The Well-Tempered Ear

Classical music: The Salon Piano Series offers pianist Ilya Yakushev playing Gershwin’s “Rhapsody in Blue” online for FREE with no deadline

September 8, 2020
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By Jacob Stockinger

The Ear has received the following news from the Salon Piano Series to post:

During these uncertain times of the coronavirus pandemic, we appreciate remembering time spent together enjoying music.

Please take a break from the stresses of your day to see and hear George Gershwin’s “Rhapsody in Blue” performed by Ilya Yakushev (below) at Farley’s House of Pianos as part of the Salon Piano Series on Jan. 11, 2020.

The virtuosic Russian-born and Russian-trained Yakushev is well known to Madison audiences through his appearances with the Wisconsin Chamber Orchestra and his recitals at Farley’s House of Pianos.

His performance of the popular Gershwin piece in a solo arrangement was especially noteworthy. Because of bad weather and a canceled flight, Yakushev drove straight through to get here from New York City, where he lives and teaches, and performed just 1-1/2 hours later. He was up for 27 hours straight.

Here is a link to his website: http://www.ilyayakushev.com/index.html

You can see the LIVE performance in the YouTube video at the bottom.

It is free and there is no deadline for when the video stops being accessible to the public. The Salon Piano Series hopes to offer another unseen video in October.

Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships, and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.

Sincerely,

Salon Piano Series


Classical music: Here is how the Wisconsin Youth Symphony Orchestras (WYSO) plan to continue lessons and performances this fall despite the coronavirus pandemic

August 29, 2020
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By Jacob Stockinger

The Ear has just received the following updates from an email newsletter about the upcoming season of the Wisconsin Youth Symphony Orchestras (WYSO). Over more than 50 years, WYSO has served tens of thousands of middle school and high school students in southcentral Wisconsin and northern Illinois. (In the YouTube video at the bottom, you can hear the WYSO Youth Orchestra play a virtual performance from the past season of the famous finale from Rossini’s “William Tell” Overture.)

After many weeks of planning, and in consultation with Public Health Madison and Dane County (PHMDC) and the McFarland School District, WYSO is excited to announce a fall semester plan that will mark a safe return to in-person music-making—and our first season at the McFarland Performing Arts Center (below) https://www.wysomusic.org/the-wyso-weekly-tune-up-april-17-2020-wysos-new-home/

We had a brief delay last Friday when PHMDC released Emergency Statement #9 delaying in-person start dates for all schools in Dane County. We checked in with the Public Health agency and they re-affirmed that WYSO is not a school —and the 15 students maximum-sized groups outlined in this plan are absolutely perfect. It is time to set up the tents!

The WYSO season will begin on the weekend of Sept. 5, when the winds and brass students from all three full orchestras (Youth, Philharmonia and Concert) will begin their fall rehearsals outside under two enormous tents in the McFarland High School parking lot (below). The 60 winds and brass students will be divided into approximately nine or 10 cohorts, who will meet in two-hour blocks on Saturdays and Sundays.

With a single cohort of masked and socially distanced students spread out within the 40′ x 60′ tent, with “bell covers and bags” for their instruments, the season will not look like any previous WYSO Fall.

If you’ve not been involved in the new science of aerosol transmission, this whole scenario might seem very curious. The reasoning is simple: The winds and brass instruments have been singled out as more problematic since you have to blow into them to make music. The blowing releases more “aerosols,” the tiny droplets that can transmit the coronavirus.

However, researchers at the University of Colorado at Boulder have recently released the first results from a five-month study and have found that the following actions bring down the transmission risk considerably:

  1. Social distancing 9 to 15 feet apart.
  2. Adding bell covers and bags (below) for the instruments (essentially the instruments have to wear masks as well as the students).
  3. Playing outside, which reduces risks due to the increased air circulation.

Because we are in Wisconsin, the “outdoor” location shortens the season for the winds and brass players so by beginning the season on Sept. 5 and ending on the weekend of Oct. 24, they can just squeeze in an 8-week cycle.

Meanwhile, the WYSO string and percussion players, approximately 300 in number and representing all five orchestras, will begin their fall season indoors on Oct. 17, after McFarland moves to a hybrid model for the school year.

The string players will be divided into 15-student cohorts by orchestra, with a wonderful mix of violins, violas, cellos and basses in each group, and with the groups spread throughout one wing of the high school in large music rooms and atriums.

