By Jacob Stockinger
But it is hard to find a better researched or more detailed account of what is going on than the account that was written by the journalist James B. Stewart and appeared in the March 23 issue of The New Yorker magazine.
A graduate of the Harvard University Law School, Stewart (below), you may recall, is a winner of the Pulitzer Prize, a former reporter for The Wall Street Journal and currently a columnist for the New York Times. He has also written best-selling books. Such qualifications give him added credibility when reporting on the fiscal state of the arts.
Plus, Stewart got access to documents and records as well as to members of the board of directors. His account is filled with specific details about costs and fundraising that are convincing.
The discrepancy, for example, between what the Met said was the official cost of its recent and controversial “Ring” cycle (below) by Robert Lepage of Cirque du Soleil and what others say it cost is both astonishing and appalling.
In an interview with Jim Zirin, Peter Gelb defends himself and his tenure in a YouTube video at the bottom.
To The Ear, the larger question is whether some of the same criticisms apply to other large performing arts groups, opera companies and symphony orchestras in other cities.
But that is another story for another day.
Here is a link to the story about the Met by James B. Stewart:
By Jacob Stockinger
That is the touchy question that was taken up last week by The New York Times senior music critic Anthony Tommasini in his opening night review of Domingo’s performance in the role of the King of Spain Don Carlo (below, in a photo by Sara Krulwich for The New York Times) in the opera by Giuseppe Verdi “Ernani,” which was based on the play “Hernani” by French writer Victor Hugo.
The production of “Ernani” is taking place at the Metropolitan Opera – hardly a strange stage to the veteran Domingo, who is now 74. James Levine led the orchestra. And Tommasini offered quite specific criticisms to back up his opinion about Domingo.
Here is a link to the review:
Read it and weigh in with your own opinion about whether it is time for the great Placido Domingo to retire.
The Ear wants to hear.
By Jacob Stockinger
Pulitzer Prize-winner George Crumb (below, b. 1929) is one of America’s foremost composers and one of the most influential and innovative composers of the latter half of the 20th Century.
UW-Madison composer and professor Laura Schwendinger, who is the Artistic Director of the UW-Madison Contemporary Chamber Ensemble, designed the 2015 CRUMB FESTIVAL – to take place from this Friday, March 20, through Monday, March 23, at the UW-Madison School of Music — to celebrate his 85th birthday.
“We wish to celebrate this unique and singular voice,” says Schwendinger. She describes Crumb’s influence in this way: “He is one of the most important, and influential composers of our time. He simply makes us listen to sound in a new way, and there are very few composers who can do that.”
The Festival will feature four concerts and nine works by Crumb.
Here is a schedule of events by each day.
On Friday, March 20, at 8 p.m. in Music Hall, “Lakeshore Rush,” which features three all-star UW alumni, will be performing Vox Balaenae (Voice of the Whale).
On Saturday, March 21, at 7:30 p.m. and also in the Music Hall, the UW Contemporary Chamber Ensemble (below top) will be presenting a concert featuring the Pro Arte String Quartet’s Parry Karp (below bottom) in Crumb’s Solo Cello Sonata and saxophonist Steve Carmichaelin’s Quest.
UW graduate student, conductor Kyle Knox will be conducting University of Southern California professor Donald Crockett’s “Whistling in the Dark” and Les Thimmig will be leading his saxophone quartet in a work by University of California-Davis professor Laurie San Martin, in her Miniatures for Saxophone quartet; a work by University of California-Berkeley Music Department Chair Cindy Cox will round out the program.
Schwendinger adds “none of these works could have been composed without Crumb’s influence, yet are distinctive examples of their composers’ individual styles.”
On Sunday, March 22, at 7:30 p.m. in Mills Hall, Nunc (below top, Latin for “now”), a New York-based music ensemble will perform, headed by the star violinist Miranda Cuckson (below middle), called “superb,” “deeply satisfying,” and “prodigiously talented” by the New York Times.
The program includes Eleven Echoes of Autumn, and the Four Nocturnes for violin and piano as well as works by Augusta Read-Thomas, Sebastian Currier, and Laura Schwendinger’s The Violinists in My Life, a work for which the third movement is dedicated to Cuckson. Schwendinger (below bottom) adds that “this work of hers, is much influenced by the drama of the Crumb’s Solo Cello Sonata.”
Finally, on Monday, March 23, at 8 p.m. in Morphy Hall, Due East (below), the flute and percussion duo of Erin Lesser and Greg Byer, lauded as “superb” (New York Times) and “brilliant” (New York Concert Review), will be joined by NYC-based harpist, Jacqui Kerrod, vocalist Amanda deBoer and bassist Mark Buchner, will be performing George Crumb’s colorful and enticing Madrigals (1-4) in a stunning multi-media presentation, which presents a “triptych video montage” that becomes a “magical and powerful environment,” along with works written for them by the Chicago Composers Consortium and also inspired by the works of Crumb.
The consortium has been a staple of Chicago’s New Music scene for 25 years now and has counted as part of its membership some of Chicago’s best-known composers.
In addition to the four concert offerings, Miranda Cuckson, Blair McMillen, Erin Lesser and Greg Beyer will all be offering master classes, and Nunc will be reading works by student composers as part of a composer workshop.
Schwendinger says “the festival is a fantastic opportunity for the next generation of composers to be exposed to Crumb and learn from the performers who play his music.”
Susan C. Cook (below), music historian and director of the UW-Madison School of Music, is currently teaching a course focusing on George Crumb. An expert in contemporary and American music of all kinds, Cook singles out Crumb as central to her own desire to study modern music.
“As an undergraduate at Beloit College, I first heard Crumb’s ‘Ancient Voices of Children,’ then less than a decade old, in a music theory course,” Cook says. “It simply grabbed hold of me, and I knew I wanted to understand how it came to be and share it with others.”
All events are open to the public.
Nunc and Due East are ticketed events. Visit the Events Calendar at www.music.wisc.edu for more information.
Here are some online resources, including YouTube videos:
Crumb: Vox Balanae
Crumb: Eleven Echoes of Autumn
Links to other works on the concerts:
Donald Crockett Whistling in the Dark
“Violinists in My Life” with violinist Eleanor Bartsch and pianist Thomas Kasdorf performing with the UW Contemporary Chamber Ensemble in Mills Hall in 2014
Sebastian Currier, Verge:
Featured performers in other works:
By Jacob Stockinger
The big non-local news item this week was the announcement that the famed conductor Simon Rattle (below) will leave the prestigious Berlin Philharmonic and return to his native England to lead the London Symphony Orchestra starting in 2017.
On weekdays, The Ear generally puts the priority on local events – with previews taking precedence over reviews.
So the weekend provides a chance to catch up.
The 60-year-old Rattle, whose international career started in Birmingham, England, seems a musician for all seasons. He is known for championing contemporary composers. (You can listen to Simon Rattle talking about his new appointment at the bottom in a new YouTube video.)
But his prolific and eclectic discography also includes CD and DVD recordings of the great standards, the symphonies and concertos and other works by Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert and Johannes Brahms, Antonin Dvorak, Gustav Mahler, Jean Sibelius, Peter Ilyich Tchaikovsky, Arnold Schoenberg, Maurice Ravel, Igor Stravinsky, Sergei Rachmaninoff, Benjamin Britten, Sergei Prokofiev, Benjamin Britten and John Adams among many others.
And by all accounts, he is a generous mentor and masterful teacher — even though I have never heard anyone name Simon Rattle as their favorite conductor. Among his students are Andrew Sewell (below), the longtime music director and conductor of the Wisconsin Chamber Orchestra. The Ear thinks it would be interesting to know what Sewell has to say about Rattle.
Here then, are some links to various aspects of the Simon Rattle story. Read one or a few or all of them. There is a lot to think and speculate about – a new concert hall, more contemporary programming and a higher status or respect for the London Symphony Orchestra are chief among them — as we wait and see what develops:
From the BBC news magazine:
From the website of the famed Gramophone magazine:
From The Guardian newspaper:
From The New York Times, with an analysis:
Here is an opinion piece from The Guardian about how the move could be good for the British music scene:
And could Rattle’s move spark a rejuvenation of British classical music? That is the question in this post:
And finally, despite all the hoopla and cheerleading, a note of skepticism has been sounded by The Arts Desk with some specific criticisms:
By Jacob Stockinger
This Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater, the famed and long-lived Takács Quartet performs a MUST-HEAR concert of music by Haydn, Beethoven and Schubert.
The program includes the Quartettsatz (Quartet Movement) in C Minor, D. 703, by Franz Schubert (1797-1828); the String Quartet No. 50 in B-flat Major, Op. 64, No. 3 by Joseph Haydn (1732-1809); and the “Razumovsky” String Quartet No. 7 in F Major, Op. 59, No. 1 — from his middle period — by Ludwig van Beethoven (1770 – 1827) with its well-known “Russian Theme.” (You can hear the Russian Theme in a performance by the now disbanded Tokyo String Quartet in a YouTube video at the bottom.)
Tickets are: General Public: $45, 25; Wisconsin Union Members and Non UW-Madison Students: $40; UW-Madison Faculty and Staff: $42; UW-Madison Student (with ID): $10. Prices do not include fees. See more at:
The Takacs Quartet seems to The Ear a perfect choice for the annual Fan Taylor Memorial Concert — an event designed to honor the first and longtime director of the Wisconsin Union Theater.
For more about Fan Taylor (below), whose name is also used for the Wisconsin Union Theater’s endowment fund, or to donate to it, visit these links:
Here is some publicity material from the Wisconsin Union Theater:
Widely heralded as modern masters of classical music, the Takacs Quartet has delighted audiences in Europe, Asia, Australia and North America, bringing a vivid intensity to the works that built their genre. Known for their “supreme artistry manifest at every level,” (The Guardian) they are the only string quartet ever to be inducted into Gramophone’s Hall of Fame.
Such an honor is hardly unfamiliar to the group, however, having also taken home Disc of the Year and Chamber Award from BBC, as well as a Grammy for their Beethoven collection.
This talented quartet (below, in a photo by Hiroyuki Ito for The New York Times) continues to amaze while pushing the boundaries of chamber music.
Please note that there is a WIAA Individual Wrestling Tournament this evening, so allow enough time to find parking.
Because of a conflict at the UW-Madison School of Music, a master class will be held on this FRIDAY from 5 to 7 p.m. in Room 1341 Humanitites Building — NOT as previously stated on Saturday from 11 a.m. to 1 p.m. See more at:
Here is a link to the Wisconsin Union Theater, which also features audiovisual clips and reviews:
For the quartet’s website, go to:
By Jacob Stockinger
Perhaps you have read about the rapidly escalating cost of great musical instruments.
That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.
For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.
But individuals can do so too.
Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.
When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.
Alsop didn’t want to sell the instruments.
But she also didn’t want them to lie unused and defeat their original purpose.
So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.
Here is a story from The New York Times:
It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.
By Jacob Stockinger
Or did I come to know the music of Erik Satie through the playing of pianist Aldo Ciccolini (below in his later years)?
It says something to me – something very Sixties and very dear – that the two were, and remain, inextricable for me. (Once discovered, the more soulful music of Erik Satie (below) even found its way into popular culture and rock music through groups like ‘Blood, Sweat and Tears.”)
And the public’s taste for Satie continues. Satie, as played by Pascal Roge, was recently featured on the soundtrack to the documentary film “Man on Wire,” about Philippe Petit and his historic tightrope walk between the Twin Towers in New York City.)
And maybe it was that way for you too.
Last Saturday night, Aldo Ciccolini, a prize-winning concert pianist, a prolific recording artist and a renowned teacher whose students included Jacques-Yves Thibaudet, died in his sleep at the age of 89.
There is not much for The Ear to say except that Ciccolini did for me what the greatest artists do: Use beauty to hijack me from the ordinary world and elevate me in an unforgettable way.
I am pretty sure that I and many others did not know the beautiful, graceful and contemplative “Trois Gymnopedies” until the young and handsome Ciccolini’s perfectly paced recordings of those pieces, and of Satie’s complete works, received worldwide circulation and acclaim.
Perhaps the same goes for the music of Camille Saint-Saens, another of Ciccolini’s specialties.
Ciccolini was Italian, but he had an uncanny flair for French music, which remains under-appreciated even today — including the music of Francois Couperin, Jean-Philippe Rameau and Gabriel Faure — even if the works of Maurice Ravel and Claude Debussy have fared much better.
I think Ciccolini understood that special French hybrid of clarity and mystery, of rationality and passion, of Descartes and Baudelaire. (You can hear Ciccolini’s incomparable playing of Satie in a popular YouTube video at the bottom which has a lot of reader comments.)
Anyway, here are three obituaries with lots of great background information.
From NPR (National Public Radio):
From The New York Times:
From the BBC:
By Jacob Stockinger
Bankrupt symphony orchestras and opera companies?
