The Well-Tempered Ear
YOU MUST HEAR THIS: No piece captures the mixed emotions of Memorial Day better than Charles Ives’ “Decoration Day”
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By Jacob Stockinger
Today is Memorial Day, 2022.
It is the annual holiday to remember those who died in military service to the country. (Below are flags placed each year at the tombstones in Arlington National Cemetery in Virginia.)
If you want to honor survivors and current service members, that would be Veterans Day on Nov. 11.
All weekend long the radio has been playing music and the television has been showing war movies.
A lot of the music is familiar and repeated every year: Sousa marches and Morton Gould suites, elegies by Gustav Mahler, Samuel Barber, Aaron Copland and Leonard Bernstein; requiems by Mozart and Fauré; a hymn by John Williams and other movie scores. This year has also seen the playlist include rediscovered works of homage by African-American composers such as William Grant Still.
But only this year did The Ear finally hear — thanks to Wisconsin Public Radio — the one piece that, to his mind, best captures Memorial Day with its blending of consonance and dissonance, its mix of major and major keys, of familiar or “found” music and original music.
It is called, simply, “Decoration Day” and it was composed in 1912 — but not published until 1989 — by the 20th-century iconoclastic and early modernist American composer Charles Ives (below, 1874-1954). It ended up as part of a work the composer called “A Symphony: New England Hollidays.”
See if you agree with The Ear.
Listen to the 8-minute performance by “The President’s Own” United States Marine Band in the YouTube video at the bottom.
Listen to the deep anguish and and sense of loss conveyed in the opening, when a solemn remembrance procession goes to a cemetery to plant flags and lay flowers and wreaths to “decorate” the graves of the fallen.
Listen carefully and you will hear a faint version of “Taps” and ringing church bells in the atmospheric music.
Then as so often happens in reality, life suddenly intrudes in the form of a celebration by a loud marching brass band as it leaves the cemetery for the celebratory marches, picnics and fireworks.
But at the end, the darkness briefly returns. The sense of loss lingers long after the actual death and long after the holiday has been celebrated.
There is no closure.
Just resignation.
Just living with loss.
Here is the background from Wikipedia about how the holiday started as Decoration Day after the Civil War and when it evolved into Memorial Day in 1970: https://en.wikipedia.org/wiki/Memorial_Day
And here is biographical background, with the actual sources and depictions of “Decoration Day” — just go down the page to compositions and click — about Charles Ives: https://en.wikipedia.org/wiki/Charles_Ives
Did you know and like Charles Ives’ music?
Does “Decoration Day” impress or move you?
What music most embodies Memorial Day for you?
The Ear wants to hear.
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Should the 1812 Overture be played this Fourth of July?
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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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Classical music: The Madison Symphony Orchestra opens its new season with a strong and memorable concert that had something for everyone — with no outside help from a guest artist
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ALERT: On this Saturday, Oct. 5, from 4 to 5 p.m., cellist Amit Peled will teach a master class at Farley’s House of Pianos, 6522 Seybold Road, near West Towne Mall, where he will instruct local students. This is a FREE event that the public is invited to observe, and is part of the two concerts by Peled and pianist Daniel del Pino. For more information, go to:
By Jacob Stockinger
Many orchestras, including the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), often use the opening concert of a new season as a chance to lure audiences by wowing them with some big-name guest soloist.
But last weekend maestro John DeMain (below, in a photo by Greg Anderson) once again preferred to show off his own ensemble. And it worked, making for a memorable concert.
The MSO opener had something for everyone, and what you saw as the highlight probably depended more on your personal taste or preference than on the overall impressively tight playing and singing of the MSO, its principals and its chorus.
It seemed clear that, for most listeners the MSO’s young organist Greg Zelek (below, in a photo by Peter Rodgers) filled the role of the impressive imported star or guest artist.
The virtuosic Zelek is simply so good that he managed to turn a second-rate piece by Samuel Barber into a first-rate crowd-pleaser that brought huge applause and a long standing ovation, then an encore and another standing ovation.
As music, the concerto-like “Toccata Festiva” (1960) is simply not on par with Barber’s Violin Concerto or his Adagio for Strings or his Overture to “The School for Scandal.” It is 15 minutes of mostly loud and bombastic music meant to show off the new organ that it was commissioned for.