The percussionists have been scheduled into the new Black Box Theater and they are excited to begin playing on the brand new marimbas and timpani so recently acquired by WYSO through a gift from an incredibly generous anonymous donor.

Everything has been carefully scheduled so that at any given time there will not be more than 125 students, conductors and staff in the building.

Start and end times have been staggered. The large beautiful spaces at McFarland will easily hold the socially distanced and mask-wearing players. And the orchestras will again be scheduled into Saturday and Sunday mornings and afternoons. Even the WYSO Chamber Music Program (below) has been scheduled into the intricate puzzle.

The rest of this exciting fall story has to do with adding incredibly talented professional musicians to lead some of the cohorts and the amazing repertoire available for groups of 15 musicians, whether they play winds, brass, strings or percussion.

From Mozart’s “Gran Partita” to Beethoven’s Symphonies No. 2 and 6; from Stravinsky’s “Pulcinella Suite” to Bartok’s Divertimento, and Tchaikovsky’s Serenade for Strings — there is almost an “embarrassment of riches” of exciting, seldom-played repertoire, to quote WYSO Music Director Kyle Knox (below). And this fall, that repertoire will be right in WYSO’s wheelhouse.

WYSO will video-capture this year’s Fall Concerts of students playing in the beautiful McFarland Performing Arts Center to 800 empty seats and let you know the exact Fall Concert dates as we get closer. Click here for additional information.

While WYSO is incredibly excited about our in-person plan for rehearsals and playing music together, we have also drawn up two alternate plans, and know that not everyone will be able to participate in-person.

WYSO Registration is underway, and we are asking those who cannot participate in the McFarland experience to let us know their needs through the registration process, so that we can create the best virtual experience possible for those involved. Tuition payment is not due at registration.

To register, go to: https://www.wysomusic.org/members/wyso-registration-form/

 


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Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison

August 13, 2020
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By Jacob Stockinger

The UW-Madison’s Mead Witter School of Music has a new flute professor who follows Timothy Hagen in taking the place of retired longtime predecessor Stephanie Jutt, who continues to perform locally with the Madison Symphony Orchestra and the Bach Dancing and Dynamite Society..

He is Conor Nelson (below) and he starts later this month at the UW-Madison’s Mead Witter School of Music.

Here is the biography — impressive for both his performing and his teaching –that the university released: 

“Praised for his “long-breathed phrases and luscious tone” by the Minneapolis Star Tribune, Canadian flutist Conor Nelson is established as a leading flutist and pedagogue of his generation.

“Since his New York recital debut at Carnegie Hall’s Weill Recital Hall, he has frequently appeared as soloist and recitalist throughout the United States and abroad.

“Solo engagements include concertos with the Minnesota Orchestra, the Toronto Symphony Orchestra, the Flint Symphony, and numerous other orchestras.

“In addition to being the only wind player to win the Grand Prize at the WAMSO (Minnesota Orchestra) Young Artist Competition, he won first prize at the William C. Byrd Young Artist Competition. He also received top prizes at the New York Flute Club Young Artist Competition, the Haynes International Flute Competition as well as the Fischoff, Coleman and Yellow Springs chamber music competitions. (Editor’s note: In the YouTube video at the bottom, you can hear Conor Nelson perform the second and third movements of the Flute Sonata by French composer Francis Poulenc.)

“With percussionist Ayano Kataoka (below left, with Nelson), he performed at Merkin Concert Hall, Tokyo Bunka Kaikan Hall and Izumi Hall. A recital at the Tokyo Opera City Hall received numerous broadcasts on NHK Television. Their CD entitled, “Breaking Training” was released on New Focus Recordings (NYC). His second CD, “Nataraja,” with pianist Thomas Rosenkranz, is also available on New Focus.

“He has collaborated with pianist Claude Frank on the Schneider concert series in New York City and appeared at numerous chamber music festivals across the country including the OK Mozart, Bennington, Skaneateles, Yellow Barn, Cooperstown, Salt Bay, Look and Listen (NYC), Norfolk (Yale), Green Mountain, Chesapeake, and the Chamber Music Quad Cities series.

“He is the Principal Flutist of the New Orchestra of Washington in Washington, D.C., and has performed with the Detroit, Toledo and Tulsa Symphony Orchestras. He also performed as guest principal with A Far Cry, Orquesta Filarmónica de Jalisco, and the Conceirtos de la Villa de Santo Domingo.

