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By Jacob Stockinger
The Ear has received the following note from the Salon Piano Series to post:
During these uncertain times, we appreciate remembering time spent together enjoying music.
Please take a break from your day to see and hear the young, prize-winning pianist Maxim Lando (below) perform the theme-and-variations third movement of Beethoven’s Sonata No. 30 in E Major, Op. 109, “Andante molto cantabile ed espressivo” (Slowly, very singing and expressive).
The 15-minute video – posted and viewable now- — was recorded live at Farley’s House of Pianos, as part of the Salon Piano Series, on Nov. 17, 2019.
Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.
Editor’s note: Here is a Wikipedia entry with more impressive information about Maxim Lando’s biography and many concert performances around the world including China and Russia as well as the U.S.: https://maximlando.com
If you want to hear the entire Beethoven Sonata, you can hear a performance by Richard Goode in the YouTube video below.
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.
ALERT: Tonight’s concert by the choral group Roomful of Teeth for the Wisconsin Union Theater at the UW-Madison’s Hamel Music Center has been canceled and postponed indefinitely.
By Jacob Stockinger
Increasingly the coronavirus pandemic seems surging out of control. So it comes as no surprise that also more and more concerts of classical music are taking place virtually and online.
There are many ways to choose among local, regional, national and international concerts.
But one good guide was published this last week and featured the choice of must-hear classical concerts by critics for The New York Times.
It is an interesting and varied selection, and includes times, links and brief descriptions.
It features concerts that emphasize Black composers such as Florence Price (below top) and women composers. It covers many genres from a solo piano recital by Jeremy Denk (below bottom) – who is supposed to perform here on Dec. 11 at the Wisconsin Union Theater – to chamber music, vocal music, orchestral concerts and operas.
Curiously, there is quite bit of new music but little early music, either Renaissance or Baroque. Perhaps more will appear around the holiday times, when that music is part of the traditional holiday celebrations.
You will find contemporary composers but also lots of certified, tried-and-true classics and masterworks.
Some are one-day only events but many run from a week through a month.
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
The University of Wisconsin-Madison’s Pro Arte Quartet (below, performing the first all-Beethoven program in Collins Recital Hall) will resume its complete cycle of Beethoven’s 16 string quartets online and virtually this coming Friday night.
This third concert is free, and as you might have read in previous reviews, The Ear found the first two to be outstanding performances that also mixed works from early, middle and late periods.
The cycle is being undertaken to mark the Beethoven Year, which culminates this December with the 250th anniversary of the birth of the composer (below).
Cellist Parry Karp (below) – the longest-standing member of the quartet and the person who often speaks for the quartet – sent the following note for posting:
“I thought I should bring the public up to date with the Pro Arte Quartet’s Beethoven cycle. Obviously things have had to change because of the coronavirus pandemic.
“Before the pandemic, we were doing three quartets per concert. Since we now need to give the performances virtually and online, we have decided to perform two quartets per concert. Sitting at a computer for two hours at a time seemed a bit too much!
“We will be continuing the Beethoven cycle starting this Friday, Oct. 2, at 7:30 p.m. CDT. The program will consist of the early String Quartet in A Major, Op. 18 No. 5; and the late String Quartet in A Minor, Op. 132, with the famous “Sacred Hymn of Thanksgiving” (heard played by the Alban Berg Quartet in the YouTube video at the bottom).
“Charles Dill (below, in a photo by Katrin Talbot), professor of musicology at the UW-Madison’s Mead Witter School of Music, will give a short lecture about each quartet before the Pro Arte Quartet performs.
“Although the concerts will be taking place in the bigger Mead Witter Foundation Concert Hall in the new Hamel Music Center, the hall will be closed to the public for reasons of safety and public health.
“We will be playing with masks and with more separation or social distance from each other, which is a challenge and takes some adjusting to. It will also be odd to perform without a live audience.
“Unfortunately, because of copyright questions and royalties from the music editions we are using, the online concerts will not be archived for later viewing
“The other two concerts in the Pro Arte Quartet’s Beethoven cycle this semester will be on Friday, Oct. 23, at 7:30 p.m. CDT and Friday, Nov. 20, at 7:30 p.m. CST.
“We plan to complete the Beethoven cycle during the spring semester of 2021.
The programs for this semester are listed below.”
SEMESTER I SCHEDULE
Beethoven String Quartet Cycle will be performed by the Pro Arte Quartet with pre-performance lectures of the quartets by Professor Charles Dill
Pro Arte Quartet members (below in photo by Rick Langer) are: violinists David Perry and Suzanne Beia; violist Sally Chisholm; and cellist Parry Karp.
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
The self-appointed PC diversity police have struck again.
This is getting silly and tiresome, insulting and embarrassing.
Some advocates of cultural diversity are crying foul over the latest project of the American and Academy Award-winning Hollywood film director Ron Howard: making a biopic of the superstar Chinese classical pianist Lang Lang (below).
The script will be drawn from the pianist’s bestselling memoir “Journey of a Thousand Miles” — which has also been recast as an inspirational children’s book — and the director and scriptwriters will consult with Lang Lang.
It seems to The Ear a natural collaboration, as well as a surefire box office hit, between two high-achieving entertainers. Check out their bios:
But some people are criticizing the project in the belief that because Ron Howard (below) is white and Western, he cannot do justice to someone who is Chinese or to Asian culture.
Talk about misplaced alarm over “cultural appropriation.”
Don’t you think that Lang Lang will have a lot to say about how he is depicted?
Do you wonder if Wang thinks cultural appropriation works in reverse?
Should we dismiss Lang Lang’s interpretations of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Tchaikovsky, Rachmaninoff, Prokofiev and Bartok simply because he is non-Western and Chinese rather than German, French or Russian?
Of course not. They should be taken on their own merits, just as the interpretations of any other Asian classical musician, and artists in general including Ai Weiwei, should be.
But however unfairly, cultural appropriation just doesn’t seem to work in reverse.
Mind you, The Ear thinks that cultural appropriation is a valid concept and can indeed sometimes be useful in discussing cross-cultural influences.
But it sure seems that the concept is being applied in an overly broad and even misdirected or ridiculous way, kind of the way that the idea of “micro-aggressions” can be so generously applied that it loses its ability to be truthful and useful.
Take the example of the heterosexual Taiwanese movie director Ang Lee. He certainly proved himself able to depict American culture in “The Ice Storm” and the gay world in “Brokeback Mountain.”
Let’s be clear. The Ear is a piano fan.
But if he objects to the project, it is because he doesn’t like Lang Lang’s flamboyant playing, his Liberace-like performance manners and showmanship, and his exaggerated facial expressions.
Yet there is no denying the human appeal of his story. He rose from a young and suicidal piano student (below) who was emotionally abused by his ambitious father – shades of the lives of young Mozart and Beethoven and probably many other prodigies – to become the best known, most frequently booked and highest paid classical pianist in the world.
Yet not for nothing did some critics baptize him with the nickname Bang Bang.
Still, the Curtis Institute graduate does all he can to foster music education, especially among the young and the poor.
And there is simply no denying his virtuosity. (See Lang Lang playing Liszt’s Paganini etude “La Campanella” in the YouTube video at the bottom.)
So there is plenty to object to about Lang Lang the Piano Star besides the ethnicity of Ron Howard, who also did a biopic of opera superstar Luciano Pavarotti, in telling his story.
What do you think?
Is it culturally all right for Ron Howard to direct a film about Lang Lang?
Do you look forward to the movie and seeing it?
What do you think of Lang Lang as a pianist and a celebrity?
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
Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others.
At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.
In some ways, it all seems inevitable.
Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom) – fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.
That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.
The assertion is food for thought. But not much.
In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:
The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.
Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.
Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.
Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.
No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.
Of course, there is elitism in the arts. People may be equal, but creative talent is not.
And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.
If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.
And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?
But these days being provocative can become its own reward.
You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.
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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.
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PLEASE NOTE: The following post has been updated with more information since it first appeared.
By Jacob Stockinger
In ordinary times, the yearlong schedule would be set and concerts at the University of Wisconsin-Madison’s Mead Witter School of Music would be already well underway.
But these are not ordinary times – as you can tell from the silence about the UW season that usually presents some 300 events.
It has taken time, but the music school has finally worked out the basic approach to concerts during the pandemic. It will allow worldwide listening.
Audiences will NOT be present for any Mead Witter School of Music concerts or recitals this fall. Instead, a live stream of faculty recitals and all required student recitals, many of them in the new Hamel Music Center (below), will be available.
The concert season starts tonight at 6:30 to 8 p.m. The performer is graduate student flutist Heidi Keener (below), who is giving her recital for the Doctor of Musical Arts degree. The recital was postponed from March 23 due to the coronavirus pandemic.
The next events are slated for Oct. 2 with a student recital and another installment of the Pro Arte Quartet’s Beethoven cycle (below).
That other programs and dates are still missing is not surprising.
The entire UW-Madison from classes to sports, is in a state of flux about how to deal with the pandemic, with in-person classes paused through Sept. 25, and possibly longer.
Many questions about concerts remain as the process plays out.
All live-stream concerts will be free. But they will NOT be archived, so they will be taken down as soon as they end.
A donation link to the UW Foundation will be included to help cover the costs of the livestreaming and also other expenses.
Will choral concerts even take place, given that singing is especially risky because the singers can’t wear masks and social distancing is nearly impossible to provide with groups?
What about chamber music groups like the Pro Arte Quartet, the Wingra Wind Quintet and Wisconsin Brass Quintet? Many faculty members, who have to teach virtually and online right now, are no doubt concerned about the possible health risks of playing in groups.
And what about the excellent UW Symphony Orchestra, which The Ear considers a must-hear local orchestral ensemble? Those musicians too will have a hard time social distancing – unless individual safe performances at home or in a studio are edited and stitched together.
So far, though, we know that the University Opera will offer “I Wish It Were So,” an original revue of the American opera composer Marc Blitzstein on Oct. 23.
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
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.
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.
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
At a time when many concert schedules are getting complicated due to virtual online concerts and other alternatives because of the coronavirus pandemic and Covid-19, the message couldn’t be simpler.
