By Jacob Stockinger
Here is the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
Not only does the Russian pianist Olga Kern (below, in a photo by Chris Lee) play Russian music superbly, she speaks about it just as well, even eloquently and poetically.
Witness her remarks below, which serve as an introduction to Kern, who will return to Madison to solo this weekend with the Madison Symphony Orchestra (below) under longtime music director and conductor John DeMain.
Performances are in Overture Hall on Friday at 7:30 p.m., Saturday at 8 p.m. and Sunday at 2:30 p.m.
Tickets cost $16-$84 with student rush tickets available. Call the Overture Center box office at (608) 258-4141.
Here is link to the MSO’s webpage about the concert, which includes biographical information, program notes and some audiovisual clips.
And here is a link to the always comprehensive and informative but accessible program notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot).
The half-hour pre-concert talk will be given by the accomplished violist Marika Fischer Hoyt (below). She plays with the MSO, the Madison Bach Musicians and the Ancora String Quartet and who also serves as a weekend host for Wisconsin Public Radio. The FREE talk starts in Overture Hall one hour before the start of the concert.
NOTE: In addition, the Madison Symphony Orchestra’s Club 201 will host a special concert and after-party for Madison’s young professionals on Friday, Oct. 17. Fun, friendship, networking and tastings are included. The post-concert party, located in nearby Promenade Lounge within Overture Center, will include hors d’oeuvres and desserts, and offer drink specials. All Club 201 guests will have the exclusive chance to mingle with Madison Symphony Orchestra musicians and fellow music lovers. The $35 ticket will include a discounted concert ticket (usually $63-$84), seating near other young professionals during the performance, and access to the post-concert party with food. Purchase tickets by this WEDNESDAY, OCT. 15, by calling (608) 257-3734 or at www.madisonsymphony.org/club201
Here is the email interview that Olga Kern, who won the first Rachmaninoff International Piano Competition when she was just 17, graciously granted to The Ear:
How do you compare the Piano Concerto No. 1 by Sergei Rachmaninoff – which you played to win the Van Cliburn gold medal — to its more popular counterparts such as the Concertos Nos. 2 and 3 and the “Rhapsody on a Theme of Paganini,” which you also perform? What do you like about the work and what should listeners pay attention to?
The first concerto is Rachmaninoff’s Opus 1 piece. He re-edited it later in life, and in this composition you can hear the fresh approach immediately from the beginning of the first movement. And what an incredibly beautiful second movement it has. He gives the piano an opportunity to start the main melody, which sounds almost like an improvisation in a way.
It’s so unique, and at the same time you can hear Rachmaninoff’s special style as a composer in every note and bar. It’s his first composition and it gives incredible platform and base to his other orchestral works, especially to his piano concerti.
This concerto is similar in structure to his third concerto. It has also a long piano cadenza in the first movement, which is the dramatic point of the whole composition. Also, as in the third concerto, the finale of the last movement is challenging for both the pianist and the orchestra. (You can hear Olga Kern perform Rachmaninoff’s fiendishly difficult Piano Concerto No. 3 in a YouTube video at the bottom.)
This is why, I think, this concerto is not performed very often — because it’s not easy. But it’s really a great pleasure and excitement to perform this concerto. It’s such a wonderful jewel of Rachmaninoff’s music!
You have performed in Madison several times, both solo recitals and concertos. Do you have anything to say about Madison audiences or the Madison Symphony Orchestra?
I love Madison — the city, the people, the concert hall, the audience, the orchestra and of course the Maestro, John DeMain (below, in a photo by Prasad). He is fantastic. I can’t wait to work with him again. It’s always great! I have wonderful friends here and I always come back to this great place with pleasure!
I like to work with the Madison Symphony Orchestra — they are so sensitive and responsive, and I always have a great and fun time at the rehearsals with them. In the end, at the concert time, the performances come off so beautifully that it is a joy and a great celebration of music!
The Rachmaninoff piano concerto is part of an all-Russian program that also features music by Tchaikovsky (below top) and Shostakovich (below bottom). Are there certain qualities that you identify with Russian music and that explain the music’s appeal to the public?
