The Well-Tempered Ear

Classical music: Happy Bastille Day! But instead of militarism, let’s celebrate the holiday with revolutionary French music by a revolutionary French composer. What French music would you choose?

July 14, 2019
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By Jacob Stockinger

Today is July 14, known in the U.S. as Bastille Day.

That is the day in 1789 when the infamous Bastille Prison in Paris was stormed by the masses and political prisoners were freed – marking the beginning of the French Revolution.

The tradition is to play “La Marseillaise,” the French national anthem that grew out of the revolution. Usually there is a military side to the arrangement of the anthem and the performance of it.

After all, it was a Bastille Day parade that even inspired President Trump to stage his egotistical “Salute to America” – satirically dubbed “Tanksgiving” — on the Fourth of July this year in Washington, D.C..

But The Ear has had quite enough of militarism and of the lying draft dodger who became commander-in-chief using patriotism to camouflage his un-American actions and ideas.

With no disrespect to those who served or are serving in the armed forces, there are many ways besides the military to be patriotic and even revolutionary.

So this year The Ear is choosing something subtle and less martial to mark the day.

It is a performance of “Feux d’artifice” (Fireworks), a prelude for solo piano by Claude Debussy (below), who described himself – in an age where German and Italian music ruled – simply as a “French musician.” But make no mistake: Debussy, who was rejected for admission to the Paris Conservatory, was indeed a revolutionary figure in music history for his innovations in harmony and form.

(Perhaps this past season, you heard Marc-André Hamelin give an astoundingly virtuosic performance of “Fireworks” as an encore after his Sunday afternoon concerto performances with the Madison Symphony Orchestra.)

Listen carefully and at the very end you will hear a subtle reference to the Marseillaise that adds the right touch to the pyrotechnical celebration of  “Liberty, Equality, Fraternity.”

Added to that, the fiery performance in the YouTube video at the bottom is by Robert Casadesus, a deservedly famous French pianist.

Finally, The Ear thinks you can celebrate Bastille Day with any number of French composers and French works, many of which remain neglected and underperformed. (The Ear is particularly partial to the music of Gabriel Faure, below, who taught Maurice Ravel.)

Who is your favorite French composer?

What is your favorite French piece of classical music?

Leave a comment with, if possible, a YouTube link.

Happy Bastille Day!!


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Classical music: Today is the Fourth of July. Here is patriotic music to help celebrate, including a portrait of a truly presidential president for the purpose of comparison

July 4, 2019
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By Jacob Stockinger

Today is the Fourth of July – a celebration of Independence Day when the United States officially declared its separation from Great Britain in 1776.

The day will be marked by picnics and barbecues, by local parades and spectacular fireworks – and this year by armored tanks and fighter jets in yet another expensive display of military power by You Know Who: that loudmouth man who overcompensates for dodging the draft by acting more like King George than George Washington.

The “Salute to America” sure looks like it is really going to be a “Salute to Trump.”

But whatever your politics, your preferences in presidents or the festive activities you have planned for today, there is classical music to help you mark and celebrate the occasion. Just go to Google and search for “classical music for the Fourth of July.”

Better yet, tune into Wisconsin Public Radio, which will be featuring American classical music all day long.

In addition, though, here are some oddities and well-known works that The Ear particularly likes and wants to share.

The first is the Russian immigrant composer and virtuoso pianist Sergei Rachmaninoff playing his own version of our national anthem, “The Star-Spangled Banner,” something he apparently did out of respect for his adopted country before each recital he played in the U.S.:

And the second is by another Russian immigrant and piano virtuoso, Vladimir Horowitz, who was a friend and colleague of Rachmaninoff. Here he is playing his piano arrangement, full of keyboard fireworks that sound much like a third hand playing, of “The Stars and Stripes Forever” by American march king John Philip Sousa. Horowitz used the patriotic march to raise money and sell war bonds during World War II, then later used as an encore, which never failed to wow the audience:

For purposes of artistic and political comparisons of presidents, you will also find Aaron Copland’s “A Lincoln Portrait” – with famous actor and movie star Henry Fonda as the narrator of Honest Abe’s own extraordinary oratory and understated writing — in the YouTube video at the bottom.

