The Well-Tempered Ear

Here are the classical music nominations for the 63rd annual Grammy Awards in 2021

November 28, 2020
3 Comments

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By Jacob Stockinger

It’s time again for the annual Grammy Awards (below).

Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.

After all, the coronavirus pandemic has changed our listening habits.

Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.

Perhaps you listen to Compact Discs using home stereo systems.

Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.

However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.

You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.

They can help you judge how many or how few contemporary composers and new works get performed.

Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.

Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.

The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.” 

Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.

Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec. 

Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.

If you notice more local connections, please leave word in the Comment section.

The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.


73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)

·      DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
 

·      GERSHWIN: PORGY AND BESS 
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
 

·      HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
 

·      IVES: COMPLETE SYMPHONIES (below)

Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
 

·      SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)

·  
  74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)

·      BLANTON ALSPAUGH

• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)

·      DAVID FROST (below)

• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)

·      JESSE LEWIS

• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)

·      DMITRIY LIPAY

• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)

·      ELAINE MARTONE

• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)

75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.

·      ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
 

·      CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
 

·      COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
 

·      IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
 

·      LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)

76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.

·      DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
 

·      FLOYD, C.: PRINCE OF PLAYERS 
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
 

·      GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
 

·      HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
 

·      ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)

·    

77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

·      CARTHAGE
Donald Nally, conductor (The Crossing)
 

·      DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
 

·      KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
 

·      MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
 

·      ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)

·       

78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

·      CONTEMPORARY VOICES
Pacifica Quartet
 

·      HEALING MODES
Brooklyn Rider
 

·      HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
 

·      HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
 

·      THE SCHUMANN QUARTETS
Dover Quartet

·      

79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.

·      ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
 

·      BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
 

·      BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
 

·      DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
 

·      THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

·       

80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

·      AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
 

·      CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
 

·      FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
 

·      A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
 

·      SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

·       

81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

·      ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
 

·      SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
 

·      SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
 

·      THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
 

·      WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer

·      

82. Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

·      ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
 

·      DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
 

·      FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
 

·      HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
 

·      ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list


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Classical music: Here are seven big things The Ear liked about the latest concert by the Madison Choral Project and two small things he did not like. Go this afternoon and see if you agree.

May 31, 2015
3 Comments

By Jacob Stockinger

On Friday night, The Ear attended the latest concert by the estimable Madison Choral Project. He was very glad he did. It was terrific. You should go hear it.

MCP group 5-15

The concert was called “Music of Our Time” and was programmed and conducted by the legendary Grammy-nominated conductor Dale Warland (below top). Edgewood College professor Albert Pinsonneault (below bottom), who just got a new job at Northwestern University near Chicago and who founded and directs the Madison Choral Project, studied under Warland.

Dale Warland

Albert Pinsonneault 2

It was and will remain a memorable event, and I encourage music fans to attend a repeat performance this afternoon at 2:30 p.m. at the First Congregational United Church of Christ, 1609 University Ave. (Free parking is available two blocks west at the UW Foundation.)

Tickets are $20 general admission; $10 student admission; and $50 for preferred seating to support the outstanding organization.

For more information, visit http://themcp.org

Here is The Ear’s review in the form of points he liked and didn’t like:

SEVEN THINGS THE EAR LIKED ABOUT THE CONCERT:

  1. The program was not too long, yet it featured a wide variety of repertoire, texts and composers.
  2. The chorus sang with seemingly exemplary diction in English, Latin and Russian.
  3. The many a cappella portions were broken up by adding other instruments. UW-Madison professor John Aley (below top) played the trumpet, especially in a haunting finale where he played from a distance. Eric Miller (below bottom) played the cello with energy, sensitivity and lyricism.

MCP John Aley

MCP Eric Miller

  1. UW-Madison piano professor Martha Fischer (below) played with mastery, never too loudly or too softly. She demonstrated the art of blending. Little wonder that she heads the collaborative piano faculty – that is what used to be called the art of “accompanying” – at the UW-Madison School of Music.