The Middleton Community Orchestra (below) has suspended its new season until further notice.
There it says: “Concerts are postponed until further notice. Check back here and join our email list for updates to the season.”
It’s too bad.
The season took a lot of organizing. It was going to take place in alternative venues because the Middleton Performing Arts Center, attached to Middleton High School, is undergoing renovations. (In the YouTube at the bottom, you can hear the MCO performing the Overture to Wagner’s opera “Die Meistersinger.”
It was also to feature new soloists including violinist David Perry of the UW-Madison Pro Arte String Quartet, and two guest conductors from Edgewood College and the UW-Whitewater.
It could also mean another cancellation of the new teenage concerto competition and concert as well as the cancellation of conductor Kyle Knox’s inaugural season as the MCO’s new music director (below).
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
The annual Token Creek Chamber Music Festival normally occurs in the final weeks of summer, just before Labor Day, in the welcoming rustic comfort of the beautifully converted barn (below) located on the rural farm property of composer John Harbison and violinist Rose Mary Harbison.
With its normal concert season canceled due to Covid-19, the festival is pleased to announce an alternative for the summer almost ended.
Slightly later than usual, “MUSIC FROM THE BARN” is a two-week virtual season, a retrospective of concert compilations from 30 years of performances.
The topical programs will be released daily over the period Sept. 1–15 at 4 p.m. (CDT), and will remain posted and available to “attendees” throughout the month. From anywhere in the world, you can revisit whole programs or individual pieces.
The goal of the series has been to achieve the broadest possible representation of repertoire and artists who have graced the Token Creek stage since the series began in 1989.
To festival-goers, it will come as no surprise that the virtual season emphasizes music of Bach, Mozart, Haydn, and Beethoven, vocal music, works by artistic director John Harbison and his colleagues, and, of course, jazz.
In addition to the welcoming beauty of the barn and festival grounds, with sparkling creek and abundant gardens and woods, and the convivial intermissions at every concert, one of the features most beloved by audiences is the concert introduction by Pulitzer Prize-winning composer, MacArthur “Genius Grant” recipient and MIT professor John Harbison (below) that begins each program. Happily, these remain a feature of the virtual season as well.
Season Schedule
Tues., Sept. 1: Welcome and introduction from the artistic directors (below and in the link to the YouTube video at the bottom)
TODAY, Wed., Sept. 2: Founders Recital
Thurs., Sept. 3: Haydn Piano Trios
Fri., Sept. 4: Bach I: Concertos
Sat., Sept. 5: A Vocal Recital (I)
Sun., Sept. 6: Beethoven
Mon., Sept. 7: Contemporaries
Tues., Sept. 8: Early Modernists
Wed., Sept. 9: A Vocal Recital (II): Schubert and Schumann
Programs will be posted on Token Creek’s YouTube Channel, accessible from the festival website (https://tokencreekfestival.org), which will also host concert details: works, artists, program notes and other information.
All concerts are FREE and open to the browsing public.
In addition to the virtual concert season, the Token Creek Festival is pleased to release two new CDs.
A Life in Concert (below) features music written for Rose Mary Harbison by John Harbison, and performances of diverse music by the two of them. It includes the world premiere recordings of Harbison’s Violin Sonata No. 1 and Crane Sightings: Eclogue for Violin and Strings, inspired by frequent encounters with a pair of sandhill cranes at the Wisconsin farm.
Wicked Wit, Ingenious Imagination (below) offers four piano trios by Haydn, a beloved genre the festival has been surveying regularly since 2000. CDs will be available at the festival website by mid-September.
New York Times music critics pick 10 MUST-HEAR online virtual classical concerts to stream for October
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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.
ALERT: Tonight’s concert by the choral group Roomful of Teeth for the Wisconsin Union Theater at the UW-Madison’s Hamel Music Center has been canceled and postponed indefinitely.
By Jacob Stockinger
Increasingly the coronavirus pandemic seems surging out of control. So it comes as no surprise that also more and more concerts of classical music are taking place virtually and online.
There are many ways to choose among local, regional, national and international concerts.
But one good guide was published this last week and featured the choice of must-hear classical concerts by critics for The New York Times.
It is an interesting and varied selection, and includes times, links and brief descriptions.
It features concerts that emphasize Black composers such as Florence Price (below top) and women composers. It covers many genres from a solo piano recital by Jeremy Denk (below bottom) – who is supposed to perform here on Dec. 11 at the Wisconsin Union Theater – to chamber music, vocal music, orchestral concerts and operas.
Curiously, there is quite bit of new music but little early music, either Renaissance or Baroque. Perhaps more will appear around the holiday times, when that music is part of the traditional holiday celebrations.
You will find contemporary composers but also lots of certified, tried-and-true classics and masterworks.
Some are one-day only events but many run from a week through a month.
Here is a link to the story. PLEASE NOTE THAT TIMES ARE ALL EASTERN: https://www.nytimes.com/2020/09/29/arts/music/classical-music-stream.html
Please let The Ear know if you like this kind of listing and find it useful.
And please feel free to leave in the comment section other guides or events that the public should know about.
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