Russian music is full of feeling and is very powerful emotionally. Russian people, even if they are happy, are always sad inside. And this explains why Russian music is so complicated with feelings -– it is in its nature — always a fight between sadness and happiness, between darkness and light, between good and bad. You feel it — whether you listen to it or you perform it.
All the composers who will be performed in this concert had very difficult, complicated lives. They went through so much, but at the same time they wanted to be happy. They were romantics in their souls, fighters in their hearts.
They wanted to make the world beautiful, no matter what, with their heavenly amazing music! This is why it’s always so exciting and so touching to listen and to perform their incredible works and compositions!
Since winning the gold medal at the Van Cliburn International Competition in 2001, you have been very busy. What are your current recording projects and touring plans?
Yes, I am very busy, and of course very happy about it. I definitely have lots of exciting plans for the near future, but — if you don’t mind — I will keep it as a secret to keep many wonderful surprises soon for my wonderful fans and friends!
Please follow me on my website, www.olgakern.com, my official Facebook page https://www.facebook.com/olgakern?fref=ts, Twitter: @kernolga1, and Instagram @kernolga. I will be posting all my exciting news and projects and share it with all of you there!
Is there more you would like to say or add?
I am looking forward very much to coming back to beautiful autumn season in Madison. It’s my favorite season there. Nature is gorgeous and, as always for me, very inspiring!
By Jacob Stockinger
The Madison Symphony Orchestra (below) has just announced its next season for 2014-15.
It strikes The Ear as both deeply interesting and tightly cohesive, a good blend of sure-fire hits and unknown or rarely heard repertoire. It also features some fine local talent and some unusual repertoire, though, unlike the past several seasons, no new or contemporary music is included. After all, this is a business with seats to fill, not some theoretical exercise in programming.
“You can’t have everything, especially when you are playing only eight concerts,” lamented MSO maestro John DeMain (below, in a photo by Prasad) when he discussed the new season with me.
But, DeMain added, the MSO is exploring doing another Chicago Symphony Orchestra “Beyond the Score” format concert — like this season’s presentation of Antonin Dvorak’s “New World” Symphony, which sold out — probably in January and probably with more than one performance, if they can find a sponsor to front the $50,000 cost. Then he will decide on what work out of more than 20 possibilities would be right.
Concerts take place in Overture Hall in the Overture Center on Friday nights at 7:30 p.m.; Saturday nights at 8 p.m.; and Sunday afternoons at 2:30 p.m.
The deadline for subscriptions renewals and keeping your current seat is May 8.
Here is the official press release that unveils the new season. The Ear also talked at length one-on-one with MSO music director and conductor John DeMain. Since the announcement is long enough for one post, DeMain’s insightful comments will appear a bit later in another post.
MADISON SYMPHONY ORCHESTRA ANNOUNCES 2014-15 SEASON
Maestro John DeMain and the Madison Symphony Orchestra (MSO) will deliver a diverse and exciting season of composers and guest artists for 2014-2015.
Beginning with a September program that focuses on the highly-talented musicians in the orchestra, DeMain will lead the audience through an exhilarating variety of themes and cultures throughout the season. Russia, Scandinavia, and Golden-Age Hollywood are just a few of the sound worlds the MSO will explore, while monumental works central to the orchestra, such as Beethoven’s Ninth Symphony, will anchor the year.
A world-class roster of guest artists has been invited to Madison for the season’s performances, including violinist Sarah Chang, pianist Olga Kern, violinist Daniel Hope, pianist Ingrid Fliter and University of Wisconsin-Madison School of Music pianist Christopher Taylor.
SEPTEMBER 19, 20 and 21, 2014
“Orchestral Splendor,” John DeMain, Conductor
RICHARD STRAUSS, “Also sprach Zarathustra”
FRANK MARTIN, Concerto for Seven Winds
CAMILLE SAINT-SAËNS, Symphony No. 3 (“Organ” Symphony)
German composer Richard Strauss’ Also sprach Zarathustra was once among his least performed works, but it is now firmly established as standard orchestral repertoire. The trumpet theme and thunderous timpani entrance (heard in Stanley Kubrick’s epic film “2001: A Space Odyssey”) are unmistakable.