Martha Fischer color Katrin Talbot

  1. The chorus showed absolute precision with crisp attacks and unbroken releases. There was no sloppiness to discern. Warland’s hands were expressive “batons” to observe.
  2. The chorus displayed an exemplary mastery of balance. Too many choral performances sound monolithic, with all parts being emphasized pretty much equally when it comes to volume and dynamics. Instead, conductor Dale Warland brought out lines and gave each piece a foreground, mid-ground and background. That added a richness you often don’t get to hear.
  3. The acoustics and atmosphere of the church seem ideally suited as a concert venue for choral or vocal music. You have to love all the dark wood, the color scheme and especially the rows of organ pipes as a metaphor for the human voices and human “pipes.”

MCP church setting

TWO THINGS THE EAR DIDN’T LIKE:

  1. Too many of the songs had the same slow tempo. The Ear loves ballads, elegies and laments as much as — and maybe more than — the next person. But only one piece really jumped out as an upbeat contrast, and that was with very mixed success – as you can see below.
  2. The Ear doesn’t like choruses or conductors that think they have to entertain the audience and do something active besides stand there and sing well. I don’t like it, for example, when singers clap their hands and stomp their feet during spirituals in mock-folk, mock-slave style that comes awfully close to being something out of a minstrel show. Luckily, the singers did not spoil the fabulously beautiful and stirringly poignant version of “Deep River” with such shenanigans.

For that reason, I did not like the chorus waving their hands and turning their heads as if being buzzed by stinging bees in one third-rate song “Of Crows and Clusters” by Norman Dello Joio (below), who used a third-rate poem by Vachel Lindsay. (You can hear it in a YouTube video at bottom, where the University of Southern California singers forego the cliche theatrics.) Yet most of the audience seemed to like the novelty piece a lot, right along with the rest of the program that deserved the enthusiastic reception it got.

MCP audience

But The Ear found it too cute, completely unconvincing and totally unnecessary. The Ear doesn’t do cute -– at least not in music.

Norman Dello Joio


Classical music: This weekend boasts a wealth of 19th, 20th and 21st century chamber music and vocal concerts — all of them FREE.

February 28, 2013
4 Comments

By Jacob Stockinger

This weekend offers a lot of great music, with very varied programs. Plus, all of them are FREE.

But there just aren’t enough days in the week to write separate posting for each of them. So instead, here is a round-up:

FRIDAY, MARCH 1

From 12:15 to 1 p.m. the weekly FREE Friday Noon Musicale at the First Unitarian Society, 900 University Bay Drive, will feature pianists Vladislava Henderson and Ludmila Syabrenko in piano duets in an unspecified program. (Below is a YouTube video of them playing Schubert‘s beautiful Fantasy in F Minor.)

At 8 p.m. in Mills Hall, University of Wisconsin cellist Parry Karp (below), who also plays with the Pro Arte String Quartet, will perform a FREE recital on the Faculty Concert Series with two of his favorite pianist: long-time collaborator and UW-Madison graduate who now teaches at the UW-Oshkosh Eli Kalman; and his mother Frances Karp.

Parry Karp

The program features the Sonata in F Major (1913) by Giacomo Orefice with Kalman; British composer Rebecca Clarke’s Rhapsody (1923) with Frances Karp; and a cello transcription of Cesar Franck’s popular Violin Sonata with Kalman.

On the coming SUNDAY, the program — with a cello transcription of Ludwig van Beethoven‘s Horn Sonata substituted for Cesar Franck’s Violin Sonata — will also be repeated and broadcast live statewide on Wisconsin Public Radio’s “Sunday Afternoon Live From the Chazen” from 12:30 to 2 p.m. in Gallery III (below) of the  UW-Madison’s Chazen Museum of Art.