The King of Instruments seems to invite such bragging. And the boyish, vest-clad Zelek milked the score by Barber (below) for all it was worth, including an astounding three-minute cadenza played only with the feet. It’s hard to argue with such dramatic success.
If you preferred more serious fare, there was the Symphony No. 7 in D minor by Antonin Dvorak (below). Last spring, DeMain announced his fondness for Dvorak – in the spring the MSO will perform his Requiem.
DeMain’s feeling for Dvorak showed in a convincing and engaging performance of this darker, non-programmatic Brahmsian work that goes beyond the Czech folk dances, folk song-like melodies and nature mimicry of Dvorak’s other major symphonies and chamber music.
If you wanted exciting Romanticism, it would be hard to beat Wagner’s rhythmic strings soaring in the Overture to the opera “Tannhauser” by Richard Wagner (below). And that flowed into Wagner’s sensual “Venusberg” music that featured the MSO chorus singing offstage.
But The Ear thinks that the best measure of musicianship – orchestral, instrumental or vocal — is not how loudly they can play or sing, but how softly.
For that reason, he found the standout work at the concert to be “Prelude to The Afternoon of a Faun” by Claude Debussy (below). The balance among various sections proved ideal at expressing subtlety. You could hear everything combining to make a distinctive and atmospheric tonal color.
For example, it is hard to imagine more sensual playing of the opening theme than how principal flutist Stephanie Jutt (below) did it. The performance and interpretation projected the exact kind of impressionistic seductiveness that the composer meant for it to have. For sheer beauty of sound, it took the top spot. (You can see a graphic depiction of Debussy’s score in the YouTube video at the bottom.)
Still, there seemed to be more than the usual number of empty seats. Was it the rainy weather? The football weekend? Or do people still miss the thrill of hearing a well-known guest artist opening the season?
What do you think?
What was your favorite piece on the opening MSO program? And why?
The Ear wants to hear.
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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”?
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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 will present a Grand Tour of musical styles to mark its success after 20 years. The “tour” starts this Saturday, July 6, and runs through Saturday, July 13. Part 1 of 2
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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 (below, the All-Festival Concert in 2018) have come up with.
Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A interview for this blog. Here is Part 1 of 2:
This summer marks the 20th anniversary of the Madison Early Music Festival. Can you briefly summarize the progress of the festival over all those years and how you – through audience size, participants, media coverage – measure the success it has achieved?
How successful is this year’s festival compared to the beginning festival and to others in terms of enrollment, budgets and performers? How does this of MEMF’s reach nationally or even internationally compare to previous years?
What can you say about where the festival will go in the coming years?
As the 20th Madison Early Music Festival approaches, we have looked back at how far we have come from 1999 when we were a little festival of 60 participants and faculty. We have grown to our current size of 140 faculty members and participants — fellow lovers of early music.
Last year, we had the largest group of participants when 120 students enrolled. MEMF now attracts students of all ages, from 18 to 91, amateurs and professionals, from all over North America and Europe.
Our success is due to the help and support of many individuals and outside organizations. We could not manage MEMF without the amazing staff at the Division of the Arts at UW-Madison. They help with everything from printed materials, website design and management, social media, grant writing, fundraising, proofreading and on-site assistance at all of our events and more.
Paul and I (below) work with Sarah Marty, the Program Director of MEMF, who keeps things organized and running smoothly throughout the year.
Also, we are grateful to our dedicated MEMF Board, donations from many individuals, grants, and the generosity of William Wartmann, who created an endowment for the festival, and after his death left an additional $400,000 for our endowment. It takes a village!
Not only have we become an important part of the summer music scene in Madison, but we have contributed to the national and international early music community. The 2019 concert series will be featuring artists from California to New York, Indiana to Massachusetts, and from Leipzig, Germany.
We hope to have many old and new audience members join us for this exciting celebration of our 20th year. For future seasons our motto is “To infinity and beyond!” as we continue to build on our past successes.
What is new and what is the same in terms of format, students, faculty members and performers?
This year we have a new program, the Advanced Voice Intensive, which provides an opportunity for auditioned advanced singers who are interested in a capella vocal music from the Renaissance – singing sacred polyphony and madrigals to improve their skills as ensemble singers.