Swiss composer Frank Martin’s Concerto for Seven Winds was written in 1949. It features seven solo instruments, exploring differences in sonority and expression. The virtuosic and conversational writing in these piece results in a playful, sportive character.
French composer Camille Saint-Saëns’ Symphony No. 3, known also as the “Organ” Symphony, draws on elements of both the conventional symphony and the tone poem. Formally unusual in its own time, yet popular from its conception, the work features virtuosic piano and organ passages and a masterful display of the vast colors possible in the symphony orchestra.
OCTOBER 17, 18 and 19, 2014
“The Russian Spirit” with John DeMain, conductor, and Olga Kern (below), piano
PETER ILYICH TCHAIKOVSKY, Suite from “Swan Lake”
SERGEI RACHMANINOFF, Concerto No. 1 for Piano
DMITRI SHOSTAKOVICH, Symphony No. 6
The Suite from “Swan Lake” tells the magical tale of a young prince enchanted by a swan maiden under the moonlight. Peter Tchaikovsky’s charming work utilizes haunting melodies, captivating waltzes, Russian and Hungarian folk themes, and a Spanish dance.
Sergei Rachmaninoff’s Concerto No. 1 for Piano displays a youthful freshness and an assertive, extroverted personality. Indeed, the composer began this work when he was 17! For audience members who delight in keyboard fireworks, this piece will thrill.
Symphony No. 6 by Dmitri Shostakovich, written as war clouds were gathering in Russia, was quite a contrast to Symphony No. 5. Lopsided movement lengths, a lack of obvious theme, and characters of anxiety and desolation reflect the intriguing political situation of the time, as well as Shostakovich’s own remarkably wide emotional compass.
NOVEMBER 7, 8 and 9, 2014
“Scandinavian Wonders” with John DeMain, conductor, and Sarah Chang (below), violin
EDVARD GRIEG, Lyric Suite
JEAN SIBELIUS, Concerto for Violin
CARL NIELSEN, Symphony No. 4 (“The Inextinguishable”)
Over the course of his long career, Edvard Grieg composed 66 Lyric pieces for piano, strongly rooted in the songs, dances, mythology, and spirit of Norway. He selected four of these fragrant and diverse miniatures for an orchestral suite, premiered in 1906.
“…For…10 years it was my dearest wish to become a great virtuoso.” wrote Finnish composer Jean Sibelius in his diary. Unfortunately the composer never reached great proficiency on the instrument, and his Concerto for Violin, awash in Nordic textures, expresses a melancholic farewell to that childhood dream.
As a philosophical guideline to his often raging Symphony No. 4, Danish composer Carl Nielsen said, “Music is life, and, like life, inextinguishable”. Four interlinked movements of frequently agitated energy lead to a climax of ultimate triumph and grand 19th century symphonic tradition.
DECEMBER 5, 6 and 7, 2014
A Madison Symphony Christmas
With John DeMain, conductor; Alyson Cambridge (below), soprano; Harold Meers, tenor; the Madison Symphony Chorus, Beverly Taylor, director; the Madison Youth Choirs, Michael Ross, artistic director; and the Mt. Zion Gospel Choir, Leotha Stanley, director.
John DeMain and the Madison Symphony don their Santa hats for this signature Christmas celebration. This concert is filled with traditions, from caroling in the lobby with the Madison Symphony Chorus to vocal performances by hundreds of members of Madison’s musical community. Christmas classics are interwoven with enchanting new holiday music. The culminating sing-along is Madison’s unofficial start of the holiday season!
FEBRUARY 13, 14 and 15, 2015
“Fliter Plays Chopin” with John DeMain, conductor, and Ingrid Fliter (below), piano
BENJAMIN BRITTEN, Variations on a Theme by Frank Bridge
FREDERIC CHOPIN, Concerto No. 2 for Piano
ROBERT SCHUMANN, Symphony No. 4
Frank Bridge, one of Benjamin Britten’s earliest composition teachers, was certainly responsible for the surpassing clarity, individuality, and discipline in Britten’s most cherished works. Britten’s “Variations” on Bridge’s theme range from passionate to playful, capturing the heartfelt musical admiration of a pupil for his teacher.
From the moment he arrived in Paris at age 21, Frederic Chopin drew the admiration of both the public and esteemed critics, alike. Concerto No. 2 was in fact his first concerto, displaying the composer’s prolific improvisatory and imaginative style.
In composing Symphony No. 4, Robert Schumann departed significantly from the standard Classical form he previously employed, connecting all four movements with recurring musical ideas–a novel proposition at the time.
MARCH 6, 7 and 8, 2015
“Composers in Exile: Creating the Hollywood Sound” with John DeMain, conductor, and Daniel Hope (below), violin
FRANZ WAXMAN, Sinfonietta for Strings and Timpani Ride of the Cossacks from “Taras Bulba”
MIKLÓS RÓZSA, Theme, Variations and Finale; Parade of the Charioteers from “Ben Hur”; Love Theme from “Ben Hur”; Love Theme from “Spellbound”
ERICH KORNGOLD, Concerto for Violin and the Suite from “Captain Blood”
This unique concert features the works of great classical composers before they fled Nazi persecution and also showcases their later brilliant contributions to Hollywood film scores.
Franz Waxman (below) is responsible for a long list of memorable Hollywood scores, including “The Bride of Frankenstein,” “Dr. Jekyll and Mr. Hyde” and “Rebecca.” His Sinfonietta, written for only strings and timpani, is comprised of three wildly different movements. Waxman also composed the soundtrack for the 1962 epic, “Taras Bulba.” “Ride of the Cossacks” is the exhilarating theme to which Taras and his army gallop to Dubno.
According to Miklos Rózsa (below), his “Theme” was conceived in the manner of a Hungarian folk song, then treated in variations of contrasting feeling, and summarized in a wild and swift finale. The 1934 work earned him his first international success. By the late 1940’s Rózsa was an Oscar-winning, film score composer, and joined the staff of Metro-Goldwyn-Meyer. His thrilling score for the 1959 film “Ben Hur” is one of his lasting achievements, earning him his third and final Oscar.
The Concerto for Violin, written by Erich Wolfgang Korngold (bel0w top) in 1945, perfectly blends the two musical lives of the composer, unapologetic in both its rigorous craftsmanship and its Hollywood charm. “Captain Blood” was a milestone for Korngold, as it was his first fully symphonic movie score. Produced in only three weeks, the music evidences his most professional and imaginative effort.
APRIL 10, 11 and 12, 2015
“Piano Genius” with John DeMain, conductor, and Christopher Taylor (below), piano
JOHANN SEBASTIAN BACH, Concerto No. 4 for Clavier
FRANZ LISZT, Concerto No. 1 for Piano
ANTON BRUCKNER, Symphony No. 7
Concerto No. 4 by Johann Sebastian Bach is part of a set of six concertos, dated to 1738. The piece was originally written for harpsichord and is ripe with movement and ornamentation. Bach’s concertos laid a crucial formal and harmonic groundwork for centuries of composition to follow.
Franz Liszt’s Concerto No. 1 for Piano is more than a century-long leap forward in time. Liszt’s Romantic genius is unabashedly on display, with thick orchestration, cadenzas that range from delicate to thundering, and lush harmonies.
Anton Bruckner was a country man, transplanted into bustling cosmopolitan Vienna, and he and his music were unlikely successes with audiences and critics. His music was said to “compel the element of the divine into our human world”.
MAY 8, 9 and 10, 2015
“Ode to Joy” with John DeMain, conductor; concertmaster Naha Greenholtz (below top), violin; Melody Moore, soprano; Gwendolyn Brown, contralto; Eric Barry, tenor; Morris Robinson (below bottom), bass; and the Madison Symphony Chorus, Beverly Taylor, director.