SALsetupgallery

SATURDAY, MARCH 2

At noon in Grace Episcopal Church, in downtown Madison on the Capitol Square, a FREE program by Grace Presents will offer a program on art songs that also features songs and the “Liebeslieder” Waltzes of Johannes Brahms for vocal quartet and two pianists. (The church’s exterior is below top; the beautiful and acoustically superior interior is below bottom.)

grace episcopal church ext

MBM Grace altar

The program, the order of which is yet to be determined, includes:

Mezzo-soprano Kathy Otterson (below) will sing Reynaldo Hahn’s “To Chloris” and Gabriel Faure‘s “Chanson d’Amour.”

Kathleen Otterson 2

Baritone John Bohman (below) will sing Franz Schubert‘s “Du bist die Ruh” and Robert Schumann’s “Intermezzo” from “Liederkreis” (Song Cycle).  

John Bohman

Soprano Rachel Eve Holmes (below) will sing Giuseppe Verdi’s “La Zingara” and Donoudy’s “O del mio amato ben.”

Rachel Eve Holmes big

Tenor Jesse Hoffmeister (below) will sing Norman Dello Joio‘s “There is a lady sweet and kind,” and Ned Rorem’s “The Lordly Hudson.”

Jesse Hoffmeister

The vocal quartet of Otterson (below top), Holmes, Hoffmeister and Bohman along with pianists Kirstin Ihde (below top) and Michael Roemer (below bottom) with perform all 18 of Brahm’s “Liebeslieder” Waltzes, Op. 52.

Kirsten Ihde

Michael Roemer naritone

All the singers and pianists have extensive educational and performing experience in the Madison area.

On Saturday at 8 p.m. in Mills Hall, the Wingra Woodwind Quintet (below) will offer a FREE concert. The group will perform Quintet No. 2 in E flat Major by Peter Müller; “Le Tombeau de Couperin” by Maurice Ravel, joined by UW pianist Martha Fischer; Suite, Op. 57, by Charles Lefebvre; and Dixtuor, Op. 14 by Georges Enesco.

The Wingra will be joined by a student woodwind quintet including flutist Erin Murphy, English hornist Allison Maher, clarinetist Paul Yu, bassoonist Brian Ellingboe and hornist Sarah Gillespie.

Wingra Woodwind Quintet 2012

SUNDAY, MARCH 3

12:30-2 p.m.: “Sunday Afternoon Live From the Chazen”: see above for Friday’s listing for cellist Parry Karp.

At 3:30 p.m. in Morphy Recital Hall (with a post-concert reception in Strelow Lounge), there will be a FREE public recital by the winners of the 7th Annual Duo Competition for Woodwinds and Piano, sponsored by former UW-Madison Chancellor and chemistry professor Irving Shain (below) – an avid classical music fan (and a former devoted flutist) who also started the Beethoven Piano Sonata Competition some 30 years ago.

Irving Shain

Here are the winning and performers and programs: Elizabeth Lieffort, flute, and Sara Giusti, piano, performing Sonata for Flute and Piano, op. 14, by Robert Muczynski; Introduction and Variations on “Trockne Blumen,” Op. 160, D. 802 by Franz Schubert; and Danielle Breisach, flute, and Yana Groves, piano, playing the Sonata for Flute and Piano, op. 14 by Robert Muczynski (different movements); Sonatine for Flute and Piano by Henri Dutilleux; Sonata for Flute and Pianoforte by Erwin Schulhoff, movements I and IV. Honorable mention team of Sergio Acosta, bassoon, and Hazim Suhadi, piano.

Then at 7:30 p.m. Mills Hall, there is a FREE concert by the Contemporary Chamber Ensemble (below top) under UW composer Laura Schwendinger (below bottom).

The program of contemporary and new music, entitled “Heartstrings,” will feature works by Michelle McQuade Dewhirst, Ross Bauer, George Perle and Robert Dick.

Contemporary Chamber Ensemble

Performers include Dan Jacobs, Yosuke Komura, George Rochberg, Roxana Pavel, Erin Murphy, Sergio Acosta and Maxfield Wollam-Fisher.

Laura_Schwendinger,_Composer

 


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