The Well-Tempered Ear
Which classical composer has helped you the most during the Covid-19 pandemic?
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By Jacob Stockinger
The holidays are over and as we close in on marking a year of the coronavirus and COVID-19 pandemic, The Ear has a question:
Which composer has helped you the most to weather the pandemic so far?
The Ear wishes he could say Bach, Haydn, Mozart, Beethoven, Schubert, Chopin or Brahms. And the truth is that they all played a role, some more than others.
But The Ear was surprised by the composer whose works he most listened to and liked — Antonio Vivaldi (below), the Red Priest of Venice who lived from 1678 to 1714 and taught at a Roman Catholic girls school.
Here is more about his biography, which points out that his work was neglected for two centuries and began being rediscovered only in the early 20th-century and still continues being rediscovered to the present day: https://en.wikipedia.org/wiki/Antonio_Vivaldi
The Ear isn’t talking about popular The Four Seasons although that set of 12 solo violin concertos has its charms and originalities.
The Ear especially appreciated the lesser-known concertos for two violins and the cello concertos, although the concertos for bassoon, flute, recorder, oboe, lute, trumpet and mandolin also proved engaging, as did the concerto grosso.
It was the 20th-century composer Igor Stravinsky (below) – the modern pioneer of neo-Classicism — who complained that Vivaldi rewrote the same concerto 500 times. “Vivaldi,” Stravinsky once said, “is greatly overrated – a dull fellow who could compose the same form many times over.”
But then did anyone turn to Stravinsky – who, The Ear suspects, was secretly envious — when they needed music as medicine or therapy during the pandemic?
Vivaldi was, in fact, a master. See and hear for yourself. In the YouTube video at the bottom, you can hear a performance of Vivaldi’s Concerto Grosso in G minor, RV 535, performed by the Akademie für Alte Musik Berlin.
Why Vivaldi? You might ask.
Well, it’s nothing highbrow.
The best explanation is that Vivaldi’s music simply seems like caffeine for the ears and sunshine for the eyes. His music isn’t overly introspective or glum, and it isn’t too long or melodramatic.
The melodies and harmonies are always pleasing and energizing, and the tempi are just right, although bets are that the music is much harder to play than it sounds.
In short, Vivaldi’s extroverted music is infectious and appealing because it just keeps humming along — exactly as those of us in lockdown and isolation at home have had to do.
Happily, there are a lot of fine recordings of Vivaldi by period instrument groups from England, Italy and Germany and elsewhere that use historically informed performance practices. But some the most outstanding recordings are by modern instrument groups, which should not be overlooked.
With a few exceptions – notably Wisconsin Public Radio – you don’t get to hear much Vivaldi around here, especially in live performances, even from early music and Baroque ensembles. If you hear Vivaldi here, chances are it is The Four Seasons or the Gloria. Should there be more Vivaldi? Will we hear more Vivaldi when live concerts resume? That is a topic for another time.
In the meantime, The Ear wants to know:
Which composer did you most listen to or find most helpful throughout the pandemic?
Leave your choice in the comment section with, if possible, a YouTube link to a favorite work and an explanation about why you liked that composer and work.
The Ear wants to hear.
Thank you and Happy New Year!
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Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?
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By Jacob Stockinger
Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others.
At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.
In some ways, it all seems inevitable.
Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom) – fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.
That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.
The assertion is food for thought. But not much.
In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:
https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/
The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.
Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.
Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.
Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.
No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.
Of course, there is elitism in the arts. People may be equal, but creative talent is not.
And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.
If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.
And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?
But these days being provocative can become its own reward.
You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.
Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop
What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?
Did you ever feel alienated from classical music because of Beethoven or know others who have?
What is your favorite Beethoven composition?
The Ear wants to hear.
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Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3
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By Jacob Stockinger
The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:
TOKEN CREEK, WIS. – In what way, and for whom, is a certain kind of music necessary?
Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.
So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.
Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo
Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.
We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.
Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.
Works:
BACH Sonata in E minor for violin and continuo, BWV 1023
HAYDN Trio in F major for flute, cello and piano XV:17
BACH Two Fugues, from The Art of Fugue, BWV 1080
HARBISON Mark the Date, for flute and piano (pre-premiere)
BACH Sonata in G major for violin and continuo, BWV 1021
BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079
BACH Sonata in C minor, from The Musical Offering, BWV 1079
Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert
A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).
In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).
Works:
SCHUBERT Andante, from Sonata in C for Piano Four Hands (“Grand Duo”), D.812
SCHUBERT Moments Musicaux, D.780
SCHUBERT Schwanengesang, D.957
Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz
This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.
We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)
We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).
Works:
FRITZ KREISLER Three Old Viennese Melodies for Violin and Piano
DONALD SUR Berceuse for Violin and Piano
SCHUBERT Waltz Sequence
RAVEL Valses nobles et sentimentales
GEORGE CRUMB Sonata for Solo Cello
SCHUMANN Quartet in E-flat for Piano and Strings, Op. 47
The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.
Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.
The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.
Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.
The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.
Concert tickets are $32 (students $12). Reservations can be secured in several ways:
- Online: https://www.eventbrite.com/e/token-creek-chamber-music-festival-2017-necessary-music-tickets-36091343179
- Website: www.tokencreekfestival.org (a link to our online ticketing, or a printable order form)
- Phone: 608-241-2525 (voicemail only, please leave a message)
- Email: info@tokencreekfestival.org
- U.S. mail: P.O. Box 5201, Madison WI, 53705
More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.
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The Well-Tempered Ear 
New York Times critics choose 10 online classical music concerts to stream in February, starting this Thursday
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By Jacob Stockinger
As they have done for previous months during the coronavirus pandemic, the classical music critics for The New York Times have named their top 10 choices of online concerts to stream in February, which is also Black History Month, starting this Thursday, Feb. 4.
Also predictably, they focus on new music – including a world premiere — new conductors and new composers, although “new” doesn’t necessarily mean young in this context.
For example, the conductor Fabio Luisi (below) is well known to fans of Richard Wagner and the Metropolitan Opera. But he is new to the degree that just last season he became the new conductor of Dallas Symphony Orchestra and its digital concert series.
Similarly, the Finnish composer Magnus Lindberg (below top, in a photo by Saara Vuorjoki) and the American composer Caroline Shaw (below bottom, in a photo by Kait Moreno), who has won a Pulitzer Prize, have both developed reputations for reliable originality.
But chances are good that you have not yet heard of the young avant-garde cellist Mariel Roberts (below top) or the conductor Jonathon Heyward (below bottom).
Nor, The Ear suspects, have you probably heard the names and music of composers Angélica Negrón (below top), who uses found sounds and Tyshawn Sorey (below bottom). (You can sample Negrón’s unusual music in the YouTube video at the bottom.)
Of course, you will also find offerings by well-known figures such as the Berlin Philharmonic and its Kurt Weill festival; conductor Alan Gilbert; pianists Daniil Trifonov and Steven Osborne; violinist Leonidas Kavakos; and the JACK Quartet.
Tried-and-true composers are also featured, including music by Beethoven, Schnittke, Weber, Ravel and Prokofiev. But where are Bach, Vivaldi, Telemann and Handel? No one seems to like Baroque music.
Here is a link to the events with links and descriptions. All times are Eastern: https://www.nytimes.com/2021/01/28/arts/music/classical-music-streaming.html
Do you have other virtual and online concerts to suggest? Please leave details in the Comment sections.
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