The Well-Tempered Ear

Classical music: As we say goodbye to summer, YOU MUST HEAR THIS: Irish composer Joan Trimble’s “Pastorale” homage to the summery French composer Francis Poulenc

August 26, 2019
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By Jacob Stockinger

One week from today is Labor Day.

So it is time to start saying goodbye to summer and hello to fall — even though the autumnal equinox won’t arrive until Monday, Sept. 23, at 2:50 a.m. CDT.

The Ear’s favorite summertime composer is the French master Francis Poulenc (below), whose accessible and tuneful music possesses in abundance that Gallic sense of lightness and lyricism, of wit and charm, of modern Mozartean classicism and clarity — complete with trills and ornaments — that seems so appropriate to the summer season.

But then recently on Wisconsin Public Radio, The Ear heard for the first time something inspired by Poulenc that he thinks many of you will appreciate, especially during the transition between the seasons.

It is, appropriately, a 2-1/2 minute “Pastorale” for two  pianos – a form Poulenc himself used in his most famous piano concerto — by the underplayed and little known Irish 20th-century composer and pianist Joan Trimble (below). And it has many of the same qualities that distinguish Poulenc.

Here is a link to a Wikipedia entry with more about Trimble: https://en.wikipedia.org/wiki/Joan_Trimble

You can hear her homage to Poulenc in the YouTube video, from a Marco Polo CD distributed by Naxos Records, that is below.

Here’s hoping you enjoy it.

If you have a reaction, positive or negative, please share it.

The Ear wants to hear.


Classical music: YOU MUST HEAR THIS – the “Meditation” for solo piano by Mexican composer Carlos Chavez

July 27, 2019
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By Jacob Stockinger

The solo piano repertoire is huge, but The Ear knows quite a lot of it.

Yet here is a piece he had never heard, live or recorded, until he finally did hear it this week on Wisconsin Public Radio.

It is the five-minute ”Meditacion” – or Meditation – by the 20th-century Mexican composer Carlos Chavez (below, in a photo by Paul Strand).

It is played beautifully and sensitively in a live performance by the unjustly neglected Mexican virtuoso pianist Jorge Federico Osorio (below), and was recorded — perhaps as an encore, given the applause at the end — with the Piano Concerto by Chavez for the nonprofit Cedille Records in Chicago and distributed by Naxos Records.

Listen to it and let The Ear know what you think.

Does anyone else hear echoes of the eccentric French composer Erik Satie in the music? Shades of other pieces or composers?

Do you like the Chavez piece?

The Ear wants to hear.


Classical music: YOU MUST HEAR THIS: Three piano pieces by the forgotten American composer William Mason that are worth rediscovering

July 12, 2019
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By Jacob Stockinger

As often happens, The Ear was listening to Wisconsin Public Radio and yesterday afternoon he made a discovery during The Midday program with Norman Gilliland.

It was piano piece called “Amourette” by the American 19th-century composer William Mason (below). Unfortunately, you won’t find that piece on YouTube. But here, in the YouTube video at the bottom, are three other fine works, probably from the same Naxos CD, that are also noteworthy discoveries of a forgotten, if minor, composer who had a knack for pleasing and melodic salon music.

Here are a brief biography and an introduction from YouTube and Wikipedia:

William Mason (below, 1829-1908) was an American pianist, composer and teacher. He was from a musical family, son of the famous and prolific hymn composer Lowell Mason, and brother of Henry Mason, co-founder of Mason and Hamlin pianos.

William studied in Europe and was the first American student of Franz Liszt. In his music, you can hear reflected some of the major piano composers of the 19th century.

Here is a link to his entry in Wikipedia:

https://en.wikipedia.org/wiki/William_Mason_(composer)

Although these William Mason pieces are largely forgotten now, his work is wonderfully melodic and certainly deserves to be heard more often.

These three pieces are from the Naxos CD “William Mason” (No. 8.559142) The CD contains 14 other Mason compositions – including his best known “Silver Spring.” (The CD is part of the American Classics Collection.)

For those tired of hearing the same classical music on the radio or the concert hall – the Naxos collection provides a wide spectrum of superb but rarely heard music.

The pianist on this album is Kenneth Boulton. On the third piece, “Badinage,” which is for piano four-hands, Kenneth Boulton is joined by his wife and pianist JoAnne Barry.

Track Listings: 0:00 “Improvisation”; 4:30 “Lullaby”; 7:35 “Badinage”

Do you like Mason’s music?

Let us know what you think.

The Ear wants to hear.


Classical music: Rediscovering the music of composer Florence Price is a great way to start the celebration of Black History Month

February 3, 2019
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By Jacob Stockinger

February is Black History Month.

