The Well-Tempered Ear

Classical music: Today is the Summer Solstice. What music best greets summer during this odd year? Plus, here is information about Make Music Madison this Sunday

June 20, 2020
1 Comment

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By Jacob Stockinger

Today – Saturday, June 20, 2020 – is the Summer Solstice.

Summer officially arrives this afternoon at 4:43 p.m. CDT.

Is The Ear alone in thinking that the time since the winter solstice has passed both more slowly and also more quickly than usual, thanks to the pandemic?

And now the days will start getting shorter. Can that be possible? Is the year really half over?

Well, it has been an unusual spring and promises to be an unusual summer, to say the least.

So how about some unusual Vivaldi?

If you listen to Wisconsin Public Radio, chances are good that today or sometime soon you will hear the hyper-popular original version of “Summer” from Vivaldi’s “The Four Seasons.”

But The Ear finds this unusual contemporary version a welcome change from the over-programmed and too familiar original version, and more appropriate to the special summer that will follow the special spring.

It is a version that has been “recomposed” by British composer Max Richter (below top) with violin soloist Daniel Hope (below bottom), a protege of the legendary Yehudi Menuhin, who performed several years ago with the Madison Symphony Orchestra.

The Ear finds the entire work very appealing, but here is the YouTube video of just the Summer section as it was being recorded.

If you don’t like this music, what music would you choose to listen to as you celebrate the coming of summer?

And if you like this excerpt, here is a link to the complete version of “Vivaldi Recomposed”:

https://www.youtube.com/watch?v=dJnxPgT83rw

MAKE MUSIC MADISON

Today may be the Summer Solstice, but this year’s Make Music Madison will take place this Sunday, which also happens to be Father’s Day.

The eight annual Make Music Madison – which includes classical music but also rock, jazz, folk, blues, hip-hop and country — is part of Make Music Day, an international celebration of the Summer Solstice that this year will take place in some 1,000 cities in 120 countries.

Here is a helpful listing with locations, time, performers and programs as well as form (virtual and online, with links, or real): http://www.makemusicmadison.org

Here is a story with more background about the event: http://www.makemusicday.org

If you attend or hear some of the events, let us know what you thought.

The Ear wants to hear.


Posted in Classical music
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Classical music: Two new memoirs and a new recording are revealing but uneven in marking the centennial of Leonard Bernstein

July 28, 2018
2 Comments

By Jacob Stockinger

We are only a month away from the centennial of the birthday of conductor, composer, educator and pianist Leonard Bernstein, which will be celebrated on Saturday, Aug. 25. Larry Wells, who is The Opera Guy for The Ear, recently assessed three of the many works – two new books of memoirs and one new recording — reexamining the life, career and legacy of Leonard Bernstein.

By Larry Wells

During this year commemorating the centenary of the birth of Leonard Bernstein (below, in a photo by Jack Mitchell), one need only consult https://leonardbernstein.com to find a day-by-day calendar of performances of his works.

As well as world-wide opportunities to hear his works -– even in Madison — there have been two recent books about Bernstein and a new recording of his final opera, “A Quiet Place,” that might be worth your time.

“A Quiet Place” was premiered in Houston as a sequel to his earlier opera “Trouble in Tahiti.” These first performances were conducted by our own John DeMain, the longtime artistic director of the Madison Symphony Orchestra and music director of the Madison Opera.

This nearly two-hour one-act opera dealing with incest, bisexuality, alcoholism and psychosis did not please the critics either for its libretto or for its music.

Soon thereafter Bernstein refashioned the opera by inserting “Trouble in Tahiti” in the middle and cutting some music. His subsequent recording has always baffled me because the music is so uninteresting and the casting is so haphazard.

The new recording on the Decca label (below) is of yet another version devised by Garth Edwin Sunderland. Reducing the orchestration to a chamber ensemble of 18 players, removing “Trouble in Tahiti,” and restoring some of the cuts, this recording by Kent Nagano and the Montreal Symphony Orchestra allows us to hear most of the original version of the opera.

(To read Sunderland’s analysis of his edition, check https://leonardbernstein.com/uploads/pages/files/PFR_2013_FW.pdf.)

The new recording is a valiant attempt by Nagano (below) to breathe some life into this dreary work, but I remain unconvinced that “A Quiet Place” is any more than a failed, final stab by a composer most of whose work I admire very much.

Charlie Harmon was Bernstein’s personal assistant, and his recent memoir ”On the Road and Off the Record with Leonard Bernstein: My Years with the Exasperating Genius” (below) goes a long way in explaining the failure of “A Quiet Place.” (You can hear the Postlude to Act I of “A Quiet Place” in the YouTube video at the bottom.)

To hear Harmon tell it, by this time in Bernstein’s life the maestro depended on drugs to go to sleep, drugs to keep himself awake, and alcohol in excess.  He also had a penchant for younger men.

The picture he paints of a troubled genius is rather pathetic, and Bernstein comes across as thoughtless, self-centered and exasperating. When Harmon (below, on the right with Bernstein) writes of his shock at being groped by Bernstein, I had to wonder what else he had expected. Still, it is an entertaining read.

Bernstein’s daughter Jamie Bernstein has recently published  “Famous Father Girl: A Memoir of Growing Up Bernstein” (below) Here we get a glimpse into Bernstein’s family life. The portrait of his troubled relationship with his long-suffering wife Felicia Montealegre is particularly interesting.

I heard Jamie Bernstein (below) speak recently in Tucson, and she told amazing anecdotes about Aaron Copland, Samuel Barber and William Schuman.

Little of that appears in the book. She assumes that the reader is interested in her own love life and her failed pop music career. I would have preferred to read more about the many fascinating people who surrounded Bernstein and less about her privileged and entitled life.

I have always been a big fan of Bernstein. I admired him as a conductor, teacher and composer. Anyone who has even a nominal interest in the man will find both of the recent memoirs at least diverting. The recording of “A Quiet Place,” however, is only for the true devotees.


Posted in Classical music
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