LEONARD BERNSTEIN, “Serenade” (after Plato’s “Symposium”)
LUDWIG VAN BEETHOVEN, Symphony No. 9 (“Choral”)
Leonard Bernstein’s “Serenade” for violin and orchestra, resulted from a rereading of Plato’s charming dialogue, “The Symposium.” The music dances through a series of inter-related “speakers” at a banquet (Phaedrus, Aristophanes, Erixymachus, Agathon, and Socrates), praising love.
Ludwig van Beethoven’s last and monumental Symphony No. 9 stands apart from his other symphonies by virtue of its humanistic message, enormous scale and organic unity of design. The mammoth fourth movement, operating like a symphony in miniature, is like nothing else in symphonic music. Four soloists, full chorus, the entire orchestra, and the famous “Ode to Joy” theme will conclude the Madison Symphony Orchestra’s season. (You can hear a populist flash mob version of the “Ode to Joy” at the bottom in a popular YouTube video that had almost 4-1/2 million hits.)
Single tickets for individual concerts have increased slightly and are $16 to $84 each, and go on sale Aug. 16. They are available at www.madisonsymphony.org/singletickets and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.
New subscribers can receive savings up to 50%. For more information and to subscribe, visit www.madisonsymphony.org/newsub or call (608) 257-3734.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups
Discounted seats are subject to availability, and discounts may not be combined.
You can also check out the official MSO website announcement of the new season by visiting:
The Madison Symphony Orchestra engages audiences of all ages and backgrounds in live classical music through a full season of concerts with established and emerging soloists of international renown, an organ series that includes free concerts, and widely respected education and community engagement programs. Find more information at www.madisonsymphony.org.
ALERT: On Wisconsin Public Radio‘s “Sunday Afternoon Live from the Chazen,” which airs live statewide tomorrow, on Sunday, March 10, from 12:30 to 2 p.m., the Lawrence Chamber Players (below) from the Lawrence University Conservatory of Music in Appleton, Wisconsin, will perform. The faculty string ensemble will consist of violins, viola, cello, bass, piano and classical guitar. The Lawrence Chamber Players will perform music by Miroslav Tadic and Astor Piazzolla as well as the famed Brahms Piano Quintet.
By Jacob Stockinger
Last week, in a popular posting, The Ear offered obituaries for the American superstar classical pianist Van Cliburn, who died of bone cancer at 78.
Here is a link to that initial post:
Since then many more obituaries, features and analyses have appeared.
NPR asked pianists who have won the gold medal at the Van Cliburn International Competition -– where several months ago Cliburn (below, performing in 1993) made his last public appearance — to remember the namesake, who emerges once again as a modest, gracious and warm personality as well as world-class pianist.
The medalists such as Olga Kern (below top), Jon Nakamatsu (below middle), Andre–Michel Schub and Joyce Yang (below bottom) have their own big names and reputations now, and they mention specific performances and specific piano pieces, some of the memories and accounts are quite moving and emotionally stirring.
The blog posting also feature some of Cliburn’s best recordings as well as one of the medalists’ own playing:
See for yourself and maybe leave a memory of your own here or on the NPR blog or, thanks to copying and pasting on both:
And here are more obituaries and commentaries:
From the blog “Music Beat” at The Voice of America:
From the Dallas-Morning news with information about where to send memorial gifts and donations:
From the New York Times, that places Cliburn within his outstanding generation of American contemporaries, sort of the Leonard Bernstein of the Piano in terms of changing the debate from Europe and Russia to America:
For a view from abroad, here is the obit from The Guardian in Great Britain:
An analysis about how Cliburn’s live-in friend was treated and how the issue of Cliburn’s being gay and the subject of a palimony suit was ignored or finessed:
How the LGTB magazine The Advocate treated The Gay Van Cliburn:
How the LGBT Washington Blade reported on the gay side of Van Cliburn:
There are many more. Just go to Google and plus in Van Cliburn obituaries or “Van Cliburn and homosexuality.”
And here is a wonderful video and audio remembrance put together by PBS’ The Newshour and arts reporter Jeffrey Brown: