The Well-Tempered Ear
Is it pretentious for the NFL to use Roman numerals for the Super Bowl?
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By Jacob Stockinger
Today — Sunday, Feb. 12, 2023 — is Super Bowl LVII.
Or as we say in ordinary English — “57.”
(It airs at 5:30 p.m. Central Standard Time on Fox.)
The Ear thinks it is pretentious for the NFL to use Roman numerals, which are esoteric and incomprehensible to many members of the public.
Does anyone else think so?
Using the Roman numerals in sports also seems unpractical.
Imagine the NBA using the same antiquated number system to record LeBron James’ new record for a lifetime basketball score — 33,388 points. According to Google, it would be XXXIIICCCLXXXVIII.
How convenient! And silly, no?
It seems the same kind of pretentious authenticity The Ear hears too often in Classical music where authentic foreign pronunciations often seem a sort of status symbol that says “Look at what I know and you don’t, but should.”
Not exactly the kind of effort at reaching out that classical music needs to draw bigger and younger audiences.
It’s like when non-Hungarian, American speakers say “Budapesht” when in English it is simply Budapest. And this often comes from the same people don’t usually say München for Munich, or Roma for Rome, or Paree for Paris.
Can American speakers just speak plain American English for the sake of clarity and simplicity?
And can the NFL just use either English numbers or, like the Olympics, the year to show which competition it is?
Anyway, despite such preciousness and pretentiousness, we can enjoy today’s 57th or 2023 Super Bowl championship game in Phoenix between the Philadelphia Eagles and the Kansas City Chiefs.
Here’s another easier equivalency: a beautiful long pass and a beautiful javelin throw.
Which why The Eater is offering the classical music piece “Javelin” in the YouTube video at the bottom, played by Yoel Levi conducting the Atlantic Symphony Orchestra.
Written on commission for the Atlanta Olympics by the Wisconsin-born composer Michael Torke, it soars with a grace and an energy that is made all the more understandable and moving for its lack of words and numbers.
Whatever quarterback does it, winner or loser, here’s to the thrower of the most beautiful pass today.
What do you think of the music? And of the comparison between passing a football and throwing a javelin?
And what do you think about using Roman numerals is sports and foreign pronunciations in classical music
The Ear wants to hear.
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Classical music: The Festival Choir of Madison closes its season TONIGHT with a concert of East Asian music from China, Japan, Korea and Taiwan
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ALERT: Today and next Saturday, Wisconsin Public Radio’s “Music in Wisconsin” program, hosted by Lori Skelton, will air recorded performances from the past season by the Madison Opera. Both broadcasts start at 1 p.m. This week’s opera is the double bill of one-acts “Cav/Pag,” as Pietro Mascagni’s “Cavalleria rusticana” and Ruggero Leoncavallo’s “Paglicacci” are known. Next week will see Antonin Dvorak’s “Rusalka,” with the famous soprano aria “Song to the Moon.”
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
The Ear has received the following announcement to post:
The Festival Choir of Madison (below) will present the last concert of the season, “Jasmine Flowers,” TONIGHT — Saturday, May 18 — at 7:30 p.m. in the Atrium auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.
The choir and its artistic director, Sergei Pavlov (below right in front row), will perform arrangements of famous songs such as the Japanese “Sakura” (Cherry Blossom), arranged by the late Japanese composer Toru Takemitsu (his version is heard in the YouTube video at the bottom); and “Mo-Li-Hua” (Jasmine Flower), a popular Chinese folk song used variously as a national anthem and for the Olympics, arranged by the leading Korean composer Hyo-won Woo.
The choir will also feature other recent compositions sung in Taiwanese, Korean, Chinese, English and French — including works by Chen Yi, Libby Larsen, Bob Chilcott, Claude Debussy and Maurice Ravel — inspired by the musical traditions of East Asia.
Admission, with general seating, is $10 for students, $15 for senior citizens, and $20 for adults, with tickets available at the door the day of the concert. Tickets can also be purchased online through Brown Paper Tickets at:
https://www.festivalchoirmadison.org/concerts/2019/5/18/jasmine-flowers
The Festival Choir of Madison is an auditioned, mixed-voice volunteer choir of over 50 experienced singers. The choir performs thematic concerts of artistically challenging choral music from around the world for listeners who enjoy traditional, modern and eclectic works, and for singers who enjoy developing their talents with others.
To learn more about the Festival Choir of Madison, go to www.festivalchoirmadison.org.
Tags: #AntoninDvorak, #ArtisticDirector, #AsianComposers, #AsianMusic, #BlogPost, #BlogPosting, #BobChilcott, #BrownPaperTickets, #CavalleriaRusticana, #ChenYi, #CherryBlossom, #ChoralMusic, #ClaudeDebussy, #EastAsia, #EastAsian, #EnglishLanguage, #FacebookPost, #FacebookPosting, #FestivalChoirofMadison, #FirstUnitarianSocietyofMadison, #FrenchLanguage, #FrenchMusic, #HomeWebsite, #Hyo-wonWoo, #JapaneseComposer, #JasmineFlower, #KoreanComposer, #LibbyLarsen, #LoriSkelton, #MadisonOpera, #MauriceRavel, #MeadWitterSchoolofMusic, #ModernComposers, #ModernMusic, #MusicalTradition, #NationalAnthem, #OperaAria, #OperaMusic, #OperarMusic, #PietroMascagni, #RadioBroadcast, #RadioHost, #RadioShow, #RuggeroLeoncavallo, #SaturdayAfternoon, #SaturdayNight, #SeniorCitizen, #SergeiPavlov, #SongtotheMoon, #SopranoSinger, #SouthKorea, #ToruTakemitsu, #UniversityofWisconsin-Madison, #VocalMusic, #WisconsinPublicRadio, #YouTubevideo, admission, adult, air, announcement, anthem, Antonín Dvořák, aria, arranged, arrangement, artistic, Artistic director, Arts, Asia, asian, Asian composers, Asian music, audience, bill, blog, blossom, Bob Chilcott, Broadcast, Brown Paper Tickets, Cavalleria Rusticana, challenge, challenging, Chen Yi, cherry, cherry blossom, China, Choir, choral music, Classical music, Claude Debussy, composer, Composition, Concert, conductor, develop, double, dual, East Asia, eclectic, English, exposure, Facebook, famous, Festival Choir of Madison, First Unitarian Society of Madison, flower, flowers, folk, folk song, folksong, French, French music, host, Hoy-won Woo, inspiration, inspired, Jacob Stockinger, Japan, Japanese, Japanese composer, Jasmine, Jasmine Flower, Korea, Korean, Korean composer, last, Libby Larsen, link, listener, liuke, Lori Skelton, Madison, Madison Opera, Maurice Ravel, Mead Witter School of Music, member, modern, Music, musical tradition, national, national anthem, Olympics, Olympics Games, one-act, online, opera, Pagliacci, performance, performer, Pietro Mascagni, program, public, Radio, recent, recorded, Ruggero Leoncavallo, Rusalka, Saturday afternoon, Saturday night, Season, seating, senior, Sergei Pavlov, share, singer, singers, song, Song to the Moon, songs, soprano, South Korea, spread, Student, tag, Taiwan, talent, thematic, theme, ticket, Toru Takemitsu, tradition, United States, University of Wisconsin, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, vocal music, volunteer, Website, week, Wisconsin, wisconsin public radio, word, works, YouTube
Classical music: Which violin concertos have the hardest openings? You may be surprised
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By Jacob Stockinger
Recently The Ear stumbled upon a fascinating story, on a blog by Nathan Cole, about famous violin concertos.
It was NOT about the Top 10 Best Violin Concertos ranked in order.
It was NOT about the Top 10 Most Difficult Violin Concertos.
It was simply about the most difficult openings of violin concertos – about what happens when the violinist walks on stage and starts up along with the orchestra or before it or after it.
It uses the Olympics’ sports competitions as a model and awards degrees of difficulty along with explanations for the scoring.
(For a close to simultaneous start by orchestra and soloist, listen to American violinist Hillary Hahn, who played a recital last spring at the Wisconsin Union Theater, and conductor Paavo Jarvi in the opening of the popular Violin Concerto in E Minor by Felix Mendelssohn in the YouTube video at the bottom. It has over 8 million hits and it is very relevant to the story.)
The story reminds The Ear of famous literary critic Frank Kermode’s classic book “The Sense of an Ending” — only now it would be “The Sense of a Beginning,” a subject the late literary critic, cultural analyst and Palestinian activist Edward Said wrote about in his book “Beginnings: Intention and Method.”
The musical discussion features accessible and informative analysis by an accomplished violinist as well as terrific audio-visual clips of each concerto and the openings in question.
It’s a long piece – good for weekend reading, perhaps because it can be done in different segments at different times.
But even if you read only a part of it, it certainly imparts a sense of the challenges that a soloist faces. You vicariously experience the thrill and intimidation of walking out on stage and starting to play.
And it enhances your appreciation of some famous violin concertos and of what it takes to pull them off in live performance.
Like The Ear, you will come away with a new appreciation of the challenges that any concerto soloist – violinist, pianist, cellist, brass player, wind player, whatever — faces.
Here is a link:
http://www.violinist.com/blog/ncole78/20169/19726/
The Ear also hopes the website violinist.com follows up with a listing or ranking of the most difficult ENDINGS of violin concertos and a discussion of what makes them so difficult.
In the meantime, The Ears asks:
Do violinists out there agree or disagree with the scoring and reasons?
Do they care to leave a comment one way or the other?
Do they have other candidates – say, Baroque concertos by Antonio Vivaldi or Johann Sebastian Bach — to rank for the difficult of starting?
The Ear wants to hear.
Tags: Alexander Glazunov, Arts, Bach, Baroque, Bartok, Beethoven, Berg, blog, Brahms, brass, Bruch, Cello, Chamber music, Classical music, comeptition, Compact Disc, concerto, conductor, Dvorak, Felix Mendelssohn, Henryk Wieniawski, Hilary Hahn, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, Lalo, Ludwig van Beethoven, Madison, Mendelssohn, Mozart, Music, Olympic, Olympics, Orchestra, Paarvo Jarvi, Paganini, Pavvo Jarvi, Piano, Prokofiev, Sibelius, soloist, Sport, Stravinsky, strings, symphony, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Violin concerto, Violin Concerto (Mendelssohn), Vivaldi, Website, winds, Wisconsin, Wisconsin Union Theater, Wolfgang Amadeus Mozart, YouTube
Classical music: Is it payback time for Russian musicians at the Winter Olympics in Sochi? Conductor Valery Gergiev is the official maestro of Vladimir Putin’s big show that opens tonight with grand ceremony.
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By Jacob Stockinger
If you have been waiting for the start of the 2014 Winter Olympics (below is the official logo), tonight is the night it all begins for real –- at least officially because some preliminary rounds of sporting events like figure skating and snowboarding have already been held — even amid the terrorist threats, corruption, unfinished construction, dog roundups, authoritarianism and homophobia.
Many of us here in the U.S. will be tuning in at 8 p.m. EST to NBC-TV and streaming the games on-line. Here is a link to a schedule, to background stories and to other links.
For a complete schedule of events, check out:
And tonight is the opening ceremonies, the March of Nations, where all the athletes will march into the main stadium.
Could it also be payback time for Russian superstar musicians?
The maestro of music for the Olympics is the ever busy, often unshaven and always critically acclaimed conductor Valery Gergiev (below), who guest conducts around the world and holds his own podium at the Mariinsky Theatre in St.Petersburg.
But ironically, the maestro is a very close friend and political supporter – as is superstar soprano Anna Netrebko (below), who may or may not show up at Sochi — of the heavy-handed and thuggish Russian President, and former KGB agent, Vladimir Putin. (Below is a photo of Vladimir Putin pinning a state decoration on Valery Gergiev.)
The combination of the two V-Men — Vladimir and Valery — creates certain ironies and some wariness or even dissatisfaction.
Here is a link to a fine story about Gergiev, Putin and the Olympics that aired in NPR. It also has links to some music.
And The New York Times has also published a story about Gergiev that focuses on his role as an ambassador and defender of Russian culture’s rebirth under Putin, whom Gergiev endorsed in the last presidential election (both are below), despite the foreign political fallout.
So, will Anna Netrebko (seen below in the Metropolitan Opera’s production of Tchaikovsky’s opera “Eugene Onegin”), who also endorsed Putin, show up to sing?
Will some of the famous ballet dancers from the famed but beleaguered Bolshoi company in Moscow also perform?
Tune in and see.
But while we wait for the Winter Olympics to reveal themselves and for their many cultural contradictions to surface — and to help warm you up in this cold, cold Midwest winter -– here is some of the best music ever composed for the Olympics or sports events: A YouTube video of Milwaukee-born composer Michel Torke’s “Javelin” written for the 1996 Summer Olympics Games in Atlanta, Georgia:
Tags: 2014 Winter Olympics, Anna Netrebko, Arts, Atlanta, ballet, Bolshoi, Classical music, conductor, corruption, dog, figure skating, gay, Georgia, homophobia, Jacob Stockinger, Javelin, Madison Opera, Mariinsky Theatre, Metropolitan Opera, Michael Torke, Moscow, NBC, NBC-TV, New York Times, Olympics, Russia, Russian culture, Saint Petersburg, snowboarding, Sochi, Sports, Summer Olympics, terrorism, The New York Times, Valery Gergiev, Vladimir Putin, Winter Olympics, YouTube
Classical music: Opera diva Renee Fleming will sing the National Anthem to open the NFL Super Bowl XVIII (48) next Sunday. But WHY and HOW did that happen and WHAT does it mean for professional music and professional sports?
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By Jacob Stockinger
What is THIS all about?
Next Sunday -– a week from today – is Superbowl XVLIII (that’s 48 in plain English numerals — does the NFL think Latin adds class to football?)) between the Seattle Seahawks and the Denver Broncos. It will be held in bad cold weather in New Jersey’s MetLife Stadium in the Meadowlands. That’s the football game where the best seats are going for more than $25,000. (Where are you now, Tony Soprano?) Not that a wealth gap exists between professional sports like football (below) and the rest of America. Oh, no — never that.
And guess who will sing the national anthem, the tricky “The Star-Spangled Banner,” to open the show – and it is a show. None other than superstar soprano Renee Fleming (below).
Yep, the lovely and gifted opera diva herself.
Now, I am not about to complain about a classical music star getting a chance for such exposure. But it does makes you wonder how it happened.
Did her agent approach the NFL?
Or did the billionaire-packed NFL decide on its own — somewhere in its posh 280 Fifth Avenue headquarters (below top is the exterior, below bottom is the interview its tacky half-Football Desk) that are tax-exempt – that it would buy some highbrow class and at the same time help the cause of classical music and maybe build a new audience?
The Ear can’t imagine it was done by popular choice, under pressure from the fans.
And WHY was it done?
Did a lot of classical music presenters, who already realize that it is commercial suicide to hold a concert on Super Bowl Day, think to put some class into the Super Bowl and not risk bad attendance?
Was it just out of a taste for variety?
Fleming, who has a deep background in jazz and popular music, will probably nail it of course.
But will Renee Fleming create the same kind of rowdy, over-the-top atmosphere that is appropriate to the occasion as some bluesy-gospel, pop-rock or hip-hop star rendition would? Sure, Fleming sells a lot of records and tickets — but nowhere near as much as the superstars in those others genres of music do.
I guess we will see.
If she goes over well, maybe they can book her for the half-time act in a couple of years. But someone like superstar pianist Lang Lang (below), who will perform with metal rockers Metallica at this year’s Grammy Awards to be broadcast live tonight, seems a more likely candidate. Why book Rubinstein when you can get Liberace?
Well, at least folks at the Super Bowl can feel as classy as the Metropolitan Opera folks for a couple of minutes –- until the concussions start.
I don’t know if we will ever get the back story about the why and the how. But here is a link to the story that NPR’s excellent Deceptive Cadence blog had about Renee Fleming and the Super Bowl.
It is good, short and to the point, even if it doesn’t move beyond the headlines.
See what you think.
And for True Fans, here is a link to the official NFL Super Bowl 48 site, loaded with information and complete with a clock counting down to the coin toss and kickoff:
http://www.nfl.com/superbowl/48
What would be a good, an appropriate opera aria to mark the Super Bowl? How about Puccini’s “Nessum dorma” (“No one sleeps”) from “Turandot,” below in a popular YouTube video with almost 9 million hits. It features tenor Luciano Pavarotti, who made it his signature aria, and it shows the last time he sang it in 2006 at the Winter Olympics in Torino, Italy. Look at the sets. Listen to the crowd going wild. It seems in keeping with the Super Bowl, no?
But if you can suggest another choice, The Ear wants to hear it.
Tags: Classical music, Denver Broncos, football, Grammy Award, Italy, Jacob Stockinger, Lang Lang, Luciano Pava, Meadowlands, MetLife Stadium, Metropolitan Opera, Music, National Football League, Nessun Dorma, New Jersey, NFL, NPR, Olympics, Park Avenue, Pavarotti, Piano, professional sports, Puccini, Renée Fleming, Seattle Seahawks, Sports, Star-Spangled Banner, Super Bowl, Super Bowl XLVIII, Torino, Winter Olympics
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The Well-Tempered Ear 