The Well-Tempered Ear

Classical music: Free percussion, orchestral and wind music is on tap at the UW-Madison this weekend. Plus, the Edgewood Chamber Orchestra performs on Sunday afternoon

November 3, 2017
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ALERT: This Sunday, at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood Chamber Orchestra will perform its fall concert. General admission is $5; free with Edgewood College ID.

The program, conducted by Blake Walter (below), features Franz Schubert’s Overture in the Italian Style, Set 1 of Ottorino Respighi’s “Ancient Airs and Dances,” and the Symphony No. 92 by Franz Joseph Haydn.

By Jacob Stockinger

It is another very busy weekend for classical music in Madison, as the past week of preview postings has shown.

But two concerts, with a substantial offering of modern and new music, are especially noteworthy at the UW-Madison’s Mead Witter School of Music.

TONIGHT

At 8 p.m. tonight in Mills Hall, UW  percussionist Anthony Di Sanza will perform works by the Danish composer Per Norgard and the American composer Elliot Cole. No specific titles were given.

SATURDAY

At 8 p.m. in Mills Hall, the UW Symphony Orchestra (below top), under its new director Chad Hutchinson (below bottom), will perform a free concert, with a pre-concert lecture by Hutchinson at 7:30 p.m.

The program features a contemporary American composer and work, “Dreamtime Ancestors” by Chris Theofanidis (below top) and the Symphony No. 1 “Titan” by Gustav Mahler. (You can hear composer Christopher Theofanidis discuss “Dreamtime Ancestors” in the YouTube video at the bottom.)

It is an impressive ensemble and conductor, which you can read about in The Ear’s review of Hutchinson’s debut:

https://welltempered.wordpress.com/2017/10/11/classical-music-new-faculty-conductor-chad-hutchinson-makes-an-impressive-and-promising-debut-with-the-uw-symphony-orchestra/

SUNDAY

At 3 p.m. in Mills Hall, the Wingra Wind Quintet will perform a FREE concert of music by Richard Strauss, Theodor Blumer, Lalo Schifrin, Elliott Carter and Luciano Berio.  (Below are two of the newer Wingra members, clarinetist Alicia Lee and oboist Aaron Hill.)

For specific works and more background, go to:

http://www.music.wisc.edu/event/wingra-wind-quintet-2/

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Classical music: Today is the start of Fall. Here is autumnal music by Richard Strauss. Plus, UW-Madison soprano Jeanette Thompson makes her FREE debut tonight at 7 p.m. in Mills Hall.

September 22, 2017
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ALERT: UW-Madison faculty soprano Jeanette Thompson gives her FREE debut recital tonight at 7 p.m.  in Mills Hall. Guest performers are pianist Thomas Kasdorf and faculty colleague baritone Paul Rowe.

Thompson has put together a concert of some of her favorite love songs, though not always typical of love songs:  some of them are about a love that is lost, some of them are about a love desired, and some of them are about a love for God.

These songs include excerpts from Gustav Mahler’s Rückert Lieder and Johannes Brahms’ Volksbuchlieder. In addition to Rückert, they include some of her favorite poets like Charles Baudelaire and Eduard Möricke. She will perform songs by Cole Porter and George Gershwin, and will be joined by baritone Paul Rowe to sing two of the most beautiful “Porgy and Bess” love duets ever written.

Thompson (below) will conclude the concert with some of her favorite spirituals, including her mother’s favorite song, “His Eye is on the Sparrow.“

By Jacob Stockinger

Today is the autumnal equinox, which arrives at 3:02 p.m. CDT. It marks when the day has an equal amount of daylight and night.

It also means that today is the first official day of Fall.

And despite the hot weather right now, Fall is often a great time to start returning to indoor activities.

That makes it a good time for listening to classical music.

There are the usual candidates such as Antonio Vivaldi’s “Four Seasons” and its modern counterpart “Four Seasons of Buenos Aires” by tango master Astor Piazzolla.

If you want to hear other season-appropriate music, YouTube, Spotify, Classical-music.com and other websites have generous compilations. Just Google “classical music for autumn.”

But today The Ear want to feature just one selection to celebrate the season. It is soprano Jessye Norman singing “September” from “Four Last Songs” by Richard Strauss.

What is you favorite music to greet autumn with?

Use the COMMENT section to let us know, along with a link to a video performance if possible.


Classical music: What is the one piece of music you could listen to over and over and over again without getting tired or bored?

September 2, 2017
8 Comments

By Jacob Stockinger

It’s Saturday —  time for another reader survey.

A few weeks ago, The Ear asked: Which composer or piece you really cannot stand or consider overrated, for whatever reason.

