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Classical music: As superstar Itzhak Perlman turns 75, a critic assesses his virtues and shortcomings in playing both the violin and his audiences

September 6, 2020
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By Jacob Stockinger

Last Monday, Aug. 31, superstar violin virtuoso Itzhak Perlman (below, in a photo by Yael Malka of The New York Times) turned 75.

To celebrate, Sony Classical released a boxed set of 18 CDs (below) with many performances by Perlman – solo, chamber music and concertos – recorded over many years.

On the occasion of Perlman’s birthday, critic Corinna da Fonseca-Wollheim of The New York Times wrote a retrospective review of Perlman’s long career. (You can hear his most popular performance ever — with more than 6 million hits — in the YouTube video at the bottom.)

The Ear finds the opinion piece both brave and truthful, pointing out Perlman’s mastery of the Romantic repertory but also criticizing his stodgy treatment of Vivaldi and other Baroque music that has benefitted from the period-instrument movement and historically informed performance practices

Yet the essay, which also touches on ups and down of Perlman’s career, always remains respectful and appreciative even when discussing Perlman’s shortcomings.

Offering many historical details and photos as well as sample videos, the critical assessment of Perlman seems perfectly timed.

The Ear hopes you enjoy it as much as he did. Here is a link: https://www.nytimes.com/2020/08/26/arts/music/itzhak-perlman-violin.html

If you have heard Itzhak Perlman either on recordings or live – at the Wisconsin Union Theater, the old Civic Center or Overture Hall — let us know what you think.

The Ear wants to hear.


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Classical music: Madison Opera announces its 2020-21 season and plans for Opera in the Park on July 25. Plus, today is the 50th anniversary of Earth Day. What music would you choose to mark the event?

April 22, 2020
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ALERT: Today, April 22, is the 50th anniversary of Earth Day, which was founded by Gaylord Nelson, a former Wisconsin governor and senator. To celebrate it, in the YouTube video at the bottom is “The Earth Prelude” — a long work, both Neo-classical and minimalist, with beautiful photos, by the best-selling, award-winning Italian composer Ludovico Einaudi. It has more than 2.3 million views.

What music would you listen to to mark the event? Leave suggestions with YouTube links, if possible, in the Comment section.

By Jacob Stockinger

The Madison Opera has just announced its upcoming 2020-21 season.

As usual, there are three works. The fall and spring operas take place in Overture Hall and the winter production, a Broadway musical, will use the Capitol Theater.

Below are the titles with links to Wikipedia entries for more information about the works and their creators:

Here are the titles:

“Il Trovatore” (The Troubadour) – with the popular “Anvil Chorus” — by Giuseppe Verdi (below) in Overture Hall on Friday night, Nov. 6, at 8 p.m. and Sunday afternoon, Nov. 8, at 2:30 p.m. It will be sung in Italian with projected English translations.

https://en.wikipedia.org/wiki/Il_trovatore

“She Loves Me” with music by Jerry Bock and lyrics by Sheldon Harnick (below) – the same team that created “Fiddler on the Roof” — in the Capitol Theater on Friday night, Jan. 29, at 8 p.m. and Sunday afternoon, Jan. 31, at 2:30 p.m. It will be sung in English with projected text.

https://en.wikipedia.org/wiki/She_Loves_Me

“The Marriage of Figaro,” by Wolfgang Amadeus Mozart (below) in Overture Hall on Friday night, April 30, at 8 p.m. and Sunday afternoon, May 2, at 2:30 p.m. It will be sung in Italian with projected English translations.

https://en.wikipedia.org/wiki/The_Marriage_of_Figaro

You can see a short preview peek — with music but no word about casts, sets or production details — on Vimeo by using the following link: https://vimeo.com/398921274

For more forthcoming information about the season, go to: https://www.madisonopera.org

OPERA IN THE PARK

You may recall that this spring the Madison Opera had to cancel its production of “Orpheus in the Underworld” by Jacques Offenbach because of the COVID-19 pandemic.

What about this summer’s 19th annual Opera in the Park (below, in a photo by James Gill)?