Twenty singers from all over the country will be joining the inaugural program to rehearse and perform music from Italy, England and Germany.
At the end of the week they will sing in a masterclass with the vocal ensemble Calmus (below) on Thursday, July 11, at 11:30 a.m. in Morphy Recital Hall. On Saturday, July 13, they will perform in a FREE concert with the popular Advanced Loud Band ensemble in Morphy Recital Hall.
Here’s the link for all the information about MEMF: https://memf.wisc.edu/
All concerts include a pre-concert lecture at 6:30 p.m. and the concerts in Mils Hall begin at 7:30 p.m. Tickets are $90 for an all-event pass; each individual concert is $22, for students $12. 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.
We also have two Fringe Concerts this year featuring new vocal ensembles from Wisconsin. On Monday, July 8, at 7 p.m. at Pres House, Schola Cantorum of Eau Claire (below), a 12-voice ensemble directed by UW-Madison graduate Jerry Hui, will perform “Mystery and Mirth: A Spanish Christmas.”
And on Wednesday, July 10, at 7 p.m. at Luther Memorial Church, 1021 University Avenue, the Milwaukee-based Aperi Animam (below) perform “Libera Nos,” a program of sacred vocal music.
The Fringe Concerts are FREE with donations accepted at the door.
Why was the theme of “The Grand Tour” chosen for the festival? What is the origin of the conceit, and what major composers and works will be highlighted?
We decided to celebrate the 20th anniversary by choosing a theme that would be broader than previous years and portray what people might experience when they are 20 years old – traveling abroad on a gap year.
We were also inspired by Englishman Thomas Coryat, aka “The First Tourist.” He published his travelogue Crudities in 1611, an amusing and thorough account of his five months of travel throughout Europe. This tradition of the Grand Tour of Europe continued through the 17th and 18th centuries, especially when wealthy young aristocrats finished their formal schooling.
Several of the concert programs this summer feature quotes from different travelogues, including Coryat’s, as an organizational concept. If you search all over Europe, you find an American at Versailles learning courtly manners, and a fictional Englishman, born in 1620, sending postcards from the Grand Tour.
We will also have a stop at Notre-Dame Cathedral in Paris with the silent film version of The Hunchback of Notre-Dame, and a musical tour of sacred vocal music and madrigals. This theme allowed us to include music from many different time periods from all over Europe — a rich Grand Tour of musical offerings!
The opening concert on this Saturday, July 6, features Dark Horse Consort returning to Madison with Wanderlust, their newly created program for MEMF’s Grand Tour theme. The program follows the misadventures of an English gentleman as he embarks on a continental Grand Tour adventure in search of love and fulfillment.
Our hero’s travelogue includes springtime consort songs by Alfonso Ferrabosco and William Byrd; Erasmus Widmann’s beguiling German dances dedicated to women; the wooing songs of the Italian gondolier; and sultry Spanish airs.
On Sunday, July 7, Alchymy Viols (below) performs “American at Versailles,” an original ballet masque of French baroque music, dance and drama written and choreographed by Sarah Edgar, featuring Carrie Henneman Shaw, soprano; Sarah Edgar, director and dancer; and guest soprano Paulina Francisco. The American on the Grand Tour encounters the exotic world of French baroque manners, dress, dance and love.