And in a ironic twist The Ear can’t resist, here are nine pieces — many orchestral and some choral –chosen by the official website of the BBC Music Magazine in the United Kingdom to mark and honor American Independence Day. It has some surprises and is worth checking out:

http://www.classical-music.com/article/nine-best-works-independence-day

If you like or favor other works appropriate to the Fourth of July or have comments, just leave word and a YouTube link if possible, in the Comment section.

The Ear wants to hear.


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Classical music: Today is Memorial Day – a good time to remember the civilian dead as well as the military dead. The Ear likes Ravel’s “Le Tombeau de Couperin.” What music would you listen to to mark the holiday?

May 27, 2019
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By Jacob Stockinger

Today is Memorial Day, 2019, when the nation honors the men and women who died in military service. The Ear would like to see much more attention and remembrance paid to the huge number of civilians — much higher than military personnel and soldiers — who have died in wars and military service, whose lives weren’t given but taken.

In fact, why not establish and celebrate a separate holiday to honor civilian deaths in war? Perhaps it would help to know the detailed history and background of the holiday, since it is not as straightforward or modern as you might expect:

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

What piece of classical music would you listen to in order to mark the holiday?

There is a lot to choose from.

The Ear especially likes “Le Tombeau de Couperin” by the early 20th-century French composer Maurice Ravel. It is a “tombeau” – a metaphorical “tomb” or “grave” used by the French to mean paying homage to the dead – in two senses.

Its neo-Classical or neo-Baroque style recalls the 18th-century world of French composers and harpsichordists including Jean-Philippe Rameau and Francois Couperin. But in a second sense, Ravel (below, in 1910) dedicated each of the six movements to a friend – in one case, two brothers — who had died during World War I. So part of its appeal is that it is a very personal statement of grief.

Here is more detailed background about the piece:

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

The work was orchestrated later, which added sonic color but cut out two movements. The Ear prefers the original piano version, which seems a little more percussive, austere and straightforward — less pretty but more beautiful, and more in keeping with the holiday by evoking sentiment without sentimentality.

In the YouTube video at the bottom, you can hear it in a live performance by Canadian pianist Angela Hewitt.

But there are lots of other works to choose from by many composers: John Adams (“The Wound Dresser” after poetry of Walt Whitman); Samuel Barber (Adagio for Strings); Ludwig van Beethoven (slow movements of Symphonies 3 and 7, and of the Piano Sonata Op. 26); Johannes Brahms (“A German Requiem”); Benjamin Britten (War Requiem);  Frederic Chopin (Funeral March from Sonata No. 2, polonaises, preludes and the “Revolutionary” Etude); Aaron Copland (“Fanfare for the Common Man” and “Letter From Home”); Edward Elgar (“Nimrod” from “Enigma Variations”); Gabriel Faure (Requiem and Elegy for cello); Franz Joseph Haydn (“Mass in Time of War”); Paul Hindemith (“When Lilacs Last in the Dooryard Bloom’d – A Requiem for Those We Love”);  Charles Ives (Variations on “America” and “Decoration Day”); Henry Purcell (“When I Am Laid in Earth”); John Philip Sousa (“Honored Dead” March); Ralph Vaughan Williams (Symphony No. 3 “Pastoral”); and many others, including Johann Sebastian Bach and Wolfgang Amadeus Mozart.

Here is a list from the British radio station Classical FM:

https://www.classicfm.com/discover-music/occasions/memorial/remembrance-day-music/war-requiem-britten/

Here is a list of patriotic music from Nashville Public Radio:

https://www.nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Here is another list from an American source:

http://midamerica-music.com/blog/five-classical-works-memorial-day/

Here are more sound samples from NPR:

https://www.npr.org/templates/story/story.php?storyId=104341851

And here is another one from Northwest Public Radio:

https://www.nwpb.org/2015/05/22/memorial-day-music-commemorate-celebrate/

What do you think of a holiday commemorating civilian deaths in war?

What favorite piece of classical music would you play and listen to as you mark Memorial Day?

Let us know, with a YouTube link if possible, in the COMMENT section.

The Ear wants to hear.


