The Well-Tempered Ear

Classical music: Listening etiquette should be the same outdoors as in concert halls

July 12, 2017
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By Jacob Stockinger

This posting is a favor to a loyal friend of The Ear.

And just maybe to many others too.

This friend, who sponsors local classical music and attends many indoor concerts, likes to go to the FREE Concerts on the Square (below) given by the Wisconsin Chamber Orchestra.

The third one of this summer is tonight at 7 p.m. on the King Street corner of the Capitol Square.

The guest artist is classically trained Robert Bonfiglio (below), the “Paganini of the harmonica,” who will perform several serious works including two by George Gershwin and one by Russian composer Alexander Tcherepnin. (You can hear Bonfiglio perform the second movement of Tcherepnin’s Concerto for Harmonica and Orchestra in the YouTube video at the bottom.)

For more information about the concert and what happens at it, including food and other activities as well as a biography of the soloist, go to:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-3-2/

However, what disturbs The Ear’s friend, who will be there tonight, is the rudeness or thoughtlessness that often interferes with appreciating the music.

“Maybe,” the Friend said, “you can post something about it and that might help.”

True, the summer event is designed for socializing and eating and drinking and having fun. And there is plenty of time for all those things.

But when the music starts, it is only fair to pay respect to the musicians who work so hard to perform it and to other listeners who want to hear it.

That means silence.

People should stop chatting, talking or laughing during the music.

They should avoid making unnecessary noise and movements and help allow other audience members to concentrate and focus on the music.

In short, the rules or etiquette for listening to music should be the same outdoors as they are indoors in the concert hall.

And that goes not only for Concerts on the Square, but also for the Concert on the Green by the Madison Symphony Orchestra, the upcoming Opera in the Park (below) by the Madison Opera on July 22 and the outdoor Concert in the Park performance on Aug. 9 by the Wisconsin Youth Symphony Orchestras.

Anyway that is what The Ear and his Friend think.

What do you think?

And how do you generally find listening to music at Concerts on the Square and other outdoor performances?

The Ear wants to hear.

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Classical music education: This Thursday morning, WORT-FM 89.9 will air a lengthy tribute to retiring UW-Madison and Wisconsin Youth Symphony Orchestras conductor Jim Smith

May 16, 2017
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By Jacob Stockinger

Rich Samuels hosts the radio show “Anything Goes” every Thursday morning on WORT-FM 89.9.

But Samuels is also a documenter extraordinaire of the local classical music scene. Chances are you have seen him operating his computer and microphones at a recent concert.

Most recently, he brought the revival of Bach Around the Clock to his listeners.

Now he has done it again.

Here is what he wrote to The Ear, who is grateful for his many efforts:

“I just finished editing a 52-minute tribute to Maestro James Smith (below, rehearsing at the UW-Madison) who conducts his final Wisconsin Youth Symphony Orchestra concert this coming Sunday at the Overture Center in a joint appearance, called “Side by Side,” with the Wisconsin Chamber Orchestra.

“This segment will air this week at 7:08 a.m. on my Thursday WORT broadcast.

“Listeners will hear Maestro Smith (below, conducting WYSO students) prepare his young musicians for the Sunday event and hear him reflect on his 32 years on the WYSO podium.

“Also contributing to the segment are WYSO alumni violist Vicki Powell (now based in Berlin), violinist David Cao (a joint music and pre-med major at Northwestern University) and Beth Larson (of the Madison Symphony Orchestra, Wisconsin Chamber Orchestra and Willy Street Chamber Players, to name a few of her many affiliations).”

Smith’s final WYSO concert is in Overture Hall of the Overture Center on Sunday afternoon at 4:30 p.m. The concert is FREE and open to the public. No tickets are required and seating is general admission. Doors open at 3:45 p.m. (You can hear a short sample of a 2015 Side by Side in the YouTube video at the bottom.)

The program includes music by Nikolai Rimsky Korsakov, Georges Bizet, Ralph Vaughan Williams, Niccolo Paganini, Ottorino Respighi and Dmitri Shostakovich.