TOMORROW: Part 2 explores the rest of the festival next week, including a rare book exhibit and the All-Festival finale on Saturday night
Tags: #ACappella, #ACappellaMusic, #AlchymyViols, #AlfonsoFerrabosco, #AperiAnimam, #ArtisticDirector, #BandMusic, #BaroqueMusic, #BlogInterview, #BlogPost, #BlogPosting, #BoxOffice, #CarrieHennemanShaw, #ChamberMusic, #CherylBensman-Rowe, #ChristianChurch, #DarkHorseConsort, #EauClaire, #EndowmentFund, #EnglishMusic, #ErasmusWidmann, #FacebookPost, #FacebookPosting, #FacultyMember, #FelixMendelssohn, #FrenchDance, #FrenchMusic, #GapYear, #Germandances, #GermanMusic, #GrantWriting, #ItalianMusic, #JerryHui, #JohannSebastianBach, #LeipzigGermany, #LutherMemorialChurch, #MadisonEarlyMusicFestival, #MeadWitterSchoolofMusic, #MemorialUnion, #MilwaukeeWisconsin, #MusicalStyle, #NorthAmerica, #NotreDamedeParis, #PaulinaFrancisco, #PaulRowe, #PolyphonicMusic, #PresHouse, #ProfessionalMusician, #Proofreading, #RenaissanceMadrigal, #RenaissanceMusic, #RenaissancePolyphony, #SacredMusic, #SarahEdgar, #SarahMarty, #ScolaCantorum, #SilentFilm, #SocialMedia, #TheHunchbackofNotreDame, #ThomasCoryat, #UniversityofWisconsin-Madison, #VocalMusic, #WesternEurope, #WilliamByrd, #WilliamWartmann, a cappella, advanced, airs, Alchymy Viols, Alfonso Ferrabosco, amateur, American, anniversary, Aperi Animam, aristocrats, Artistic director, Arts, assistance, audience, ballet, band, Baroque, Baroque music, beyond, big, blog, Book, box office, budget, California, Campus, Carrie Henemann Shaw, cathedral, celebrate, celebration, Chamber music, Cheryl Bensman Rowe, choral music, choreograph, Christian, Christmas, church, Classical music, community, composer, concept, Concert, continental, country, coverage', dance, dancer, Dark Horse Consort, death, design, donation, door, drama, dress, Early music, Eau Claire, endowment, England, Englishman, enrollment, ensemble, Erasmus Widmann, Europe, event, exhibit, exotic, experience, Facebook, faculty, Felix Mendelssohn, festival, film, finale, forward, free, French, fringe, fulfillment, Fundraising, future, gap year, gentleman, German dances, Germany, gondolier, grand, grant, guest, help, important, inaugural, Indiana, individuals, infinity, intensive, international, interview, Italian, Italy, Jacob Stockinger, Jerry Hui, Johann Sebastian Bach, Leipzig, like, link, little, loud, Love, lover, lovers, Luther Memorial Church, Madison, Madison Early Music Festival, madrigal, management, manners, masque, Massachusetts, masterclass, material, Mead Witter School of Music, media, MEMF, Memorial Union, Milwaukee, mirth, motto, movie, Music, musical, mystery, national, new, North America, Notre Dame, old, online, organization, outside, part, participant, Paul Rowe, Paulina Francisco, People, performer, polyphony, postcard, Pres House, printed, professional, progress, Q&A, rare, reader, Renaissance, sacred, Sarah Edgar, Sarah Marty, scene, school, schooling, Scola Cantorum, share, silent film, sing, singer, Singing, size, skill, social media, song, soprano, Spanish, springtime, Student, style, subscriber, success, summer, support, tag, The Hunchback of Notre Dame, theme, Thomas Coryat, ticket, time, tour, tourist, travel, traveling, travelogue, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, UW-Madison Arts Institute, Versailles, village, Viol, Violin, vocal, vocal music, voice, wanderlust, wealthy, Website, William Byrd, William Wartmann, Wisconsin, women, woo, written, wrote, years
Classical music: It’s Mother’s Day 2018. The Ear remembers his mom with a Rachmaninoff prelude
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By Jacob Stockinger
Today is Mother’s Day 2018.
To celebrate The Ear’s late mom, here is a piece of music with a story to tell with it.
The Ear remembers it well.
He was 13, maybe 14, and living on Long Island, New York.
It was in the afternoon, after school.
His mom was talking to a stranger long-distance on the phone. The conversation, something about preparing wild rice, was with a person in Minnesota.
The Ear was at the piano practicing and playing the famous Prelude in C-sharp minor by the young Sergei Rachmaninoff (below) – the “Bells of Moscow” – which you can hear Evgeny Kissin play in the YouTube video at the bottom.
It was music that The Ear first heard live when a babysitter played it for him. And he immediately fell in love with it.
It was hard to play, a Romantic piece with big loud chords (below is part of the score) and fast passage work. Perfect for a teenager.
Rachmaninoff’s Prelude Op. 3 No. 2, The Recapitulation of the theme, in four staves (Photo credit: Wikipedia)
It was The Ear’s first big piece, the right vehicle for an ambitious young piano student who was anxious to use the piano to make an impression.
Anyway, the person on the other end of the phone heard the piano playing and asked if they could listen a while longer.
Mom said, Sure!
Then she placed the phone near the piano — and beamed with pride at me while gesturing for me to continue playing.
Mom didn’t know a lot of classical music. But she knew her son loved it and she did everything she could to encourage that love.
She also liked this particular Rachmaninoff prelude because it was accessible and dramatic, easy to understand and to appreciate, and most of all because her son liked it and played it.
That’s how moms are.
The other person on the line listened until the end of the prelude, then offered praise and thanks, said good-bye, and hung up.
Mom told that story over many years and always with great pride.
For a long time after, it seemed that particular prelude fell out of fashion – probably because it was too popular and too melodramatic. Even Rachmaninoff grew to despise it and referred to the work disdainfully as “It,” which he often had to play as an encore.
But lately, as often happens to overexposed pieces that fall into neglect, it finally seems to be making something of a comeback.
Several years ago, Garrick Ohlsson played it as an encore after a concerto he performed with the Madison Symphony Orchestra. These days, The Ear has heard the young up-and-coming, prize-winning young Georgian-British pianist Luka Okros play it on YouTube and Instagram.
Anyway, here it is, offered with fond memories of a proud mom.
Is there a piece of classical music you identify with your mom? Maybe Antonin Dvorak’s “Songs My Mother Taught Me,” which you can hear on Wisconsin Public Radio‘s “Sunday Brunch” program at about 12:30p.m. today?
Maybe an opera aria or song?
Leave a comment, with a link to a YouTube performance if possible, and let us know.
The Ear wants to hear.
Happy Mother’s Day, all!
Tags: #AntoninDvorak, #BellsofMoscow, #EvgenyKissin, #GarrickOhlsson, #InstagramVideo, #LongIsland, #LukaOkros, #MadisonSymphonyOrchestra, #Mother'sDay, #MusicScore, #NewYork, #OperaAria, #PianoConcerto, #PianoMusic, #PianoPrelude, #PreludeinC-sharpminor, #Prize-Winning, #RomanticMusic, #SergeiRachmaninoff, #SergeiRachmaninov, #SheetMusic, #TelephoneCall, #UnitedKingdom, #Up-and-Coming, #WildRice, #WisconsinPublicRadio, appreciate, Arts, baby, babysitter, Bach, Baroque, British, brunch, chord, Classical music, composer, Dvorak, England, famous, Georgia, Great Britain, Holiday, Instagram, Jacob Stockinger, Long Island, loud, Luka Okros, Madison, melodrama, melodramatic, Minnesota, mom, Mother, Music, opera, passage work, phone, Piano, play, practice, Prelude, Prelude in C-sharp minor, pride, prize, school, score, Singing, song, Sunday, telephone, UK, understand, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, Wikipedia, wild rice, win, Wisconsin, wisconsin public radio, YouTube
Classical music: For you, what were the best, most memorable or most enjoyable concerts of 2017? Here are the highlights for critics John W. Barker and The Ear
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By Jacob Stockinger
The end of the calendar year is only the mid-point of the new season and the concert calendar.
Still, it is a good time to take stock of the past year and the various performers and performances that we heard.
John W. Barker (below), who writes frequently for this blog as well as for Isthmus, recently published his top picks of concerts in 2017 in Isthmus. Here is a link to his year-end assessment:
https://isthmus.com/music/best-2017-classical-music/
To be fair, The Ear doesn’t always agree with Barker on the quality of some pieces and of certain performances. But by and large the two of us are in accord, and even when we aren’t, the Ear respects and learns from Barker’s expertise and experience.
The Ear would only add several things he found that Barker doesn’t mention:
The all-Mozart concert in the fall by the Pro Arte Quartet (below) — with UW faculty clarinetist Alicia Lee and San Francisco cellist Jean-Michel Fonteneau filling in for Parry Karp, was a much-needed balm in these times of distress.
If you are a fan of amateur music-making and love the music of Bach, the revival of the Bach Around the Clock marathon in March proved enthralling. (Below are violist father Stan Weldy and mandolinist son Alex Weldy.)
You heard all kinds of musicians, from students and adult amateurs to professionals, in all genres of music, including arrangements and transcriptions that Johann Sebastian would no doubt have approved of.