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Classical music: The Middleton Community Orchestra and solo flutist Iva Ugrcic turn in polished performances of a fun program to kick off the new season

October 12, 2018
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photo.

By John W. Barker

The opening concert on Wednesday night by the largely amateur Middleton Community Orchestra (below top), under the baton of Steve Kurr (below bottom), was a relatively brief but pithy one, with only three short works on the program.

The opener was Autumn, the most frequently played section of the ballet The Seasons, Op. 67 (1899), by Alexander Glazunov (below) and one of the composer’s most frequently heard pieces. It is a rondo-like sequence of varied dance movements, full of lyricism and bright colors. The Middleton players dug into it with gusto.

Second came the Flute Concerto in D Major, Op. 283, by the prolific 19th-century German composer Carl Reinecke (1824-1910, below). He was conservative as a teacher and as a prolific composer.

Among his concertos, this one was his last, written just two years before his death. It is an engaging work, not notable for great ideas, but amiable, with a good virtuosic workout for the soloist.

The soloist was the Serbian-born flutist Iva Ugrcic, an absolute whiz of a player, and, among other things, a product of the UW-Madison’s Mead Witter School of Music doctoral program.  She played with super-precision and confidence, giving her instrument great personality.

Without intermission, the concert ended with the Symphony No. 100, known as the “Military,” by Franz Joseph Haydn (below). It was first played in 1794 among the composer’s “London” Symphonies during his second visit to England. But it may well have been begun while he was in Vienna, for it reflects a particular fad popular there.

This was the use in orchestral writing of an adaptation of the sounds of the Turkish Janissary band. In the second movement, whose tune was taken from an earlier chamber work of his, Haydn introduced recurrently the “Turkish” instruments (two clarinets, triangle, cymbals, bass drums) with startling effect.

At the movement’s end, a trumpet call brings these novelties back for a crashing conclusion. And then, in the fourth movement’s ending, the “Janissary” instruments return for another razzle-dazzle finish. (You can hear the fourth movement in the YouTube video at the bottom.)

It’s all great fun, and the orchestra players seemed to find their own enjoyment in it.

The MCO continues its steady growth as a polished and reliable ensemble — all 98 players!


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Classical music: The Willy Street Chamber Players conclude this summer season on such a high note that one already hungers for next summer

July 30, 2018
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

At Immanuel Lutheran Church last Friday night, the Willy Street Chamber Players ended the 2018 summer season – their fourth — with a concert full of fascinating variety.

Four works were performed, each introduced by one of the players. Personnel shifted according to the scorings.

To begin, a core group of the organization (below, from left) — violinists Eleanor Bartsch and Paran Amirinazari, cellists Lindsay Crabb and Mark Bridges, and violist Beth Larson — played Luigi Boccherini’s Cello Quintet in C major (G. 324), which has the Italian title translatable as “Night Music of the Streets of Madrid.” (The piece, which has military or martial aspects to it, was featured in the soundtrack to the popular film “Master and Commander,” which you can hear in the YouTube video at the bottom.)

Typical of the composer’s prolific writing for string quintets, it is unique in offering in its seven movements a dusk-to-dawn evocation of Madrid’s street life in Boccherini’s day. This delightful work was performed with relish.

Next came a contemporary work by American composer Andrew Norman (below top). Written in his 20s, Night Screens (2002),for flute and string quartet, is a playful work inspired by the asymmetrical stained glass windows designed by architect Frank Lloyd Wright.

The music is quite tonal, but very episodic in its succession of tempos and rhythms. For this work, Amirinazari, Larson and Crabb were joined by a friend of the composer, flutist Timothy Hagen (below), now a faculty member of the UW-Madison’s Mead Witter School of Music.

Rarely heard in concert, but a really fascinating novelty is Sergei Prokofiev’s Overture on Hebrew Themes, Op. 34. This was composed in 1919, during the composer’s stay in the U.S. It is based on two melodies whose actual Jewish origins are in doubt, but their juxtaposition and elaboration are fascinating to follow.

The colorful scoring is for clarinet, piano, and string quartet, so this drew other guest artists, Alicia Lee (below top) also of the UW faculty, and pianist Thomas Kasdorf (below bottom) to join Bartsch, Amirinazari, Larson and Bridges.

Finally came a rare opportunity to encounter Johann Strauss II collaborating with Arnold Schoenberg, or rather vice-versa. For a fund-raising concert on behalf of his radical atonal ensemble in Vienna in 1925, Schoenberg made a chamber arrangement of the great waltz master’s Kaiser-Walzer or “Emperor Waltz.”

He scored it for flute, clarinet, piano and string quartet — perfectly allowing seven of the eight performers (less Crabb) to offer a triumphant grand finale. Even in such a lean and reduced format, Schoenberg faithfully conveyed Strauss’s melodic genius, and brought the large audience enthusiastically to its feet.

The Willys continue to match great enterprise in programming with superb artistry in playing, all in a summer season that leaves us hungering for the next one.


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Classical music: Why are the Willy Street Chamber Players so successful at presenting neglected and new music?

July 12, 2018
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By Jacob Stockinger

Many individuals and groups, large and small, like to program neglected works and new music.

But no one does it better than the Willy Street Chamber Players, who are now in the middle of their fourth annual summer season.

So what is the secret of the Willys?

Some clues were given at the outstanding and thoroughly successful opening concert last Friday night, when the Willys, with guest mezzo-soprano Jazimina MacNeil (below), played new music by Caroline Shaw, Colin Jacobsen and Michael Kelley – all to a very enthusiastic reception from the large audience.

More chances to experience such success and figure out the reasons behind it are coming up.

Tonight from 4 to 7 p.m. – and again on next Thursday, July 19, at the same time and place — at the Art and Literature Laboratory, 2021 Winnebago Street, the Willys will hold an open rehearsal. Admission is FREE, and you can bring something to eat and have a drink, including beer ($5 donation), as you listen and wander around to explore the space.

Then on Friday from noon to 1:30 p.m., during the Community Connect Concert for the whole family at the Goodman Community Center (below top) at 149 Waubesa Street, the Willys will perform “Leyendas: An Andean Walkabout” by the contemporary American composer Gabriela Lena Frank (below bottom) and  the rarely performed “Procession of the Military Night Watch in Madrid” by the Classical-era composer Luigi Boccherini. (Starting at 11 a.m. there is also an instrument “petting zoo.”)

(You can hear an excerpt from the work by Gabriela Lena Frank in the YouTube video at the bottom.)

On this Sunday from 5 to 6 p.m., the Willys will perform the same program — which also features some string quartet selections by Romantic composer Robert Schumann — for FREE on the Union Terrace (below).

Other regular series concerts include the rarely heard String Quintet in A Major by Alexander Glazunov on July 20 and “Light Screens” (2002) by Andrew Norman (below) on July 27.

For times, place and details about series and special concerts, and for other information, go to: http://www.willystreetchamberplayers.org/calendar.html

Anyway, the way The Ear sees it there are several reasons to explain the Willys’ success with new and neglected music.

One can start with the basics: The impressive musicianship of all the Willys, who are remarkable for both technique and interpretation.

Another reason is the players’ unflagging ability to project energy and enthusiasm, suggested by upbeat and exciting tempi and by even such a small gesture as the two violinists and two violists playing while standing up, as was the custom in the Baroque era, rather than seated.

The Willys also introduce the pieces, providing not only information but also some humor, often self-deprecating. They prepare you for liking the music, not just for listening to it.

They often choose shorter and easily digestible pieces, so it is never an ordeal that overwhelms you. Sometimes you want a musical short story, not a musical novel.

But most of all the Willys do what more proponents of new music should do: They seem to keep their listeners in mind when they choose the pieces they will play.

Never do you get the feeling that listening to new or neglected music is some sort of aesthetic obligation imposed on you. It is there to be enjoyed, and you are there to be pleased, not just instructed or preached to.

Too often new music seems chosen as a gesture of R&D – research and development – that feels more important to the performers rather than to the audiences.

Maybe there is more to say? What do others think? The Ear looks forward to hearing what you think.

In the meantime, The Ear suggests you take in as much as you can of the superlative music-making of both classics and new music by the Willy Street Chamber Players.

He doubts you will be disappointed and is pretty sure you will be as pleased and impressed as he is.


Classical Music: Today is Memorial Day 2018. What music would you play to honor those who died in service to their country?

May 28, 2018
4 Comments

By Jacob Stockinger

Today is Memorial Day 2018, when those soldiers who died in war and military service to their country — in the Army, Navy, Air Force, Marines, Coast Guard or whatever other branch — are honored. (Below is an Associated Press photo of Arlington National Cemetery in Washington, D.C.)

Many blogs, newspapers and radio stations list classical music that is appropriate for the occasion.

But one of the very best overviews and compilations that The Ear has seen comes this year from Capital Public Radio in Sacramento, California.

Here is a link:

http://www.capradio.org/music/classical/2018/05/25/classical-selections-in-honor-of-memorial-day/

Another very good selection dates from last year and comes from Nashville Public Radio.

Perhaps that makes sense because Nashville is such a musical city.

Perhaps it has to do with other reasons.

Whatever the cause, this playlist gives you modern and contemporary composers and music (John Adams, Joseph Bertolozzi and Jeffrey Ames) as well as tried-and-true classics (Henry Purcell and Edward Elgar— the famous and moving “Nimrod” Variation that you can hear in the YouTube video at the bottom — Franz Joseph Haydn and Frederic Chopin).

It even features some music that The Ear is sure you don’t know.

Take a look and many listens:

http://nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Finally, you can also hear some appropriate music for today on Wisconsin Public Radio.

Do you agree with the choices?

Do you like them or at least some of them? Which ones?

Which music would you choose or add to mark today’s holiday?

Leave a title and, if possible, a link to a YouTube performance in the COMMENT section.

The Ear wants to hear.


Classical music: Here is music to mark Memorial Day. What pieces would you choose?

May 29, 2017
6 Comments

By Jacob Stockinger

Today is Memorial Day 2017, when those soldiers who died in war and service to their country are honored. (Below is an Associated Press photo of the National Cemetery in Washington, D.C.)

Many blogs, newspapers and radio stations list classical music that is appropriate for the occasion.

But one of the very best compilations that The Ear has seen comes this year from Nashville Public Radio.

Perhaps that makes sense because Nashville is such a musical city.

Perhaps it has to do with other reasons.

Whatever the cause, this list gives you modern and contemporary composers and music (John Adams, Joseph Bertolozzi and Jeffrey Ames) as well as tried-and-true classics (Henry Purcell and Edward Elgar, Franz Joseph Haydn and Frederic Chopin).

It even features some music that The Ear is sure you don’t know.

Take a look and many listens:

http://nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Do you agree with the choices?

Do you like them or at least some of them?

Which ones?

Which music would you choose to mark today?

Leave a name and, if possible, a link to YouTube in the COMMENT section.

The Ear wants to hear.


Classical music: The fourth annual Schubertiade at the UW-Madison takes place this Sunday afternoon – with some important changes

January 25, 2017
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By Jacob Stockinger

The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)

Franz Schubert big

Schubertiade 2016 stage

Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.

Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.

But there are some important changes this year that you should note.

One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.

Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)

schubertiade-2017-painting-by-gustav-klimt

After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.

The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.

martha fischer and bill lutes

Usually there is a unifying theme. Last year, it was nature.

This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.

Schubertiade in color by Julius Schmid

Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.

Emily Birsan 2016

For more about the event, the performers and how to purchase tickets, go to:

http://www.music.wisc.edu/2016/12/19/schubertiade_birsan2017/

Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:

Performers

Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.

Program

Trost im Liede (Consolation in Song ), D. 546 (MF, BL)

Franz von Schober (1796-1882)

Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)

Kolumban Schnitzer von Meerau (?)

Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)

Josef von Spaun (1788-1865)

4 Canzonen, D. 688 (EB, BL)

No. 3, Da quel sembiante appresi (From that face I learnt to sigh) 

No. 4, Mio ben ricordati (Remember, beloved) 

Pietro Metastasio (1698-1782)

From the Theresa Grob Album (November, 1816)

Edone, D. 445 (WD, MF)

Friedrich Gottlieb Klopstock (1724-1803)

Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)

Johann Gaudenz von Salis-Seewis (1762-1834)

Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)

Matthias Claudius (1740-1815)

Mailied (May Song), D. 503 (DO, BL)

Ludwig Hölty (1748-1776)

Marche Militaire No. 1, D. 733 (MF, BL)

Viola (Violet), D. 786 (EB, BL)

Schober

Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)

Franz Grillparzer (1791-1872)

Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)

Intermission

Geheimnis (A Secret), D. 491 (EB, MF)

Johann Mayrhofer (1787-1836)

Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)

Franz Xavier von Schlechta (1796-1875)

An Sylvia, D. 891 (MF, BL)

Shakespeare, trans. Eduard von Bauernfeld (1802-1890)

Nachtstück (Nocturne), D. 672 (DO, BL)

Mayrhofer

Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)

Johann Anton Friedrich Reil (1773-1843)

8 Variations sur un Thème Original, D. 813 (MF, BL)

Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)

Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)

Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)

An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)

Schober

Everyone is invited to sing along. You can find the words in your texts and translations.

Schubert etching

Here is a link to a story in The Wisconsin State Journal with more background:

http://host.madison.com/entertainment/music/bringing-back-the-schubert-house-party/article_a0d27e9d-7bc7-5f32-bb57-590eb0bc7b91.html

And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:

https://welltempered.wordpress.com/2014/02/02/classical-music-what-classical-music-goes-best-with-the-nfls-super-bowl-48-football-championship-today-plus-university-of-wisconsin-madison-singers-and-instrumentalists-movingly-celebrate-franz-s/

https://welltempered.wordpress.com/2016/02/04/classical-music-the-third-annual-schubertiade-at-the-university-of-wisconsin-madison-school-of-music-was-so-popular-and-so-successful-it-should-serve-as-a-model-for-other-collaborative-concerts-feat/


Classical music: A new opera takes listeners back to The Bad Old Days of anti-gay America – and reminds us of the bigotry today that camouflages itself as religious freedom

July 2, 2016
1 Comment

CORRECTION: Yesterday’s post about the fourth annual Handel Aria Competition had a mistake about when it will be held. The correct time is next FRIDAY, July 8, at 7:30 p.m. in Mills Hall. The Ear regrets the error. General admission is $10. Here is a link with more information:

https://welltempered.wordpress.com/2016/07/01/classical-music-handel-aria-competition-announces-2016-finalists-to-sing-next-thursday-night/

By Jacob Stockinger

Issues pertaining to gays, lesbians, bisexuals and transgender people are much in the news these days.

Of course there were the shootings and mass murder at the Pulse gay bar in Orlando, Florida.

And there were the so-called “bathroom laws” enacted against transgender people and designed to protect “normal” people who ere never really threatened.

In contrast, the military announced that transgender people could serve under the usual conditions and regulations.

Then President Obama declared the Stonewall Inn (below) in Greenwich Village in New York City, a national historical landmark. In 1969 a police raid against the gay bar led to riots that, in turn, sparked the gay liberation movement to secure human rights and civil rights for homosexuals.

stonewall inn

This week saw a U.S. District Judge in Mississippi ruling against so-called “religious freedom” laws that many states have enacted in the wake of the U.S. Supreme Court legalizing same-sex marriage a year ago.

Such laws were ruled to discriminate against LGBT people and to unconstitutionally favor certain religions or forms of religion.

A lot of the proponents of such laws seem to have a false nostalgia for the good old days.

Well, maybe they were good for some people. But they were terrible times for many others, including LGBTQ people.

Gregory Spears’ new opera, called “Fellow Travelers” (below is a crucial scene in a photo by Philip Goushong for the Cincinnati Opera) has an interesting take on that historical era with its “Lavender Scare” that parallels the Red Scare of McCathyism.

Fellow Travelers and Lavender Scare CR Philip Groshong for the Cincinnati Opera

Here is a story that aired on NPR or National Public Radio:

http://www.npr.org/sections/deceptivecadence/2016/06/18/482307467/a-new-opera-illuminates-the-lavender-scare-a-little-explored-era-in-queer-histor


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