“A respected pedagogue, Dr. Nelson has given master classes at over 100 colleges, universities and conservatories.

“Prior to his appointment at UW-Madison, he served as the flute professor at Bowling Green State University for nine years and as the Assistant Professor of Flute at Oklahoma State University from 2007-2011.

“His recent residencies include Yonsei University in Seoul, Korea; the Sichuan Conservatory in Chengdu, China; the Conservatorio de Musica de Puerto Rico; and the Associacao Brasileira de Flautistas in Sao Paulo.

“He is also a regular guest of the Texas Summer Flute Symposium and has been the featured guest artist for 11 flute associations across the country. His former students can be found performing in orchestras, as well as teaching at colleges, universities and public schools nationwide. They have also amassed over 60 prizes in young artist competitions, concerto competitions and flute association competitions.

“Nelson received degrees from the Manhattan School of Music, Yale University and Stony Brook University where he was the winner of the school-wide concerto competitions at all three institutions. He is also a recipient of the Thomas Nyfenger Prize, the Samuel Baron Prize and the Presser Award.

“His principal teachers include Carol Wincenc, Ransom Wilson, Linda Chesis, Susan Hoeppner and Amy Hamilton. Nelson is a Powell Flutes artist and is the Assistant Professor of Flute at UW-Madison where he performs with the Wingra Wind Quintet.”

 


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Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison

August 9, 2020
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By Jacob Stockinger

Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.

Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.

That is as it should be. If any musician deserved it, Fleisher did.

Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.

But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.

In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin’s Pro Arte String Quartet (below bottom).

Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.

Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.

Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)

Here is a this blog’s review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher

Fleisher liked performing with the Pro Arte, and therein lies another historical tale.

His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert’s “Trout” Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.

Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography “My Nine Lives” (below).

Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky’s “The Rite of Spring” in Paris — called Fleisher the “musical find of the century.” Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.

Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.

Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. “I pounded ivory six or seven hours a day,” Fleisher later said.

After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.

There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)

Here is an inspiring overview of Fleisher’s life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/

And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher

Here are three especially noteworthy obituaries:

NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92

The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html

The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html

The Ear has always found Fleisher’s playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.

Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.

The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.

Did you ever hear Leon Fleisher play live or in recordings? What did you think?

Do you have a comment to leave about the legacy of Fleisher?


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Classical music: UW-Madison piano virtuoso Christopher Taylor performs a free virtual recital of impromptus by Schubert and Scriabin this Wednesday afternoon

August 4, 2020
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A note from The Ear: Thank you to the many blog followers who left a message of encouragement when I had computer troubles last week. The problem seems to be solved, at least temporarily. And I am healthy, despite the fears that some of you expressed that I was covering for coming down with the coronavirus virus or Covid-19.

By Jacob Stockinger

A friend has passed along the following note from Christopher Taylor, the piano virtuoso who won a bronze medal at the Van Cliburn International Piano Competition and who has been teaching for many years at the UW-Madison Mead Witter School of Music.

Taylor (below) writes:

“Despite having my performance schedule ravaged, like everyone else, I do actually have one positive morsel of news to relay regarding a “recital” coming up in the near future, which I wanted to you know about.

“It is being hosted by the Chautauqua Institution, where I’ve performed a few times in the past. Unsurprisingly, they’ve had to switch to an online format this summer.

“Just last week I made the actual recording, playing four impromptus by Scriabin, and Four Impromptus, Op. 142, by Schubert in the Mead-Witter Foundation Concert Hall (below, with the UW Choral Union and UW Symphony Orchestra), which seemed like a propitious setting. (Editor’s note: In the YouTube video at the bottom, you can hear the third impromptu in the set by Schubert performed by Vladimir Horowitz during his historic 1986 recital in Moscow.)

“Under the circumstances I think the video turned out pretty well. The actual streaming, which will include the 45 minutes of music plus a little live interview before and afterwards, takes place this Wednesday – Aug. 5 – at 3 p.m. CDT.

You can get there by way of the following link: https://porch.chq.org/ue/event/6518/

“Apparently there is a brief registration form one has to fill out prior to viewing the show, but basically getting in should be a free and painless process for all and sundry.

“Hope you get a chance to join in, and that you enjoy it!”

 


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Classical music: The weeklong 21st annual Madison Early Music Festival is virtual and will be free online here and worldwide starting this Saturday

July 8, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the directors of the Madison Early Music Festival and the UW-Madison Division of the Arts to post:

Due to the coronavirus pandemic and concerns about public health for performers and audiences, the 21st annual Madison Early Music Festival (MEMF) will be virtual.

It will be held as MEMF Online! from this Saturday, July 11, through next Saturday, July 18. It can be accessed at Facebook.com/MadisonEarly or madisonearlymusic.org.

All events are FREE. Lectures and special features begin at NOON (not 11 a.m., as first listed) and concerts begin at 7 p.m. (CDT). All events will be available nationwide and internationally.

The Madison Early Music Festival is internationally recognized as a top early music festival that features music from medieval, Renaissance and baroque eras from award-winning performers and distinguished faculty.

The uncertainty of the future for the arts and MEMF is daunting, but we have persevered and put together a virtual experience to showcase the musicians and faculty members that were supposed to perform this summer.

Each ensemble prepared a special video of highlights from past performances, and other faculty members recorded lectures.

Our focus was going to be “Musical Life from the Burgundian Court,” and the videos of the Orlando Consort, Piffaro, performances and lectures by Michael Allsen and Peggy Murray reflect that theme.

The other two ensembles, Trefoil and Nota Bene, sent us live concert recordings of Trecento and Italian repertoire.

Due to the coronavirus pandemic, we are launching a fundraiser campaign to help support the artists that were to perform this season. It is critical that we help these musicians as many of them have lost substantial and irreplaceable income for the foreseeable future.

People can donate online at madisonearlymusic.org — where you can also see the concert programs — and click on the Support tab at the top of our home page. All money raised is for the MEMF musicians.

HERE IS A COMPLETE SCHEDULE OF MEMF ONLINE:

Different events will be released each day of the festival, but the content will be available after that time for later viewing.

Saturday, July 11, at 7 p.m.: Orlando Consort (below) in 15th-Century Chansons from the Library of Congress

Sunday, July 12, at 7 p.m.: Piffaro, The Renaissance Band: (below) Excerpts from Burgundian Beginnings and Beyond, Philadelphia

Monday, July 13, at noon: Michael Allsen (below), Musical Life and History at the Burgundian Court

Tuesday, July 14, at 7 p.m.: Trefoil (below): Trecento Music from Bowerbird Concert Series, Philadelphia

Wednesday, July 15, at noon: T-shirt challenge!  Post a photo wearing a MEMF T-shirt!  #MEMF2020; plus Lecture by William Hudson (below) on style in singing and ornamenting Baroque songs

Thursday, July 16, noon: Renaissance Valois Dance at the Burgundian Court, a lecture by Peggy Murray (below)

Friday, July 17, at 7 p.m.: Nota Bene viol consort (below) in Sonetti Spirituali; Italian Madrigals and Divine Poetry of the High Renaissance composed by Pietro Vinci (c.1525–1584) to settings of the poetry of Vittoria Colonna (1492-1547) Brandeis University in Boston

Saturday, July 18, at 7 p.m.: All-Festival Concert videos from previous festivals. There will be a sing-along of Pastime With Good Company! by King Henry VIII (below). It will be led by a virtual MEMF Faculty Ensemble. You can hear the popular song — also known as “The King’s Ballad” — in the YouTube video at the bottom. (You can download the music and lyrics at: https://memf.wisc.edu/annual/online-program/)

We hope to see everyone in 2021, and that a vaccine is approved to help us gather again as a community experiencing all the arts with musicians, artists and audiences — at MEMF in Madison and around the world.

 


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Classical music: Here are the world premieres of the sixth and seventh pieces of “pandemic music” commissioned by the U.S. Library of Congress

June 24, 2020
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By Jacob Stockinger

The project has is now heading towards it end.

Last week was when the world premieres of the 10 short pieces — written for the U.S. Library of Congress’ “Boccaccio Project” — started going public and began being posted on various social media sites as well as the Internet.

This week will see the last five compositions and complete the project.

One performance is released each weekday night starting at 8 p.m. EDT.

The project, funded by the federal government, is intended to capture some aspect of the unique culture brought about by the coronavirus pandemic and COVID-19.

The first piece was “Sequestered Thoughts,” a solo piano work by composed Damien Sneed and performed by Jeremy Jordan.

The second was “shadow of a difference/falling” by composer Richard Drehoff Jr. and solo oboist Andrew Nogal of the Grossman Ensemble.

The third was “Intuit – a way to stay in the world” for solo cello composed by Miya Masaoka and performed by Kathryn Bates of the Del Sol String Quartet.