Pianist Richard Goode (below), who played this fall at the Wisconsin Union Theater, showed the power of softness and quiet.
His subtle playing was full of nuance in preludes and fugues from The Well-Tempered Clavier, Book II, by Johann Sebastian Bach; in a late sonata by Ludwig van Beethoven; in the only sonata by Anton Webern; in a generous group for Chopin works; and in an unexpected encore by the English Renaissance composer William Byrd. All in all, Goode proved a wonderful reprieve from some of the heavier, louder and more dramatic keyboard playing we hear.
But if you wanted drama, you only had to attend the recital by UW-Madison virtuoso Christopher Taylor (below). He excelled in everything, especially the total-body playing of the solo piano arrangement by Franz Liszt of Beethoven’s Symphony No. 7, which wowed the house. But he also showed great restraint, tone and subtlety in contemporary American composer John Corigliano “Ostinato” based on that symphony’s famous second movement.
Then Taylor finished up with contrasting sets of six Musical Moments by Franz Schubert and Sergei Rachmaninoff.
BUT NOW IT IS YOUR TURN: YOU BE THE CRITIC!
Recognizing that the best concert is not necessary the most memorable concert, and that the best or most memorable concert is not necessarily the most enjoyable concert, please tell us:
What did you think was the best concert and best single performance you heard in 2017?
What was the most memorable classical music experience you had in 2017?
And what was the most enjoyable classical music performance you heard in 2017?
The Ear wants to hear.
Tags: amateur, arrangement, Arts, Bach, Bach Around the Clock, balm, Baroque, Beethoven, Book, Byrd, calendar, Cello, Chamber music, Chopin, choral music, Christopher Taylor, clarinet, Clarinet Quintet, Classical music, Compact Disc, composer, concerto, critic, distress, drama, Early music, encore, end, English, experience, expertise, famous, Franz Schubert, fugue, genre, George Frideric Handel, Great Britain, Isthmus, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, John Corigliano, John DeMain, John W. Barker, Keyboard, Liszt, loud, Ludwig van Beethoven, Madison, Madison Opera, Madison Symphony Orchestra, mandolin, marathon, Moments Musicaux, movement, Mozart, Music, Musical Moments, nuance, opera, Orchestra, Overture Center, performance, performer, Piano, piece, playing, power, Prelude, Pro Arte Quartet, professional, quiet, quintet, Rachmaninoff, Rachmaninov, restraint, Richard Goode, San Francisco, Schubert, Season, soft, softness, Sonata, String quartet, Student, subtle, subtlety, symphony, Symphony No. 7, The Well-Tempered Clavier, time, times, tone, transcription, UK, United Kingdom, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Webern, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, Wolfgang Amadeus Mozart, year, you, YouTube
Classical music: A curmudgeon vents his complaints concerning the music scene in Madison, Plus, this Sunday Afternoon the Pro Arte Quartet plays Haydn and Dvorak in a FREE concert at the Chazen Museum of Art that will be streamed live
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ALERT: The UW’s acclaimed Pro Arte Quartet will perform a FREE concert tomorrow, Sunday, Nov. 5, at 12:30 p.m., at the Chazen Museum of Art in Brittingham Gallery No. 3. The program features the String Quartet in E Major, Op. 53, No 3, by Franz Joseph Haydn and the String Quartet in A Minor, Op. 16, by Antonin Dvorak. The “Sunday Afternoon Live at the Chazen” concert will also be streamed live. Here is a link:
By Jacob Stockinger
Here is an essay by Larry Wells, a guest reviewer and a frequent concertgoer. He writes:
“As I have aged, I have become more of a curmudgeon. (My friends and family will readily attest to this.) It is in that spirit that I address some annoyances I have been experiencing over the past few years while attending musical events in Madison.
“I will start with a recent experience, attending University Opera’s performances of “A Kurt Weill Cabaret” at Music Hall (below). The two arms of any seat in the hall have two different numbers. Unless the guest was paying attention as he entered the row, it is unclear which number belongs to which seat. After attending a few shows there, I have figured it out. But I don’t believe I have ever been to a performance there when there hasn’t been confusion about which seat is which. I have routinely heard people asking others (who are generally equally clueless), and I have routinely seen blocks of people shift over one seat. You would think that someone at a great educational institution could figure out a way to make the seating less baffling.