A lot of readers responded and their responses were very interesting, even unexpected. They included such composers as Haydn, Mozart, Beethoven, Brahms, Scriabin and Mahler.

It was a question of personal taste and of course was subjective – like music itself.

Here is a link to that blog post:

https://welltempered.wordpress.com/2017/08/05/classical-music-which-well-known-composers-or-works-do-you-hate-and-consider-overrated/

Today, The Ear wants to know:

What piece could you listen to over and over and over again without getting tired or bored by it?

Of course, it may not have to do with the quality of the piece, but rather with how forcefully it speaks to you.

And the piece you name now may not be the one you would name next week or next month or next year.

Right now, for example, The Ear is on a kick with the Ballade No. 4 in F minor, Op. 52, by Chopin (below). He loves the work for its development and counterpoint as well as its titanic emotion, which is both Classically restrained and Romantically effusive. That’s why The Ear sees it as Chopin’s response to Beethoven’s “Appassionata” Sonata.

The Ear has tried to play the Ballade and loves comparing different interpretations. (You can hear it played by Arthur Rubinstein in the YouTube video at the bottom. And there are a lot other versions on YouTube.)

As to your choice:

It could be larger work like a Beethoven symphony or a Rachmaninoff concerto or a Verdi opera. Or it could be smaller work, like a Schubert song or a Bach prelude or a Puccini aria.

Anyway, let us know what piece you are focused on right now. It might even serve as a recommendation to other readers.

And in the Comment section, tell us what you like about it and why, and include a YouTube link to a performance if you can.

The Ear wants to hear.


Classical music: See and hear what happens at the Metropolitan Opera just before show time. You will be amazed and entertained

July 15, 2017
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By Jacob Stockinger

One of the most illuminating and entertaining stories The Ear has seen recently came in The New York Times.

It does exactly what great journalism does: Take you to a place where you cannot go yourself.

The Times went behind the scenes at the famed Metropolitan Opera House in New York City (below) – the Met, for short – to see what was going on before show time.

And it was a lot more than opera.

There is so much to see and listen to, as suggested below in the 1966 drawing of the Metropolitan Opera House by David A. Mackay.

From the sets, props, wig and costume shops to rehearsals by the Met and the American Ballet Theatre and the Metropolitan Orchestra and even to the kitchen and dining room, to say nothing of the classes, hallways and stage.

What emerged was an enthralling story – full of impromptu serendipity — that made good reading in the newspaper and humanized the arts. Here is the text index version (click on the picture and then on the triangle you will see):

But then The Times took advantage of the Internet to create an interactive look at the same material that features only audiovisual clips and runs 7 minutes and 21 seconds.

https://www.nytimes.com/video/arts/100000005201650/what-happens-just-before-show-time-at-the-met-opera-in-12-rooms-youll-never-see.html

The final result is impressive, both for the great videography of the shoulder-held cameras and for the succinct labeling and explaining that doesn’t interrupt the flow.

What resulted should win some kind of prize or award. It should also serve as a model for what many other media – especially television – can do with various media tools at hand.

One last observation: Is The Ear the only person who thinks the driving drum soundtrack sounds suspiciously similar to the soundtrack of the 2014 Oscar-winning film “Birdman”?

What do you think about the video?

Did you like it?

Did you learn anything?

The Ear wants to hear.


Classical music: Let us celebrate Brit Grit after the Manchester terrorist attack with Elgar’s Symphony No. 1

May 24, 2017
5 Comments

By Jacob Stockinger

First came the unforgettable.

Then came the unforgivable.

In the first case, I am talking about the woefully under-attended performance on Sunday afternoon at the Wisconsin Union Theater by the Milwaukee Symphony Orchestra (below) under its outgoing maestro Edo de Waart.

The MSO played the Overture to the opera “Don Giovanni” by Wolfgang Amadeus Mozart; “Schelomo: A Hebraic Rhapsody” by Ernest Bloch, with principal cellist Susan Babini as soloist; and the Symphony No. 1 by Sir Edward Elgar.

In each case, all sections of the orchestra performed stunningly well and the caliber of performance made you wonder: “Why don’t we hear this group more often?”

The Milwaukee Symphony Orchestra used to tour to Madison every year or so. It should do so again.

Then not long after the concert came word of the deadly terrorist attack by a suicide bomber at a pop concert in Manchester, England.

Sure, sometimes these things just happen. But coincidences can have power.

The Ear can’t think of a more stately and forceful statement of British fortitude and stoicism – the same grit that saw Britain through the Nazi blitz — than the poignant march-like opening of the first movement of Sir Edward Elgar’s Symphony No. 1.

Chances are you don’t know the symphony.

Chances are you know Elgar from his “Pomp and Circumstance” Marches, from his “Enigma Variations” for orchestra, from his Cello Concerto, from his Violin Concerto, from the violin miniature “Salut d’amour.”