Highly trained but out-of-work classical musicians?
The unfortunate realities of classical music in contemporary American culture have made their way into a fictional comedy.
Fresh off its surprise win in the Golden Globe awards, Amazon Studios is broadcasting an unusual comedy series based on the behind-the-scenes problems and trials of classical musicians in New York City.
It is called “Mozart in the Jungle” – a title that reminds The Ear of the moving scenes in the classic film “Out of Africa” where recordings of works by Wolfgang Amadeus Mozart — including the sublime middle movement of the Clarinet Concerto — are played by multiple Academy Award-winner Meryl Streep and Robert Redford on a phonograph in the midst of the African bush.
Below is a photo by Nicole Rivelli of Amazon Studios that shows Gael García Bernal (right), Bernadette Peters and Malcolm McDowell starring in the classical music comedy series “Mozart in the Jungle.” You can see the trailer, which has a lot of details and bacground and which already has more than 1 million hits, for the new streaming series in a YouTube video at the bottom.
But this urbane comedy take gets mixed marks for its realistic depiction of the difficulties of the classical music scene in New York City, which could easily apply elsewhere.
Here is the critique from NPR of National Public Radio by Anastasia Tsioulcas:
And here is the review by critic and reviewer Zachary Woolfe for The New York Times:
If you have watched “Mozart in the Jungle, let us know what you think.
The Ear wants to hear.
HERE ARE TWO ALERTS FOR SUNDAY:
The “Summer Voices” concert was recorded live last August 22 at Music Hall on the UW-Madison campus. Included are interviews with MAYCO founder and conductor Mikko Utevsky and guest soprano Caitlin Ruby Miller (below).
The program includes: the Overture to “The Magic Flute” by Austrian composer Wolfgang Amadeus Mozart; the cantata “Knoxville Summer of 1915” by American composer Samuel Barber; and the Symphony No. 9 in E-Flat Major by Russian composer Dmitri Shostakovich. The hosts of Musica Antiqua yielded the final hour of their early music show so that WORT can provide these young musicians with the station’s largest classical music audience.
Then at 1 p.m. on Wisconsin Public Radio (88.7 FM in the Madison area and online at wpr.org): Wisconsin Public Radio (WPR) will broadcast a concert of 16th-century Renaissance music from Italy inspired by “I Trionfi” by Francesco Petrarch (1304-1374). The concert was designed and conducted by Grant Herreid, and was performed at the Madison Early Music Festival’s concluding All-Festival Concert (bel0w) in July 2014 at Luther Memorial Church in Madison. This recording is part of WPR’s new program, “Wisconsin Classical.”
Listen to station 88.7 FM at 1 p.m.or stream it online at http://www.wpr.org/
By Jacob Stockinger
Writing about Strauss is timely, if belatedly so, because 2014 was the 150th anniversary year of his birth.
But better late than never.
Strauss composed in every genre, from orchestra and opera to chamber music, and the last part of his career was controversial because of his involvement with Hitler and Nazi Germany during World War II.
What is your favorite work by Richard Strauss?
Your favorite performances and performers?
Your favorite recordings?
Various critics for The New York Times recently offered their own year-end takes on those questions.
Here is a link:
By Jacob Stockinger
For many pianists, anyway, such is the case.
Steinway Hall (below is the hallmark rotunda of the famed building) is a landmark building where a historic meeting took place between composer-pianist Sergei Rachmaninoff and keyboard virtuoso Vladimir Horowitz.
For generations it is where the greatest keyboard artists have gone to select the proper instrument for the Carnegie Hall and other solo recitals, chamber music concerts and concerto appearances at other venues such as Avery Fisher Hall in Lincoln Center.
To be selected and named a “Steinway artist” was the highest professional accolade, whether you were Arthur Rubinstein or Van Cliburn or Emanuel Ax or Pierre-Laurent Aimard or Jeremy Denk or Daniil Trifonov. And there have been countless others.
But nothing can block “progress.”
Especially the progress officials call economic development.
So soon the old Steinway Hall will move to a new location, and the old Steinway Hall will be demolished to make room for upscale luxury condominiums.
Maybe it is just another example of the old real estate saying: Location, location, location.
After all, Steinway Hall is not very far from Carnegie Hall (below).
Talk about prime locations and reputable or prestigious addresses.
Here is a link to an earlier story and less complete story, with less background, from March 2013 in The New York Times. Be sure to read the Reader Comments: