The Well-Tempered Ear
What do you think of the ‘new’ Wisconsin Public Radio?
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By Jacob Stockinger
Is The Ear alone — the only listener who is apprehensive and even disapproving about the major changes coming to the “new” Wisconsin Public Radio?
Starting this coming Monday, May 20, WPR is about to be severely reinvented.
That is when there will really be two WPRs — an all-music channel and a separate all-news channel — and when schedules for programs and hosts will change drastically.
And, just as importantly, so will the locations the two new stations on the dial.
For more details about the new station maps and numbers as well as background to the Big Makeover, go to the newly redesigned and improved website and especially this page:
Switching stations several times each day to catch the programs that you like should be about as much fun as resetting your clocks and digital timers for going on and off Daylight Saving and after a power outage.
Only you will be doing it non-stop.
No more one-stop shopping from morning to night.
Might just be enough to make some people tune out.
Or maybe withhold donations, even with what seems an increasing reliance on matching gifts by “generous friends” of WPR.
Of course the promotions and YouTube video from WPR’s recently hired director Sarah Ashworth (below) say the changes will be “exciting” and come after two years of research and analysis. She says the changes will make it easier for listeners around the state to listen to WPR, but they sure sound inconvenient more than user-friendly.
Excuse my doubt.
I like the mix of news and classical music. Always have, alway will.
I like waking up to NPR’s “Morning Edition,” which is my comprehensive morning news briefing. It’s great to listen to while driving to work or resting in bed.
I love the transition to classical music at 9, when I need beauty and am ready to listen to some music. (Below is Stephanie Elkins in the studio where she masterfully hosted the now-defunct “Morning Classics.”)
And after six hours of music, I love hearing “All Things Considered,” one of the few broadcast news programs that take culture seriously in addition to politics, finance and world events. I also love catching Terry Gross’ interviews on “Fresh Air” and financial updates from “Marketplace.”
I have loved the news-music contrast and combination ever since I came to graduate school in Madison and first tuned in to WPR.
The station has always reinforced the astute observations made by the great American poet William Carlos Williams who said: ‘“Beauty” is related not to “loveliness” but to a state in which reality plays a part”’ and “It is difficult/to get the news from poems/though men die miserably every day/for lack/of what is found there.”
Beauty and news belong together — integrated, not segregated. (The all-music channel will still have hourly headlines.)
Hard to tell if the changes will take WPR, now over a century old, to greater success or put it on the path to slow suicide.
Other things might have helped increase listenership .
One that comes to mind is playing less second- and third-rate music that is thoroughly boring and forgettable, and then trying to pass it off as important. More of an emphasis on great music — you know, the kind that first made us all fall in love with classical music — and less of an emphasis on obscure musicology and identity programming might have helped.
Another is implementing faster solutions to mechanical problems — including missing online listings, frequent instances of dead air, and chopping off parts of news and music programs.
Anyway, we need to give the new changes a chance. So Monday I will tune in and see how it goes and hope for the best before passing final judgment. But I am not optimistic.
What do you think of the changes?
What would you like to see WPR do more of or less of?
Please leave a comment, however brief.
The Ear and surely the entire staff at WPR want to hear.
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Classical music: It’s summer. Which composers and musical works have been inspired by insects?
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By Jacob Stockinger
It’s summer.
The Ear likes to watch the fireflies or lightning bugs and hear the crickets that come with the season.
But he is much less fond of ants and spiders, of bees and wasps, and especially of mosquitoes, which seem particularly plentiful and aggressive after the very wet spring Wisconsin experienced.
But it turns out that, over many centuries, insects have inspired a lot of composers to write music that mimicked them and their noises and movements.
Professional violist and music educator Miles Hoffman (below) recently discussed insect music on NPR’s Morning Edition.
Here is a link:
You can read the printed transcript, but the real fun and learning come if you listen to the audio clip that includes musical excerpts.
Some prominent ones were overlooked or not mentioned, including Romantic composer Robert Schumann’s “Papillons” (Butterflies) for solo piano, which you can hear played by Wilhelm Kempff in the YouTube video at the bottom.
Can you think of other composers and pieces that focus on insects?
Leave the name or title, plus a YouTube link to a performance if possible, in the COMMENT section.
The Ear wants to hear.
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Classical music: NPR explores Opus 1 works to mark Jan. 1 and New Year’s Day
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By Jacob Stockinger
Each year, the media look for new ways to mark the holidays and especially New Year’s Day.
One of the best and most original The Ear has seen and heard in a long time came from National Public Radio (NPR).
On Morning Edition, the radio network consulted Miles Hoffman (below), a violist, conductor and educator, about the first works – the Opus 1 works – that various composers published.
Hoffman’s remarks touch on quite a few young composers and prodigies, including Ludwig van Beethoven (below top), Felix Mendelssohn (below middle) and Ernst von Dohnanyi (below bottom).
Here is a link to the story, which should be listened to, and not just read, for the sake of the music and sound samples:
And from YouTube here are two more Opus 1 works that The Ear would add.
The first is the Rondo in C Minor, Op. 1, by a young Frédéric Chopin (below, in a drawing from Getty Images) and performed by Vladimir Ashkenazy. It shows just how early Chopin had found his own style and his own distinctive voice:
And here are the “Abegg” Variations by critic-turned-composer Robert Schumann (below), played by Lang Lang:
Can you think of other Opus 1 works to add to the list?
Please leave the composer’s name, the work’s title and a YouTube link to a performance, if possible, in the COMMENT section.
The Ear wants to hear.
Tags: Art Works, Arts, Beethoven, best, Cello, Chamber music, Chopin, Classical music, Compact Disc, composer, conductor, critic, educator, Ernst Dohnanyi, Feix Mendelssohn, fistinctive, Getty Images, Holiday, Jacob Stockinger, Lang Lang, link, Ludwig van Beethoven, Madison, media, Miles Hoffman, Morning Edition, Music, Music education, new, New Year, New Year's Day, NPR, opus, original, performance, prodigies, prodigy, rondo, Schumann, Sound, Teacher, title, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Vladimir Ashkenazy, voice, Wisconsin, wisconsin public radio, work, young, YouTube
Classical music: Famed pianist Byron Janis reached out for Chopin. Did Chopin return the favor from beyond the grave?
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By Jacob Stockinger
Recently, The Ear posted a story by pianist Jeremy Denk that, to his mind, did the best job ever of explaining why the music of Frederic Chopin appeals so universally.
Here is a link:
Then more recently The Ear heard another story that involved the famed pianist Byron Janis (below), who studied with Vladimir Horowitz when he was a teenager.
He then went on to a spectacular virtuosic career before his hands were partially crippled by severe psoriatic arthritis. (You can hear him play less virtuosic music very poetically in the YouTube video at the bottom.)
Through his piano playing and his library searches, Janis has reached out to Chopin, with some impressive results, including discovering lost manuscripts of famous waltzes.
But more surprising is Janis’ claim that, through a death mask, Chopin has returned the favor from beyond the grave and reached out to him in a paranormal or supernatural way.
The story was broadcast on National Public Radio (NPR). It aired on the Saturday version of Weekend Edition with Scott Simon, and then was posted on the blog Deceptive Cadence.
Here is a link:
What do you think?
Do you believe Byron Janis’ story and explanation?
What do you think of his Chopin playing?
The Ear wants to hear.
Tags: arthritis, Arts, blog, Byron Janis, career, Chopin, Classical music, Compact Disc, cripple, death, death mask, Deceptive Cadence, grave, hand, Jacob Stockinger, Jeremy Denk, lost, Madison, manuscript, mask, Morning Edition, Music, National Public Radio, New York City, nocturne, NPR, paranormal, Piano, poetic, psoriatic arthritis, Radio, Scott Simon, Sonata, story, supernatural, teenage, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, virtuoso, Vladimir Horowitz, Waltz, Weekend Edition, Wisconsin, YouTube
Classical music: Would you believe that seeing a musician perform WITHOUT SOUND is a better predictor of competition success than hearing the performance? That’s what a new study tells us.
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By Jacob Stockinger
It turns out that composer Igor Stravinsky (below) was on to something when he urged people to listen to live performances of music with their eyes open.
But The Ear is betting that even he did not realize just what he was on to since maybe all you need is eyes.
So let me put the question to you:
How could you best predict the winner of a music competition? By using: A) audio only; B) visuals only; or C) audio and visuals.
I would have answered probably A followed by C.
And I suspect so would many of you.
But a new study says we would be wrong.
The correct the answer is definitely B.
That’s right. The music doesn’t matter after all. Don’t even listen. Forget the music. Just look! Or if you are a contestant, just send in a silent video.
It turns out that even very experienced professional musicians – yes, including the judges of competitions — did better using silent visuals than other sources including the combination of audio and visual.
Not surprisingly, a number of classical music websites have been buzzing with news of the study.
But the best summary I know of so far was done by NPR’s “Morning Edition”’s social science correspondent Shankar Vedantam (below) who also blogs on the website www.hidden brain.org. Here is a link you can use to listen to his story (don’t just look at his picture):
http://www.npr.org/2013/08/20/213551358/how-to-win-that-music-competition-send-a-video
And here is another good version from the Harvard Gazette of Harvard University where pianist and human behavioral psychologist specializing in organizational behavior Chia Jung-Tsay (below in a photo by Kris Snibbe) was a co-researcher of the surprising study:
http://news.harvard.edu/gazette/story/2013/08/the-look-of-music/
And to think I always enjoyed and emulated the non-emotive and regally quiet bearing of pianists Arthur Rubinstein (below) and Vladimir Horowitz, of violinists Jascha Heifetz and Itzhak Perlman.
I do wonder if an earlier generation, less used to social media and YouTube, would have yielded different results. But we won’t ever know, will we?
So perhaps the Liberace-like flamboyant gestures and physical antics or performing style of the superstar Lang Lang (below) have their place in communicating musical beauty after all.
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