It is still slated for Saturday, July 25, in Garner Park, on Madison’s far west side, with a rain date of Sunday, July 26.

But the opera company is being understandably cautious and says: “At this time, we are proceeding with Opera in the Park as scheduled.

“The safety and wellbeing of our community are our top priority, and we are closely following the guidelines and recommendations of public health officials. We are prepared to make necessary decisions in response to rapidly changing conditions.

“We appreciate your patience and understanding as we navigate these circumstances.”

For updates and more information about Opera in the Park, go to: https://www.madisonopera.org/2019-2020-season/oitp2020/

 


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Classical music: With live concerts cancelled, what will you do for music? The Ear has some suggestions but wants to hear your ideas

March 16, 2020
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ALERT 1: It’s official. The Madison Symphony Orchestra has cancelled its performances of Dvorak’s Requiem on April 3, 4 and 5. Sometime this week, according to the MSO website, the administration will inform ticket holders about what they can do.

ALERT 2: The Mosaic Chamber Players have cancelled their performance of Beethoven Piano Trios on March 21 at the First Unitarian Society of Madison.

By Jacob Stockinger

Now that live concerts and performances have been cancelled for the near future – thanks to the threat of the pandemic of the coronavirus and COVID-19 — music-lovers are faced with a problem:

What will we – especially those of us who are isolated at home for long periods of time — do to continue to listen to music?

Perhaps you have a large CD collection you can turn to. Or perhaps you subscribe to a streaming service such as Apple Music, SoundCloud, Amazon Music or another one.

Don’t forget local sources such as Wisconsin Public Radio and WORT-FM 89.9, both of which generously broadcast classical music, from the Renaissance to contemporary music, and often feature local performers.

Here is a link to Wisconsin Public Radio (WPR): https://www.wpr.org

Here is a link to WORT 88.9 FM: https://www.wortfm.org

There are also many other choices.

Happily, there is YouTube with its mammoth collection of free musical performances and videos. You can surf YouTube for new music and classic music, contemporary performers and historic performers, excerpts and complete works.

Here is a link: https://www.youtube.com

Those who are students or amateurs might use the time to sing – like those marvelous, uplifting Italians making music from their balconies during the crisis – or practice and play an instrument at home.

But other organizations – solo performers, chamber music ensembles, symphony orchestras, opera houses – are also trying to meet the challenge by providing FREE public access to their archives.

And it’s a good time for that.

Music can bring us together in this crisis.

Music can help us relax, and fight against the current panic and anxiety.

It’s also a good time to have a music project. Maybe you want to explore all the many symphonies or string quartets of Haydn, or perhaps the 550 keyboard sonatas by Scarlatti, or perhaps the many, many songs of Franz Schubert.

Here are some suggestions offered as possible guidance:

Here is what critics for The New York Times, including senior critic Anthony Tommasini (below) who likes Van Cliburn playing a Rachmaninoff concerto, will do: https://www.nytimes.com/2020/03/13/arts/music/coronavirus-classical-music.html

If you are an opera lover, you might want to know that, starting today, the Metropolitan Opera (below) in New York City will be streaming for FREE a different opera every day or night.

The productions are video recordings of operas that have been broadcast over past years in the “Live in HD” program. The titles are listed by the week and here is a link:

https://operawire.com/metropolitan-opera-to-offer-up-nightly-met-opera-streams/

If you like orchestral music, it is hard to beat the Berlin Philharmonic – considered by many critics to be the best symphony orchestra in the world — which is also opening up its archives for FREE.

Here is a background story with a link: https://www.newyorker.com/culture/cultural-comment/coronavirus-concerts-the-music-world-contends-with-the-pandemic

Here is another link, from Norman Lebrecht’s blog “Slipped Disc,” to the Berlin Philharmonic along with some other suggestions, including the Vienna State Opera: https://slippedisc.com/2020/03/your-guide-to-the-new-world-of-free-streaming/

And if you like chamber music, you can’t beat the FREE performances being offered by the acclaimed Chamber Music Society of Lincoln Center, some of whom recently performed in Madison at the Wisconsin Union Theater and with the UW-Madison Symphony Orchestra: https://www.chambermusicsociety.org/watch-and-listen/

But what about you?

What will you listen to?

Where will you go to find classical music to listen to?

Do you have certain projects, perhaps even one to recommend?

How will you cope with the absence of live concerts?

The Ear wants to hear.


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Classical music: The Ancora String Quartet will play several concerts of Beethoven and Randall Thompson over this coming weekend, including one at Olbrich Gardens on Friday night

February 5, 2020
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By Jacob Stockinger

The Ear has received the following information from the veteran Ancora String Quartet, which will play several performances of the same program over the coming weekend in several different cities.

Members of the Ancora String Quartet (below from left, in a photo by Barry Lewis), who also play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, are: violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

RECITAL PROGRAM:

String Quartet No. 2 in G Major by Randall Thompson

String Quartet in B-Flat Major, Op. 130, by Ludwig van Beethoven

CONCERT DATES:

Friday, Feb. 7, at noon

Interview with Wisconsin Public Radio host

Norman Gilliland on The Midday

WERN 88.7 FM

 

Friday, Feb.7, from 5 to 7 p.m.

Olbrich Botanical Gardens, Bolz Conservatory

3330 Atwood Ave., Madison

Tickets at the door: $5

 

Saturday, Feb. 8, at 7:30 p.m.

Park (“Freethinkers”) Hall

307 Polk Street, Sauk City

Tickets: $15 general, $12 children and seniors

 

Sunday, Feb. 9, at 2 p.m. (UPDATE: THIS CONCERT HAS BEEN CANCELLED DUE TO AN OUTBREAK OF ILLNESS AT CHAI POINT. IT WILL BE RESCHEDULED.) 

Chai Point Retirement Community

1400 N. Prospect Ave., Milwaukee

Free and open to the public

PROGRAM NOTES:

The program opens with an unusual work, the String Quartet No. 2 in G Major, by American composer Randall Thompson (below). Better known for his choral music, Thompson wrote this quartet in 1967 to celebrate the 130th anniversary of the Harvard Musical Association.

The quartet is joyous and optimistic in character, with thoughtful and creative part-writing. The first movement brims with youthful energy, contained in smoothly flowing triplets.

The simple, graceful folk melody that opens the second movement continually reinvents itself in a set of charming variations. The third movement’s heartfelt tune expresses a deep content, setting up the finale, whose explosive energy erupts in a good-natured, light-hearted romp.

Beethoven (below) wrote the second piece on our program, the String Quartet in B-Flat Major, Op. 130, 141 years before the Thompson and many centuries beyond it in subtlety, sophistication, intellectual rigor and emotional depth.

With six movements and lasting 40 minutes, it is the composer’s longest piece of chamber music, and it stretches limits in other ways as well. The original work, completed in 1825, contained the Grosse Fuge (Great Fugue) but Beethoven replaced that in 1826 with the Finale Allegro, the last full-scale movement he completed before his death in 1827.

Op. 130 bristles with contrasts, and juxtapositions of extremes, on the micro-level to the macro-level, all contained in movements ranging from a short, gnarly Presto, to a graceful Poco Scherzo, to a lyrical, innocent Alla Danza Tedesco (In the Style of a German Dance), to the fabled Cavatina, which, Beethoven wrote, moved him to tears when he even thought about it. (You can hear the Cavatina in the YouTube video at the bottom.)

In performing Op. 130, the Ancora String Quartet tackles its 14th of the 16 Beethoven string quartets. The ASQ plans to perform Op. 59, No. 3, and Op. 131, in the summer and fall, to complete the Beethoven cycle in this, the Beethoven Year when we celebrate the 250th anniversary of his birth.

For more information, go to: facebook.com/ancoraquartet and www.ancoraquartet.com

 


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Classical music: Weekends are a good time to explore music and listen to it. So today The Ear starts a “2020” series for the new year.

January 4, 2020
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By Jacob Stockinger

It’s a new year and the first weekend of the new year. And The Ear wanted to find some kind of organizing principle to explore recorded music in the coming weeks and months.

Turns out the year 2020 – with its symmetry of numerals and suggestions of excellent vision — held a certain appeal.

So he checked out musical works that were either Op. 20 or No. 20. They could even occur together, like, say, a Prelude that is Op. 20, No. 20.

What he found was more than he expected: Dozens of composers and works that qualify as interesting and of suitable quality.

Some are well known, but many are rarely performed live or are neglected in recordings.

They come from all periods and styles, from early music to contemporary music.

And they come in all kinds of genres from vocal and choral music to chamber music, solo instrumental music and symphonic music.

Some works are short, some are medium and some are long.

For the longer ones, which are often divided up into smaller movements or other sections, it seems better to post the whole piece and let the reader decide how long they want to listen at a time rather than to post one part at a time and limit or force the reader.

Anyway, here is the first installment.

It is a wonderful solo piano piece that is too often overlooked, even though it is by a great composer who wrote it in his prime when he was writing many of his other more popular piano works.

It is the Humoresque, Op. 20, by the German Romantic composer Robert Schumann (below). It lasts about 29 minutes but is divided into other sections.

And the performance, often praised as outstanding or even definitive, is by the Romanian pianist Radu Lupu (below, young and old, the latter by Roberto Serra), the 1966 first prize-winner of the Van Cliburn International Piano Competition who recently retired because of ill health.

Here is a link to a detailed biography of the distinguished and somewhat reclusive and enigmatic 74-year-old pianist:

https://en.wikipedia.org/wiki/Radu_Lupu

Here is YouTube video of Radu Lupu playing the Schumann Humoresque in a live recording from 1983:

Let The Ear know what you think of this piece and this idea for a 2020 series.

A long playlist for future 2020 postings – including works by Bach, Vivaldi, Haydn, Mozart, Beethoven, Schubert, Chopin, Dvorak, Tchaikovsky, Brahms and others — has already been compiled.

But if you have a favorite or suggested “2020” piece, leave word in the comment section.


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Classical music: A public memorial for critic John W. Barker is this Sunday afternoon. You can also help honor him with a named chair at the UW-Madison’s new Hamel Music Center

December 13, 2019
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By Jacob Stockinger

You might recall that John W. Barker (below, in a photo by Mark Golbach) — a retired UW-Madison professor of medieval history and  a longtime, well respected music critic, lecturer and radio host for WORT —  died at 86 on Oct. 24.

His wife Margaret writes:

Dear Friends,

There will be a gathering to remember John at Capitol Lakes Retirement Center, 333 West Main Street – downtown and two blocks off the Capitol Square — this Sunday afternoon, Dec. 15, at 3:30 p.m. Please join us for memories and music. And please pass the word.

Barker wrote frequently for this blog as well as for Isthmus, The Capital Times and the American Record Review. He had a long, full life with distinguished careers in both history and music.

For a complete obituary, go to: https://madison.com/news/local/obituaries/barker-john-walton/article_04261147-4317-5cf2-9b6a-4098f3ffca06.html

Barker has already been honored by a special performance for him and then by the current season being dedicated to him by Middleton Community Orchestra; and by the Madison Early Music Festival, in which he was very active for many years, naming its annual concert lecture series after him.

Another way to honor Barker is to contribute to a project that is headed by local businesspeople Orange and Dean Schroeder, who founded the annual Handel Aria Competition, of which Barker was a founding board member who also served as a judge. The Schroeders write:

“Members of the Madison musical community have decided to honor John W. Barker by dedicating a seat in his memory in the new Hamel Music Center at the UW-Madison. The cost is $1,500 of which $950 has already been raised. If you would like to join us, please click on this link and specify that you are making the gift in his memory: https://secure.supportuw.org/give/?id=515d53cf-e8ff-4caa-9260-c7885c66b309

John W. Barker sang in choirs and loved choral music, like the last movement, “In Paradise,” of the Requiem by Gabriel Faure that you can hear in the YouTube video at the bottom.

Thank you, John. Rest in peace.


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