“An equally annoying phenomenon occurs regularly at Mills Hall, also on campus. I discovered that, for choral concerts particularly, the sound in the balcony is far better than the sound on the main floor. However, the doors of the balcony are often locked and the ushers regularly say that the balcony is not open. Upon making further insistent inquiries, I usually manage to get someone to unlock the balcony, but I wonder why it is felt that unlocking it routinely is such an onerous task.
“I will also mention that, regardless of one’s seat location in Mills Hall, it is difficult not to notice that the sound clouds over the stage are in sore need of a dusting and cleaning.
“Stephen Sondheim wrote a wonderfully amusing song for “The Frogs” called “Invocation and Instructions to the Audience.” In it the audience is reminded not to talk, cough, fart and so on. (You can hear the piece in the YouTube video at the bottom.)
“At the aforementioned performances in the Music Hall (I went twice), I saw people texting and video recording the performance even though the program has, in very small print, an admonishment not to photograph or film. At a recent choral concert in Mills Hall, texting was rampant during the performance, and there was no mention about turning off cell phones in the program. The bright screens immediately draw the eye away from the stage. I find it extremely distracting.
“At performances given by the UW Dance Department, a loud and forceful announcement at the beginning of each performance instructs the audience to turn off cell phones, no texting, no photos, etc. A similar announcement takes place not only at the beginning of the concert but also at the end of intermissions for performances at Overture Center. I think it is time for the UW Music Department to address the issue in a similar way.
“Another criticism of the way that things are done by the Music Department: Why is it so hard to find out what is being performed at a recital or concert? The Music Department has a good website with a calendar that lists the performances being given on any day, but many times the program is not included in that information. I am disinclined to go to a concert when I don’t know what the program is, and I often will go to a performance just to hear one work if it’s one I am anxious to hear. Thus, I often have to go roaming around the Music Building looking for posters or sometimes even going to the person sponsoring the performance to ask what the program is. It shouldn’t be that hard.
“An issue at Overture Center is whispering. I do not understand how people have lived to the ripe old ages that most of the audience members have and not come to realize that whispering is still audible.
“Two seats away from me at Overture Hall for my symphony subscription is a woman who, at every single performance, starts to cough as soon as the music begins, noisily unzips her purse, reaches in and fumbles around until she finds her cough drop, and then noisily unwraps its cellophane cover. Every time. It is a wonderment to me that she has not discovered that she could unwrap the cough drops in advance and have them at the ready.
“When I subscribed to the San Francisco Symphony, there were bowls of wax paper wrapped cough drops at every entrance. Not a bad idea.
“And then there is the seemingly obligatory standing ovation syndrome that has become a standard feature of every performance in Madison. In the rest of the world a standing ovation is reserved for an extraordinary performance deserving special recognition. Here I think of Pavlov’s dog and sheep. The performance ends, one person leaps to his feet (that’s the Pavlov part) and everyone else stands (that’s the sheep). At the same time the sentiment has been lost, and it all seems rather provincial to me.
“I realize that these are all first-world problems of little importance. They are minor annoyances, but that is what a curmudgeon dwells on. And it feels great to vent.”
Do you agree with any of these complaints?
Do you have any major or minor complaints to add?
The Ear wants to hear.
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Classical music: We should hear more encores, especially at outstanding chamber music concerts. Plus, a FREE Farmer’s Market organ recital is this Saturday at 11 a.m.
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ALERT: This Saturday at 11 a.m. in Overture Hall of the Overture Center, the Madison Symphony Orchestra will offer another FREE Farmers Market Organ Concert. The program, which runs 45 minutes, features music by Johann Sebastian Bach, Felix Mendelssohn, Charles-Marie Widor and Louis Vierne. The organist is the prize-winning Madison native Adrian Binkley.
By Jacob Stockinger
Two weeks ago, the Willy Street Chamber Players gave The Ear yet another reason to like them and be a fan.
After the season-ending program of Schubert, Osvaldo Golijov and Mozart was over, while the audience was cheering, standing and applauding loudly, two members of the young chamber music group played an encore.