For more information about the Side-by-Side concert by the Wisconsin Chamber Orchestra and WYSO, go to:

https://wisconsinchamberorchestra.org/performances/side-by-side-1/


Classical music: The Wisconsin Chamber Orchestra opens its new season at 7:30 p.m. – NOT 8 — this coming Friday night. The program includes symphonies by William Boyce and Franz Schubert along with the Violin Concerto by Tchaikovsky

October 10, 2016
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By Jacob Stockinger

One by one, the major groups in town are getting their new concert season under way.

The Wisconsin Chamber Orchestra (below) will take its turn this coming Friday night in the Capitol Theater of the Overture Center.

PLEASE NOTE: The traditional starting time for the WCO Masterworks concerts has been changed from 8 p.m. to 7:30 p.m. The Ear isn’t sure whether it is for the convenience of audiences or because of the new security measures at the Overture Center. But he likes the earlier starting time since WCO programs are usually very generous.

WCO lobby

True to his programming philosophy, WCO music director and conductor Andrew Sewell is mixing the very popular with the rarely heard and the almost completely unknown.

andrewsewell

The most popular and well-known work, the Violin Concerto in D major by Peter Ilych Tchaikovsky features Russian violinist Ilya Kaler (below) at the soloist in the surefire work.

Kaler sounds very promising, since he is the only violinist ever to won gold medals at three prestigious competitions — the Tchaikovsky, Sibelius and Paganini competitions. In the YouTube video at the bottom, you can hear him perform a work by Fritz Kreisler at the Heifetz Festival.

ilya-kaler

The Symphony No. 4 in C minor by Franz Schubert (below) is a youthful work, but it possesses a surprisingly mature power deriving from its mood and mystery — perhaps because he composed it in the favorite key of his mentor and idol Ludwig van Beethoven. Hence its nickname, “Tragic.”

It should also be an outstanding performance because Schubert’s music is one of conductor Sewell’s many strengths.

Franz Schubert big

William Boyce (1711-1779) was a Baroque-era English composer, a contemporary of George Frideric Handel, who was more popular in his own day. But who has been making something of a comeback, thanks to the early music movement.

Boyce (below) wrote six symphonies, and No. 5 in D Major on this program promises some pleasant surprises. The Ear doesn’t recall ever hearing Boyce performed live in Madison, though that is hardly the definitive word. Maybe he just missed it.

william-boyce

Single tickets are $10 to $80. For tickets, a sample of Ilya Kaler’s playing and background information, visit:

http://www.wisconsinchamberorchestra.org/performances/masterworks-i-2/


Classical music: Which violin concertos have the hardest openings? You may be surprised

September 18, 2016
9 Comments

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.)

stradivari-solomon-ex-lambert

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.


Classical music: Violinist Alexander Ayers gives a FREE recital on Monday night at Taliesin in Spring Green 

June 25, 2016
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Due to technical difficulties beyond his control at the web site host, The Ear cannot publish a new post today that has many links in the text. He apologizes and will let you know if and when the problems are solved. In the meantime, he will offer what he can.

By Jacob Stockinger

The following announcement has been sent for posting by The Ear by the Rural Musicians Forum:

Widely praised for his shimmering virtuosity and technical precision, violinist Alexander Ayers performs a FREE recital at 7:30 p.m. on this Monday, June 27, in a concert sponsored by the Rural Musicians Forum in Frank Lloyd Wright’s Hillside Theater at Taliesin, south of Spring Green, Wisconsin.

Ayers (below, in a photo by O’Brien Photos of Waukesha), a native of Waukesha, Wisconsin, joined the Milwaukee Symphony in 2013. He was previously a member of the Madison Symphony Orchestra.

After studying nine years at the String Academy of Wisconsin-Milwaukee he studied at Indiana University, and in 2006 he won the grand prize of the Milwaukee Symphony Stars of Tomorrow Competition. This resulted in performances of the Violin Concerto No. 1 by Sergei Prokofiev with the MSO. He has performed collaboratively with Joshua Bell, Alex Kerr, Jaime Laredo, Gilles Apap and Soovin Kim.

Alexander Ayers 1 CR O'Brien Photos

Ayers’ June 27 program is international in scope. It includes works by German-born Ludwig van Beethoven and Parisian Camille Saint-Saens as well as the Belgian violinist and composer Eugene Ysaye and virtuosic Polish violinist Henryk Wieniawski, who was regarded by many as an exciting and flamboyant re-incarnation of Niccolo Paganini.

About the concert RMF Artistic Director Kent Mayfield said, “We are honored to work in close collaboration with Taliesin Preservation Inc. to host much of this year’s series at Taliesin’s Hillside Theater (below). It provides an especially dramatic but intimate setting for Ayers’ performance which will be totally consistent with Frank Lloyd Wright’s vision: imaginative, bold and beautiful.”

taliesin_hillside2

Hillside Theater is located at 6604 Highway 23, Spring Green.

The concert is not ticketed and is open to the public. A free-will offering will be taken to support the concert series.

For additional information and driving directions, see www.ruralmusiciansforum.org

 


Classical music: On June 13, the Rural Musicians Forum will kick off its summer season series of FREE concerts at Frank Lloyd Wright’s Taliesin compound in Spring Green.

May 20, 2016
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By Jacob Stockinger

The Ear is passing along the following announcement in time for you to mark your datebook and make plans:

For the 2016 summer season, the Rural Musicians Forum welcomes audiences to Taliesin, the historic estate of Frank Lloyd Wright, near Spring Green, and to the Wright-designed Wyoming Valley Cultural Arts Center.

In commenting on the venues for the series, RMF’s artistic director Kent Mayfield (below) said: “RMF is honored to work in close collaboration with Taliesin Preservation Inc. to host much of this year’s series at the Taliesin’s Hillside School Theater.

Kent Mayfield Rural Musicians Forum

The Hillside Theater (below) provides a dramatic but intimate setting for performances totally consistent with Frank Lloyd Wright’s vision: imaginative, bold and beautiful. And, for its part, the Wyoming Valley Cultural Arts Center underscores the sustained vitality of that vision.”

taliesin_hillside2

Madison’s acclaimed harpsichordist, fortepianist, pianist and founder of the Madison Bach Musicians, Trevor Stephenson (below top) opens the 2016 season on June 13 with mezzo-soprano Margaret Fox (below bottom).

Trevor Stephenson full face at keyboard USE

Margaret Fox

Violinist Alexander Ayers (below) follows on June 27. Ayers, earlier a player in the Madison Symphony and now a member of the Milwaukee Symphony Orchestra, has been widely praised for his shimmering virtuosity and technical precision. (You can hear him perform the virtuosic Caprice No. 11 for solo violin by Niccolo Paganini in the YouTube video at the bottom.)

Alexander Ayers violin

July 11 brings on the memorable trio of Dan Barker (piano), Rob Shepherd (saxophone) and Cleo Ware (vocals) for an evening of glorious, nostalgic music by George Gershwin (below).

gershwin with pipe

Clocks in Motion (below) brings its adventurous and absolutely contemporary percussion repertoire to Taliesin on July 25.

Clocks in Motion group collage

That will be followed on Aug. 8, by a showcase of captivating new music by the Madison-based wind quintet, Black Marigold (below).

Black Marigold new 2016

The season closes with RMF’s annual “Music in the Fields,” on Sunday, Aug. 21. The Stellanovas’ evening of café jazz promises equal parts Hawaiian luau, Parisian wedding and mellow summer pleasure on the lawn at the Wyoming Valley Cultural Arts Center. The center is located at 6306 State Highway 23. (This event is ticketed.)

Now in its 35th season, RMF continues to provide all members of the community an opportunity to enjoy live music featuring a wide range of styles and combinations of music with performers of extraordinary ability.

Performances begin at 7:30 p.m. There is no ticket charge for concerts at Hillside Theater, but a freewill offering to support the series is taken. Given the unique appeal of the Taliesin location, early arrival for the concerts is recommended.

NOTE: Sorry, but The Ear has received no word about specific programs an works to be performed. He also doesn’t see them listed on the website for the Rural Musicians Forum.

Full information on specific concerts is available at www.ruralmusiciansforum.org or at ruralmusiciansforuum@yahoo.com.


Classical music: Mixing old and new music. Violinist Hilary Hahn talks about the works she commissioned and will play alongside classics when she performs Sunday night at the Wisconsin Union Theater

April 20, 2016
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By Jacob Stockinger 

There are many great violinists playing today. But arguably the most important and innovative is 36-year-old Hilary Hahn (below), the thoughtful virtuoso who returns to perform a MUST-HEAR recital in Shannon Hall of the Wisconsin Union Theater at 7:30 p.m. this coming Sunday night.

The last two recitals there by Hahn were two of the most memorable live chamber music performances The Ear has ever heard.

Hilary Hahn 2016

Tickets are $27.50 to $50.50. UW-Madison students are $10.

Here is a link to information about tickets, the program and audio samples:

http://uniontheater.wisc.edu/Season15-16/hilary-hahn.html

During her 20-year career, Hahn – who often mixes the old and new both in live performances and on recordings — has consistently turned in astounding performances of the violin repertoire, including classics. Those works include concertos and sonatas by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn, Niccolo Paganini, Johannes Brahms, Peter Ilyich Tchaikovsky, Charles Ives, Jean Sibelius, Edward Elgar, Ralph Vaughan Williams, Samuel Barber, Igor Stravinsky, Arnold Schoenberg, Sergei Prokofiev, Dmitri Shostakovich, Leonard Bernstein and others.

But she also frequently commissions and adds new works to the repertoire, including a concerto by Edgar Meyer and a Pulitzer Prize-winning concerto by Jennifer Higdon, who teaches composition at the Curtis Institute of music where Hahn studied. Plus, she is a talented and charming “postcard” blogger and interviewer.

Both sides of Hilary Hahn’s artistry – the classic and the contemporary — will be on display during her Madison recital. The very busy Hahn (below, in a photo by Peter Miller) recently agreed to do an email Q&A with The Ear:

Hilary Hahn 2016 CR Peter Miller

You have long been known as an innovative artist. What are your new and upcoming projects, including recordings and commissions?

I’m in the middle of a 14-month-long artist residency at the Vienna Konzerthaus. It’s my first such experience, so I feel like a kid in a candy store, getting to try out ideas sequentially that I would otherwise have to stretch over several years.

I’m excited to include among my residency performing as soloist with five different orchestras in the same hall, as well as giving a recital there and developing local initiatives to bring the community and classical music even closer together. Next year, I will be in residence in Seattle and Lyon. It’s been fun seeing what residency activities I want to carry over and what I can add that is specific to each city.

As far as commissions go, over this season and next, I’m world-premiering and touring a significant new contribution to the solo violin repertoire, Six Partitas by Antón García Abril (below), written for me.

That is a meaningful project for me, because I sensed that Mr. García Abril would write a fantastic set of pieces if I could convince him to take on the assignment. He decided to do it and the music turned out to be more wonderful and inspiring to play than I could have imagined. It feels like those phrases breathe with me and the notes fit in my hands.

In addition, I am in the process of wrapping up the original trajectory of my project, In 27 Pieces: the Hilary Hahn Encores. After some concerts on this upcoming tour, as encores, my recital partner Cory Smythe and I will be giving world premieres of the Honorable Mentions from my Encores contest.

Finally, in the fall, the complete edition of the sheet music for all 27 original works will be published as a single edition, with my fingerings, bowings and performance notes.

Anton García Abril BW

Is there an underlying unity or purpose to your program of works by Mozart, Bach, García Abril, Copland and Davidson?

I hope the listeners will find their own versions of unity and purpose in the program. The pieces weren’t assembled randomly, but then again, everyone listens differently.

García Abril’s Six Partitas, of which I will play No. 1, entitled “Heart,” are solo polyphonic works. The violin alone carries multiple melodic lines, as well as providing its own harmonies. Johann Sebastian Bach (below top) wrote his polyphonic Six Sonatas and Partitas for Solo Violin in 1720. I felt it was important to carry forward this particular type of composition into the present day, so I commissioned Mr. García Abril (below bottom, in a photo by Julio Ficha) to create this set of works. (You can hear Hilary Hahn interview Anton Garcia Abril in a YouTube video at the bottom.)

His writing for violin is compelling, fluid, emotional, clever and expressively rich in a way that I felt needed to be explored further. Especially as this is the premiere tour of his Partita No. 1, I wanted to juxtapose the new work with one of Bach’s, namely the Third Sonata with its complex and multifaceted fugue.

As for the duo pieces on the program, the compositional styles — though they span 250 years — have a certain openness in common: the writing is not densely layered, leaving lots of room for imagination.

Bach1

Anton García Abril CR Julio Ficha

What about the works by Mozart and Copland?

Mozart’s set of sonatas for keyboard and violin is one of the most extensive for this instrumentation, and since I was a student, I’ve been adding at least one to my repertoire annually. It’s wonderful to explore such a prolific composer’s work over a long stretch of time. This particular sonata vacillates among stormy drama, lyricism and playfulness.

The piece by Aaron Copland (below) is gorgeous, revealing. In this sonata, Copland’s musical language is clearly recognizable, but the texture is more sparse than in his famous larger-ensemble works, making it boldly direct and engrossing to listen to.

aaron copland

And the music by Tina Davidson?

The work by Tina Davidson (below) follows on the tonality of the Copland, but the composer’s treatment of the music goes in an entirely different direction. “Blue Curve of the Earth” was written in Wyoming during an artist residency, and was inspired by a photo of the edge of the Earth from space. The music is dreamy yet dimensional, angular yet lush. “Blue Curve of the Earth” is from the Encores project.

Tina Davidson

What would you like the public to know about composers Antón García Abril and Tina Davidson and their violin music or music in general?

I like to picture where pieces were written; the surroundings can add another dimension to the music. Environment influences the creative process. The studio is the private stage. Antón works in a studio outside of Madrid that his son, the architect by the same name, designed for him. Tina is based out of a refashioned church in Pennsylvania, with vaulted ceilings and a garden.

Both write beautifully for voice. Since violin can be a lyrical instrument and is tonally varied, capable of both sustaining and articulating, the ability to write expressively for voice transfers to the violin. Also, I have the impression that both composers start from a strong conceptual point with their works. When I play their music, the big line is the first thing that jumps out at me; the myriad fine details support the gestures.

Hilary Hahn playing 2 horizontal

If you play an encore or two, will they be from the ones you commissioned a couple of years ago and won a Grammy for?

That’s the plan! I feel very close to those pieces. Great encores exist from previous centuries, too; I never rule out the classics.

Why did you commission 27 short encores?

I began to notice that new encore pieces were not being showcased as much as other types of contemporary works. Shorter pieces remain a crucial part of every violinist’s education and repertoire, and I believed that potential new favorites should be encouraged and performed as well.

How successful have they been with the public and with other artists?

The public embraced the project. The music contained within the Encores is varied and imaginative. Each composer had a different concept of what an encore can add to today’s musical landscape.

I think every listener can find at least one work that is particularly poignant. I want the audience to discover these pieces for themselves. It is thrilling to listen to music that you have never heard before and, uninfluenced by other people’s opinions, be free to feel your own response.

This project is something I’ve been working on for a long time; I would estimate that my direct involvement in all of the different parts will wind up having a 15-year arc. What I have learned on musical and creative levels from working with the composers will stay with me for my whole career, and the logistical lessons from organizing such a big project will influence my future work.

Most importantly, I hope the Encores themselves will continue in the active repertoire beyond my lifetime. That will be up to other performers, of course.

Hilary Hahn Encores CD cover

You have played here several times, both concertos and solo recitals. Is there anything you would like to say about performing in Madison and about Madison audiences?

I really enjoy Madison itself. It’s in a beautiful part of the country. I’ll never forget the first time I visited, in the winter, when the city was covered by snow and one of the sidewalks featured a table topped by a tower of knit hats and sweaters. As for the Madison audience, their curiosity and involvement are energizing.

Is there anything else you would like to say?

Hello, everyone!


Classical music: Today is Super Bowl Sunday, so The Ear asks: Who are the winners and champions in the concert hall? Here are the most popular pieces, composers and soloists. Plus, on Tuesday night, violist Elias Goldstein returns to perform Paganini’s fiendish Caprices in a FREE recital

February 7, 2016
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ALERT: The Ear has received the following note from University of Wisconsin-Madison School of Music viola professor Sally Chisholm, who also plays with the Pro Arte Quartet: “Elias Goldstein, who has a doctorate from UW-Madison (2011) and was a Collins Fellow, is playing a concert of all 24 Caprices, originally composed for solo violin by Niccolo Paganini, on VIOLA this Tuesday night at 7:30 p.m. in Morphy Hall. Admission is FREE and OPEN TO THE PUBLIC.

“On March 9, he will perform this program at Carnegie Hall in New York City, as the first violist ever to perform all 24 Caprices in one concert. This is such a feat that it is difficult to believe one of our own is accomplishing it. I was with him in Krakow, Poland when he performed 6 of them. He got standing ovations. He is professor of viola at Louisiana State University, won top prizes at the Primrose International Viola Competition and the Yuri Bashmet Viola Competition in Moscow in 2011.”

Elias Goldstein big

By Jacob Stockinger

Today is the 50th Super Bowl of the NFL, and will be played by the Carolina Panthers and the Denver Broncos in the Levi’s Stadium in Santa Clara, California, near San Francisco.

It starts at 5:30 p.m. CST.

Lady Gaga will sing the national anthem. Coldplay, Beyoncé and Bruno Mars will perform in the half-time show. The Super Bowl will be broadcast live on CBS-TV.

super bowl 50 logo

So, one might ask in a society that loves competition, what constitutes The Super Bowl of classical music?

It is a source of endless discussion and often disagreement.

What classical music is the most mainstream, if not best?

Who are the big winners and champions in the concert hall?

A survey, compiled by a student at the UW-Milwaukee, of the most popular or frequently performed composers, works and soloists was recently conducted by the League of American Orchestras. The rest are for the 2010-11 season.

The No. 1 work is a YouTube video at the bottom. It is the Symphony No. 1 in C Minor by Johannes Brahms and is performed by the Chicago Symphony Orchestra under its late music director and conductor Sir George Solti.

And on March 11, 12 and 13 the Madison Symphony Orchestra hosts TWO of the Top 10 winners: Pianist Emanuel Ax performing the Piano Concerto No. 4 by Ludwig van Beethoven. (The Symphony No. 4 by Gustav Mahler completes the program.)

Emanuel Ax Philharmonia

Here is a link to the complete results along with the method used to gather data:

http://www.classicalmpr.org/story/2014/04/08/league-american-orchestras-performance-data

See what you think and leave a COMMENT.

Do they match up with your preferences and your choices of favorites?

In your opinion, what makes them so popular?

The Ear wants to hear.


Classical music: The St. Lawrence String Quartet will perform works by Haydn and the Midwest premiere of the String Quartet No. 2 by John Adams this Friday night at the Wisconsin Union Theater. Plus, this Tuesday night UW-Madison alumnus and violist Elias Goldstein will perform a FREE concert of the famous Caprices by Paganini

February 1, 2016
1 Comment

ALERT: University of Wisconsin-Madison School of Music 2011 alumnus and violist Elias Goldstein is on his way to Carnegie Hall in New York City to perform all the virtuosic 24 Caprices originally for solo violin by Niccolo Paganini. But first he will perform them here in a FREE concert that also includes other works with pianist Thomas Kasdorf, another UW-Madison alumnus, on Tuesday night at 7 p.m. in Morphy Recital Hall. (Sorry, no word on the rest of the program.) Goldstein will also give a FREE and PUBLIC master class on Wednesday at 2:25 p.m. in Morphy Hall.

For more information, go to:

http://www.music.wisc.edu/event/goldstein_paganini/

By Jacob Stockinger

How does a contemporary American composer channel classic composers from more than 200 years ago?

You can find out by going to hear the St. Lawrence String Quartet (SLSQ, below). The critically acclaimed string quartet will perform this Friday night at 8 pm, in Shannon Hall at the Wisconsin Union Theater.

St.Lawrence String Quartet 2016 2 BIG USE

Tickets are $27.50 to $42.50.

For more information, including reviews and video samplings, visit:

http://uniontheater.wisc.edu/Season15-16/st-lawrence-string-quartet.html

The program features two quartets by Franz Joseph Haydn, including the popular and famed “Emperor” Quartet and the earlier “Joke” Quartet as well as the Midwest premiere of John Adams; String Quartet No. 2.

NPR, or National Public Radio, recently featured an interview with Adams discussing Beethoven:

http://www.npr.org/sections/deceptivecadence/2015/11/10/450560466/john-adams-mines-beethovens-mind

But Christopher Costanza, the cellist of the St. Lawrence String Quartet, recently gave an enlightening Q&A from the quartet’s point of view to The Ear:

christopher costanza playing cello

Can you briefly bring the public up to date since your last appearance in Madison, when you performed “The Dreams and Prayers of Isaac the Blind” by Osvaldo Golijov? Major residencies and tours? Major commissions? Major performing and recording projects?

The St. Lawrence String Quartet has been busy with a wide range of projects in the years since our last appearance in Madison.

We’ve had a personnel change – our newest quartet member is Owen Dalby, our second violinist, who joined us in the spring of last year.

We happily continue as Artists-in Residence at Stanford University, where we are involved in a great number of activities, including teaching, performing, and collaborations with a wide range of schools and departments on campus.

And our international touring schedule remains very active, with concerts throughout North America and Europe; our most recent European tour, in late summer of 2015, included concerts in Scotland, Germany, Romania, Hungary and Switzerland, and we will tour Europe twice in 2016.

We’ve performed several pieces commissioned for us, including works by such composers as Osvaldo Golijov, Ellen Taaffe Zwilich, Samuel Adams, Jonathan Berger, James Matheson and George Tsontakis.

Of particular significance, John Adams has composed three works for us, two string quartets and a quartet concerto, “Absolute Jest,” which was written for the SLSQ, the San Francisco Symphony and the SF Symphony’s music director Michael Tilson Thomas.

We’ve performed “Absolute Jest” on several national and international tours with the San Francisco Symphony, as well as with the London Symphony, the Toronto Symphony, and the New World Symphony. Our recording of the work with the San Francisco Symphony and Michael Tilson Thomas was released this past summer.

We’ve recently embarked on a recording project of the Opus 20 quartets of Haydn, and other recording projects are in development.

john adams absolute jest

Why did you choose to perform two Haydn string quartets to open and close the program, instead of a work by Beethoven, given the Beethoven influences in the String Quartet No. 2 by John Adams?

We often perform programs that begin and end with a Haydn quartet, with a contemporary work (or works) in between. This showcases the great variety and brilliance of Haydn’s gigantic contribution to the quartet repertoire.

It also provides an interesting contrast between the earliest works for quartet and current compositional offerings, stressing the fact that Haydn (below) essentially invented the string quartet and paving the way for other composers to explore creativity in their compositions for quartet.

In truth, we do often program Beethoven (below) with the Second String Quartet by Adams. For this program, I think the Adams/Haydn juxtaposition will be a meaningful comment on the evolution of quartet writing, from the early years to works of the present.

Beethoven big

As an exercise in compare and contrast programming, what would you like the public to know about the “Joke” and “Emperor” Quartets by Haydn? About Haydn’s music in general?

Haydn’s “Joke” Quartet, from his Op. 33 set, is, as you might guess, filled with humor and wit. The quartet is actually quite straightforward structurally, filled with robust and positive energy and simple, appealing melodies. It’s a compact work, inviting and charming.

The “Emperor” Quartet, from the Op. 76 set, comes from a later period of Haydn’s compositions, and it is a work of considerable length and weight. This quartet shows a natural link to Beethoven in its duration, dynamic contrast, emotional range, and overall musical substance. (You can hear Haydn’s “Emperor” Quartet performed, analyzed and discussed by the St. Lawrence Quartet in a YouTube video at the bottom.)

Of significant note, the “Emperor” is named thusly for the second movement, a theme and variations based on the tune Haydn (below) originally wrote for the Emperor Francis of Austria as a sort of national anthem.

Haydn

What should readers know about the String Quartet No. 2 by John Adams (below)? How is it similar to or different from his other works that the public knows such as “Nixon in China,” “The Death of Klinghoffer,” “Doctor Atomic” “Harmonielehre” and “On the Transmigration of Souls”? Will this performance be the Midwest premiere? Will you record the quartet?

John Adams’s Second String Quartet is very strongly based on two motivic ideas from Beethoven’s Op. 110 piano sonata, as well as a variation from Beethoven’s “Diabelli” Variations.

The Beethoven elements are clearly presented in clever and skilled ways, and I think many of them will be evident to the astute listener. Most importantly, John is brilliant in his transformation of the Beethoven quotes, and the piece is very clearly an Adams piece, characterized by driving rhythms, great energy, and a true sense of musical intent and balance.

To get a sense of the piece prior to hearing it, I suggest listening to “Absolute Jest” (our recent recording) – another of John’s pieces inspired by Beethoven and filled with late Beethoven quotes – and the Op. 110 Piano Sonata by Beethoven.

We’ve performed the Second Quartet on several occasions since we premiered it at Stanford University about a year ago, but I do think our Madison performance will be a Midwest premiere. We are currently considering the possibility of recording the work, but specific plans have not yet been made.

john adams with pencil

What else would you like to say?

We’re thrilled to be returning to Madison after a gap of several years. It’s very exciting to be bringing a program of music by two of our favorite composers, Joseph Haydn and John Adams, and we think contrasting the two will be interesting and enlightening to all.


Classical music: The new Grammy nominations can serve as a holiday gift guide.

December 11, 2015
2 Comments

By Jacob Stockinger

Each year at holiday time, The Ear offers a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.

Today is Grammy Day.

grammy award BIG

So far, The Ear has listed choices made by the BBC Music Magazine and the Telegraph newspaper:

https://welltempered.wordpress.com/2015/11/27/classical-music-here-are-the-best-classical-music-cds-of-2015-according-to-the-bbc-music-magazine-and-the-telegraph-newspaper/

And another roundup of book and videos as well as CDs by critics for The New York Times:

https://welltempered.wordpress.com/2015/11/28/classical-music-its-small-business-saturday-here-are-classical-music-gift-suggestions-from-the-critics-for-the-new-york-times/

Now he adds the 58th annual Grammy nominations of 2016 that were announced this past Monday. The winners will be announced on Sunday, Feb. 15, on CBS television network. The telecast will be live and feature live performances.

The Ear likes to see if he can predict the winners. Outguessing the industry can be a fun, if frustrating, game to play.

He also notices two items of local interest.

The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison and groups at the University of Wisconsin-Madison School of Music, has been nominated for several work.

stephen paulus

In addition, producer Judith Sherman, who has several Grammys to her credit, is nominated again. She is also the producer of the two recordings of the centennial commissions by the Pro Arte Quartet.

Judith Sherman Grammy 2012

Here are the 58th annual Grammy nominees for Classical Music:

BEST ENGINEERED ALBUM, CLASSICAL

Ask Your Mama: Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records

Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media

Monteverdi: Il Ritorno D’Ulisse In Patria: Robert Friedrich, engineer; Michael Bishop, mastering engineer (Martin Pearlman, Jennifer Rivera, Fernando Guimarães & Boston Baroque) Label: Linn Records

Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos

Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recording

Ask Your Mama CD Cover

PRODUCER OF THE YEAR, CLASSICAL

Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)

Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)

Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)

Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)

Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio

Manfred Eicher

BEST ORCHESTRAL PERFORMANCE

Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings

Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media

Shostakovich: Under Stalin’s Shadow – Symphony No. 10: Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon

Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone

Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos

nelsons-shostakovich

BEST OPERA RECORDING

Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus

Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records

Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon

Ravel: L’Enfant Et Les Sortilèges; Shéhérazade: Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca

Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato

ozawa ravel

BEST CHORAL PERFORMANCE

Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik

Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro

Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi

Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings

Rachmaninoff: All-Night Vigil: Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos

paulus far in the heavens

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine

Filament: Eighth Blackbird. Label: Cedille Records

Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings

Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records

Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion

Hamelin Takacs Shostakovich quintet

BEST CLASSICAL INSTRUMENTAL SOLO

Dutilleux: Violin Concerto, L’Arbre Des Songes: Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’. Label: Seattle Symphony Media

Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern). Label: Onyx Classics

Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi

 Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon

Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records

trifonov rachmaninov

BEST CLASSICAL SOLO VOCAL ALBUM

Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi

Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato

Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical

Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos

St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti). Label: Decca

jonas kauffmann puccini

BEST CLASSICAL COMPENDIUM

As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records

Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records

Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics

Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto: Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos

Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings

Paulus Three place of Enlightenment

BEST CONTEMPORARY CLASSICAL COMPOSITION

Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings

Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound

Paulus: Prayers & Remembrances: Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings

Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos

Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music. (Note: You can hear a haunting part of the work that won a Pulitzer Prize in the YouTube video below.)

Julia Wolfe Anthracite Fields

 


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