But this is grand and great Elgar (below) who, like Brahms, turned to writing symphonies only late in his life.

We don’t hear Elgar’s first symphony often enough.

And this just happens to be the right time, both because of the world-class performance by the Milwaukee Symphony Orchestra and because the symphony was premiered in 1908 — in Manchester — and then went on to be popular enough to have some 100 performances in its first year.

But it has fallen out of favor. The last time the Ear heard it live was years ago when the UW Symphony Orchestra played it under the baton of guest conductor and UW-Madison alumnus Kenneth Woods (below), who now leads the English Symphony Orchestra and the Colorado Mahler Festival.

So here, in the YouTube video at the bottom, is a complete recording from the BBC Proms in 2012. Perhaps you will only listen to the opening movement, or even just the opening of the opening movement, with its moving theme that recurs throughout and then returns at the end.

But however much you listen to — and you shouldn’t miss the glorious slow movement – it seems a fitting choice to share today.

After all, as Leonard Bernstein once said: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”

If you have another choice of music to listen to on this deadly occasion, leave word and a YouTube link in the COMMENT section.

Solidarity through music!


Classical music: Globe-trotting conductor Edo de Waart bids farewell to Madison and the Milwaukee Symphony Orchestra this Sunday afternoon at the Wisconsin Union Theater with music by Mozart, Bloch and Elgar

May 17, 2017
3 Comments

By Jacob Stockinger

Music director and conductor Edo de Waart is coming to the end of his widely praised eight-year tenure at the Milwaukee Symphony Orchestra, after which he will become a conductor laureate of the MSO.

The busy and energetic 75-year-old de Waart (below, in a photo by Jesse Willems) started  his career as a assistant principal oboist of the Concertgebouw and rose to become an acclaimed symphony and opera conductor. Currently, he is also the music director of the Royal Flemish Philharmonic and the New Zealand Symphony Orchestra. In the past, he held major posts in Hong Kong, San Francisco, St. Paul, Minneapolis, Santa Fe, New York, Houston, Sydney, Rotterdam and Amsterdam among many others.

For more on de Waart, go to his Wikipedia entry:

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

Unless they go to Milwaukee on the following weekend — Friday, Saturday and Sunday, May 26-28 — to hear de Waart conduct Gustav Mahler’s mammoth Symphony No. 3 as his final farewell, listeners in the Madison area will likely have their last chance to hear the formidable de Waart and the accomplished Milwaukee players (below, with concertmaster Frank Almond on the left) this coming Sunday afternoon.

At 2:30 p.m. in Shannon Hall at the Wisconsin Union Theater, de Waart and the MSO will perform the Overture to the opera “Don Giovanni,” K. 527, by Wolfgang Amadeus Mozart; Ernest Bloch’s “Schlomo: A Hebraic Rhapsody” with MSO principal cellist Susan Babini (below); and Sir Edward Elgar’s Symphony No. 1, Op. 55.

There will also be a free pre-concert lecture at 1:30 p.m. by Randal Swiggum.

Tickets run from $15 to $49. For more information, including ticket prices and purchasing outlets, audiovisual links and links to reviews and background stories, go to:

https://union.wisc.edu/events-and-activities/event-calendar/event/milwaukee-symphony-orchestra/

The Ear has always been impressed not only with the quality of de Waart’s conducting, but also with his choice of soloists and his creative approach to programming. He has fond memories of other performances in Madison by the MSO, which used to tour here regularly.

The distinguished de Waart, a native of the Netherlands, has enjoyed critical acclaim in his international career across Europe, Asia and North America. For a while, this acclaimed world-class musician who has made so many award-winning recordings and performed so many guest stints around the world, was even a neighbor who lived in Middleton, a suburb of Madison, where his wife is from.

Plus, de Waart has a fine philosophy of making music and leading an orchestra, as you can hear in the YouTube video below that was made when he first took over the reins of the Milwaukee Symphony Orchestra:


Classical music: This Friday night, the Wisconsin Chamber Orchestra performs Rodrigo’s “Concierto de Aranjuez” with guest guitarist Ana Vidovic as well as the Symphony No. 3 by Bruckner and the Symphony No. 30 by Mozart

January 24, 2017
5 Comments

By Jacob Stockinger

This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.

WCO lobby

Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:

http://www.wisconsinchamberorchestra.org/performances/masterworks-ii-2/

As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.

AndrewSewellnew

The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.

This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)

Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.

ana-vidovic-2017

joaquin rodrigo

The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.

Anton Bruckner 2

For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.

So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.