The encore was “Julie-O” by Mark Summer. It was written for one cellist, as you can hear in a performance by the composer in the YouTube video at the bottom.
But this time it was performed by the two cellists of The Willys — Lindsey Crabb and Mark Bridges (below).
They agreed to play an encore only reluctantly – after some prodding by other members of The Willys, by guest clarinetist Michael Maccaferri (of the Grammy-winning group eighth blackbird) and, of course, by the audience.
But there shouldn’t have been any reluctance.
The Ear thinks we hear too few encores after so much memorable music-making.
Certain student recitals at the UW-Madison come immediately to mind. It sometimes seems that the protocol of student recitals prohibits encores, but The Ear has been told by faculty members that such is not the case.
What also comes to mind is the lack of encores at chamber music concerts by larger ensembles – piano trios, string quartets and piano or string quintets and sextets.
And rarely do you hear encores at the Madison Symphony Orchestra, Wisconsin Chamber Orchestra or Madison Opera except when they are played by concerto soloists.
But why not?
The Ear recalls that several years ago the Peruvian tenor Juan Diego Florez, performing the aria with notoriously difficult nine high C’s in the aria “Ah! Mes amis” from Donizetti’s opera “La Fille du Regiment,” then quickly repeated the same passage to frenzied approval.
What are encores but a way of saying: “You liked me, so now I like you.”
Encores are not immodest bragging. They are a reward, a gift, a way for the performer to say thank you to the audience for its attention and appreciation.
Maybe every individual or group should have some kind of encore in the back pocket and ready to go. It could be a short movement or even a section of a movement, perhaps a coda or finale.
It seems to The Ear that many instrumentalists, especially pianists who have such a rich repertory, would do well to have four encores ready: one fast and one slow, one loud and one soft.
That way, the encore can underscore — by either complementarity or contrast — the piece or pieces that preceded it and called for it.
Have you ever wanted to hear an encore and been frustrated?
What do musicians themselves say about playing encores?
Are there unwritten guidelines or an unstated protocol about when to play encores?
The Ear wants to hear.
Tags: Adrian Binkley, applause, Arts, audience, Bach, Baroque, bragging, Cello, Chamber music, Charles-Marie Widor, cheer, clarinet, Classical music, concerto, Dane County Farmers' Market, Donizetti, eighth blackbird, encore, fan, farmer, fast, gift, Golijov, Grammy, Grammy Award, guidelines, high C, High C's, immodest, Jacob Stockinger, Juan Diego Florez, Julie-O, La fille du régiment, lead, like, Lindsey Crabb, loud, Louis Vierne, Madison, Madison Symphony Orchestra, Mark Bridges, market, Mary Summer, Mendelssohn, Michael Maccaferri, Mozart, Music, Musician, opera, organ, Osvaldo Golijov, Peru, Peruvian, prize, program, protocol, Quartet, quintet, recital, reward, role, Schubert, Season, sextet, sing, singer, slow, soft, soloist, stand, String quartet, string sextet, strings, Student, summer, tenor, thank you, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Willy Street Chamber Players, Wisconsin, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, YouTube
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The Well-Tempered Ear 
Classical music: The Ear wishes you a Merry Christmas with three of his favorite pieces of music. What are yours?
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
Today – Wednesday, Dec. 25, 2019 – is Christmas Day.
There is so much great Christmas music written by so many great composers. You’ll hear a lot of it tomorrow morning on Wisconsin Public Radio, starting at 9 a.m..
But here are three of The Ear’s favorites.
One comes from the “Christmas Oratorio” by the German Baroque composer Johann Sebastian Bach and is loud, upbeat and brassy.
The second is “Lo, how a rose ere blooming” is by the early German baroque composer Michael Praetorius, and is so hauntingly quiet and intimate, sounding almost medieval or chant-like.
The third work, also intimate but on a much larger scale, is the “Shepherds’ Farewell to the Holy Family” from “The Childhood of the Christ” by the Romantic French composer Hector Berlioz.
Here they are, first the Praetorius — in the original German — and then the Bach and finally the Berlioz.
And here is a YouTube compilation with almost three hours of seasonal music:
What is your favorite piece of classical music to celebrate Christmas?
Leave your answer – with a YouTube link, if possible — in the Comment section.
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