There are a lot of African-American performers and composers to emphasize during the month. Check out this exhaustive listing – conveniently organized into categories such as composers, conductors and pianists — in Wikipedia:

https://en.wikipedia.org/wiki/Category:African-American_classical_musicians

But this year one of the best ways to mark the event is to rediscover the composer Florence Price (below, in photos from the University of Arkansas Libraries).

Much of her work was until recently hidden in 30 boxes in her abandoned and dilapidated summer home located 70 miles south of Chicago.

A good introduction to Price (1887-1953) – who was famous in her day and was the first African-American woman composer to be performed by the Chicago Symphony Orchestra — can be found in the Deceptive Cadence blog of National Public Radio (NPR).

https://www.npr.org/2019/01/21/686622572/revisiting-the-pioneering-composer-florence-price

Here is a link to an excerpt from a new Albany recording of her two violin concertos:

https://www.npr.org/sections/deceptivecadence/2018/02/09/584312486/songs-we-love-florence-price-violin-concerto-no-2

And if you want to hear more of what her music sounds like check out the YouTube video at the bottom that has excerpts from the new Naxos recording, in the American Classics line, with her Symphonies Nos. 1 and 4.

You can also find quite a bit more of Price’s music, including a piano concerto, a piano sonata and orchestral suites, on YouTube.


Classical music: Prize-winning violinist Ilya Kaler returns to perform Paganini with the Wisconsin Chamber Orchestra this Friday night

April 18, 2018
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features bassoonist Juliana Mesa-Jaramillo, clarinetist Jose Garcia-Taborda and pianist Satoko Hayami in music by Mikhail Glinka, Max Bruch and Carlos Guastavino. The concert takes place from 12:15 to 1 p.m.

By Jacob Stockinger

If you were in the audience two years ago when violinist Ilya Kaler (below) made his Madison debut with the Wisconsin Chamber Orchestra, it is unlikely that you have forgotten it.

Kaler proved himself a complete virtuoso when he performed the Tchaikovsky Violin Concerto in D Major. The audience went wild and so did the critics, including The Ear.

Backed up with a first-rate accompaniment by music director and conductor Andrew Sewell and the WCO, Kaler showed a perfect mix of dramatic virtuosity, songful lyricism, lush tone and sonic clarity that you rarely hear.

This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center Kaler returns to perform with the Wisconsin Chamber Orchestra (below), again under the baton of music director Andrew Sewell.

The vehicle this time is the Violin Concerto No. 2 in B minor, Op. 7, by perhaps the most famous violin virtuoso of all time, Niccolo Paganini (below, playing for astonished listeners).

The concerto is famous for the “La Campanella” (The Bell) theme of the last movement that inspired the show-off etude of the same name by the great pianist Franz Liszt, who sought to emulate and transfer Paganini’s fiendish violin virtuosity on the piano. (You can hear that last movement in YouTube video at the bottom.)

Also on the program are: The Mozart-like and operatic String Sonata No. 2 by a 12-year-old Goiachino Rossini; and the Symphony No. 81 in G Major by Franz Joseph Haydn, a composer who is one of the interpretative strengths of Sewell (below).

Tickets are $15-$80. For ticket information and purchases, got to: http://www.overture.org/events/ilya-kaler

Born in Russia and trained at the famed Moscow Conservatory, Kaler now teaches at DePaul University in Chicago. He also won major gold medals in the 1980s at three major international competitions: the Tchaikovsky Competition in Moscow; the Paganini Competition in Genoa; and the Sibelius Competition in Helsinki.

He also records frequently for Naxos Records. To find out more about the impressive Kaler, go to: https://en.wikipedia.org/wiki/Ilya_Kaler


Classical music: On Saturday night, the UW Wind Ensemble will mark a first by performing a FREE concert that will also be live-streamed

April 6, 2018
3 Comments

By Jacob Stockinger

Something important — even pioneering or groundbreaking — will take place this on Saturday night at the University of Wisconsin-Madison’s Mead Witter School of Music.

At 7:30 p.m. in Mills Hall, the UW Wind Ensemble (below) will give a FREE concert that will also be a LIVE-STREAMED – a first for the UW-Madison.

Live-streaming of concerts by students, faculty members and guest artists is something that many music schools are now doing on a regular basis.

They include big schools like the Yale School of Music and smaller institutions like the Lawrence University Conservatory of Music in Appleton, Wis.

Streaming allows alumni and other listeners all over the world to hear the concert in real time. It can be prestigious form of outreach and a terrific tool for fundraising and recruiting students. Imagine the worldwide audience for, say, the Pro Arte Quartet, which has toured to South America, Europe and Asia.