This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.

daniel barenboim with baton

daniel-barenboim-portrait-ny-times-andrea-gjestvang-2017

Here is a link to the interview and story in The New York Times:

https://www.nytimes.com/2017/01/13/arts/music/a-long-party-of-concerts-to-celebrate-anton-bruckner.html?rref=collection%2Ftimestopic%2FBarenboim%2C%20Daniel&action=click&contentCollection=timestopics&region=stream&module=stream_unit&version=latest&contentPlacement=1&pgtype=collection&_r=0


Classical music: Here are the classical music nominations for the 2017 Grammy Awards. They make a great holiday gift list of gives and gets

December 10, 2016
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By Jacob Stockinger

This posting is both a news story and a holiday gift guide of classical recordings you might like to give or get.

It features the classical music nominations for the 59th annual Grammy Awards that were just announced this past week.

As you can see, several years ago, the recording industry decided that the Grammys should put more emphasis on new music and contemporary composers as well as on less famous performers and smaller labels as well as less well-known artists and works. You don’t see any music by Bach, Beethoven or Brahms this year, although you will find music by Mozart, Handel, Schumann and Dvorak. And clearly this is not a Mahler year

The winners will be announced on a live TV broadcast on Sunday night, Feb. 12, on CBS.

grammy award BIG

BEST ENGINEERED ALBUM, CLASSICAL

“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)

“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)

“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)

“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

dutilleux-sur-le-meme-accord-cd-cover

PRODUCER OF THE YEAR, CLASSICAL

Blanton Alspaugh

David Frost

Marina A. Ledin, Victor Ledin

Judith Sherman (pictured below with the Grammy Award she won last year. She came to Madison to record the double set of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)

Robina G. Young

Judith Sherman 57th Grammy 2016

BEST ORCHESTRAL PERFORMANCE

“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony). You can hear excerpts in the YouTube video at the bottom.

“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)

“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)

“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)

“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)

nelsons-shostakovich-5-cd-cover

BEST OPERA RECORDING

“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)

“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)

“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)

“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)

“Szymanowski: Król Roger” — Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecień & Saimir Pirgu; Jonathan Allen, producer (Orchestra of the Royal Opera House; Royal Opera Chorus)

ghosts-of-versailles-cd-cover

BEST CHORAL PERFORMANCE

“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)

“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)

“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing; below)

“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)

“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)

lloyd-bonhoefffer-cd-cover

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

“Fitelberg: Chamber Works” — ARC Ensemble

“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene

“Serious Business” — Spektral Quartet

Steve Reich” — Third Coast Percussion (below)

“Trios From Our Homelands” — Lincoln Trio

reich-third-coast-percussion-cd-cover

BEST CLASSICAL INSTRUMENTAL SOLO

“Adams, J.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)

“Daugherty: Tales of Hemingway” — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)

“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)

“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout

“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

john-adams-scheherazade2-cd-cover

BEST CLASSICAL SOLO VOCAL ALBUM

“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)

“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)

“Schumann & Berg” — Dorothea Röschmann; Mitsuko Uchida, accompanist

“Shakespeare Songs” — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)

“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)

bostridge-shakespeare-songs-cd-cover

BEST CLASSICAL COMPENDIUM

“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer

“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer

“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer

“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)

“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

tales-of-hemingway-cd-cover

BEST CONTEMPORARY CLASSICAL COMPOSITION

“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)

“Daugherty: Tales of Hemingway” — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)

“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)

“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)

“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

higdon-cold-mountain-cd-cover


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Classical music: What is the greatest symphony ever written? And what are the other nine in the maestros’ list of the Top 10 symphonies?

September 9, 2016
10 Comments

By Jacob Stockinger

The BBC Music Magazine recently surveyed 151 conductors about their favorite symphonies. (Below is a photo of the Madison Symphony Orchestra.)

John DeMain and MSO from the stage Greg Anderson

Of course, the maestros – who were asked to name their Top 3 symphonies to generate a master list — might well disagree with the public. One suspects that conductors like BIG, difficult and complex works that challenge them.

Here’s a big surprise — NOT: the list is heavily weighted toward German and Austrian composers. And The Ear doesn’t mean Haydn, Schubert or Schoenberg.

Now making such rankings and lists is certainly a subjective experience, some say, silly.

Still, it can be informative as well as fun.

Here are the results, as reported in The Guardian newspaper in the United Kingdom:

https://www.theguardian.com/music/2016/aug/04/beethoven-eroica-greatest-symphony-vote-bbc-mozart-mahler

Do you agree with the maestros?

What modern and contemporary symphonies would you name?

What great symphony, from any period, do you think is missing from the Top 10 and would you add?

The Ear – who confesses his special fondness for the Symphony No. 1 “Titan” by Gustav Mahler — wants to hear.


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