The Ear has heard several reasons why live-streaming is not yet standard practice at the UW-Madison. Those reasons include the lack of specialized staff, too little equipment, too little money, and difficulty or expense in obtaining the rights from performers and composers or publishing companies.

This time, the live streaming is being done on a paid basis by a local School of Music alumnus who has the expertise and experience. Sources at the school say that more concerts are likely to be live-streamed next season.

The program on Saturday night features the “French Suite” of Francis Poulenc; “Circuits” by Cindy McTee (below top); and the Symphony in Three Movements by the retired UW tuba professor and composer John Stevens (below bottom). You can hear the opening of the work by John Stevens, which was recorded for Naxos Records, in the YouTube video at the bottom.

The performance will be done under the batons of director Scott Teeple (below top) and two graduate student assistants: O’Shae Best (below middle) and Cole Hairston (below bottom).

For the link for streaming and more information, go to: https://www.music.wisc.edu/event/wind-ensemble-3/


Classical music: Brazilian pianist Alexandre Dossin makes his Madison debut Friday night with the Wisconsin Chamber Orchestra in an overlooked masterpiece of American Romanticism. Plus, the amateur Madison Community Symphony Orchestra performs a FREE all-Russian program on Friday night at MATC

March 22, 2018
1 Comment

ALERT 1: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Wendy Adams and pianist Ann Aschbacher in music by Schubert, Brahms and Hovhaness.

ALERT 2: The amateur Madison Community Symphony Orchestra will perform a FREE concert Friday night at 7:30 p.m. in the Norman Mitty Theater, 1701 Wright Street on the Madison Area Technical College campus on the east side. The all-Russian program, under the baton of Blake Walter of Edgewood College, features works by Glazunov, Prokofiev, Khachaturian and Balakirev. For more information and the complete program, go to: http://www.madisoncommunityorchestra.org/pages/concerts.htm

By Jacob Stockinger

The Wisconsin Chamber Orchestra (below top), under music director Andrew Sewell (below bottom), always puts together memorable programs, often with new and exciting soloists plus neglected or little known repertoire.

That is once again the promise of the WCO concert this Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, 201 State St.

Tickets are $15-$80. See below.

First, the program offers the Madison debut of Alexandre Dossin (below), the 2003 winner of the Martha Argerich International Piano Competition.

Trained at the Tchaikovsky Conservatory in Moscow, Dossin seems a power player. Little wonder that he has recorded music by Liszt, Prokofiev, Kabalevsky and Leonard Bernstein for Naxos Records as well as by Rachmaninoff and Tchaikovsky for G. Schirmer Music. You can also hear and see a lot of his performances on YouTube.

Moreover, Dossin, who has taught at the UW-Eau Claire and the University of Louisiana and who now teaches at the University of Oregon, will be playing a relatively neglected masterpiece of American Romantic music: the Piano Concerto No. 2 in D minor, Op. 23, by Edward MacDowell (below).

MacDowell’s work is a dark, dramatic and virtuosic work that was once championed by Van Cliburn. (You can hear Cliburn with the third movement with the Chicago Symphony Orchestra under the late Walter Hendl in the YouTube video at the bottom.).

For most listeners, that will be the discovery of the evening.

Rounding out the program are two more widely known masterpieces: the Orchestral Suite No. 4 by Johann Sebastian Bach and the Symphony No. 3, the “Rhenish,” by Robert Schumann.

The Ear is especially pleased that the WCO is doing Bach.

Too often modern instrument groups defer to period-instrument ensembles for Bach – which means that audiences don’t hear as much Bach (below) as they should and as previous generations did, as the prize-winning composer John Harbison has often lamented in public.

Of course, it is safe to bet that the WCO will borrow some of the faster tempi and historically informed performance techniques from the early music movement. Still, The Ear says Bravo to the programming of Bach by a group that uses modern instruments. We can always use more Bach.

The symphony by Robert Schumann (below) will also have an unusual, if subtle, aspect to its performance.

It is usually played by larger symphony orchestras. But using a chamber orchestra creates a certain intimacy and lends a transparency that reveals structure and themes in an engaging way.  Yannick Nézet-Séguin – the highly acclaimed music director of the Philadelphia Orchestra and music director-designate of the Metropolitan Opera — recently proved that with his outstanding recording of the four symphonies by Robert Schumann (below) with the Chamber Orchestra of Europe.

For more background and information about tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-iii-3/

For more information about Alexandre Dossin, go to his two websites:

http://www.dossin.net/alexandredossin/Welcome.html

https://music.uoregon.edu/people/faculty/adossin


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