The first three were featured in two postings on this blog last week. Here are links:

https://welltempered.wordpress.com/2020/06/16/classical-music-here-is-the-world-premiere-of-the-first-piece-of-pandemic-music-commissioned-by-the-library-of-congress/

https://welltempered.wordpress.com/2020/06/18/classical-music-here-are-the-world-premieres-of-the-second-and-third-pieces-of-pandemic-music-commissioned-by-the-u-s-library-of-congress/

The fourth and fifth pieces were premiered last Thursday and Friday, bringing the project to the half way point before the Summer Solstice, Father’s Day and Make Music Madison weekend.

They were posted on this past Monday. Here is a link:

https://welltempered.wordpress.com/2020/06/22/classical-music-here-are-the-world-premieres-of-the-fourth-and-fifth-pieces-of-pandemic-music-commissioned-by-the-u-s-library-of-congress/

The fourth work is “Bridges,” a solo piano work composed by Cliff Eidelman and performed at home by Jenny Lin. The title refers to the composer’s focus on finding bridges from the coronavirus pandemic to normal life.

The fifth piece is “Hello World” by composer by Erin Rogers, an exploratory work for solo flute, and is performed by Erin Lesser of the Wet Ink Ensemble.

And now the second half of premieres has started.

The sixth piece is “1462 Willard Street,” composed for solo viola by Luciano Chessa (below top, in a photo by Melesia Nunez) and performed by Charlton Lee (below bottom, in a photo by RJ Muna) of the Del Sol String Quartet.

The address refers to a place in San Francisco where the composer was staying on March 16, 2020 – the day the city enacted orders to stay at home because of the pandemic.

https://www.loc.gov/concerts/boccaccio-project/chessa-lee.html

The seventh piece, premiered last night, is “Olcott Park” for solo piano composed by Aaron Travers (below top, in a photo by James Matthew Daniel) and performed by Daniel Pesca (below bottom, in a photo by Jay Morthland) of the Grossman Ensemble.

It is a recollection of the forest and birds the composer knows in a park near his home but which he hasn’t’ visited much during the pandemic.

https://www.loc.gov/concerts/boccaccio-project/travers-pesca.html

On the same page as the performance you can read what the composer and sometimes the performer have to say about the new work and what it strives to mean or express.

You can use links to go to the past performances and premieres.

You can also follow links on the bottom of the page to see more information about both the composer and the performer, and to general background of the project.

If you would like some more background, along with some commentary and questions from The Ear, go to https://welltempered.wordpress.com/2020/06/13/classical-music-the-library-of-congress-has-commissioned-new-music-about-the-coronavirus-pandemic-you-can-listen-to-the-premieres-from-this-monday-june-15-through-june-28/

What do you think of the individual pieces?

Do you have one or more favorites?

What do you think of the project?

How successful is it?

Will you like to hear more of the commissioned music?

The Ear wants to hear.


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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
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

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.


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Classical music: This summer’s Handel Aria Competition is postponed again — until next summer. But a Virtual Gala with new performances will be held online on Sept. 10

May 20, 2020
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

The Ear has received the following announcement to post:

Due to the COVID-19 pandemic, the 8th Annual Handel Aria Competition (below) has been postponed for a second time — until 2021 — for the safety of our singers, musicians and audience members.

The upper age limit for the competition will be extended when the competition resumes, so that all singers eligible this year can still participate.

We are introducing a new initiative to support the finalists from the past seasons of the competition – all of whom have had their opportunities to perform severely curtailed by the coronavirus pandemic. Your assistance in spreading the word would be much appreciated!

Originating in Madison, the Handel Aria Competition Virtual Gala will take place online and worldwide on Thursday, Sept. 10, at 7:30 p.m.

While the gala will not actually be live, since it requires editing together many separate elements of video, it will be shared via Facebook Live and also be available on YouTube and our website (see below).

It is our plan to feature professionally recorded Baroque arias specially performed for the occasion by past finalists and winners, as well as some of the videos recorded during the competition itself. (In the YouTube video at the bottom, you can hear bass-baritone Jonathan Woody singing an aria from the oratorio “Belshazzar” in 2019.)

We are also going to ask the finalists to record short video quotes about how the Handel Aria Competition has helped their careers, and why they love singing Handel.

Our host will be the Handel Aria Competition’s artistic director — and first prize-winner in 2015 — Sarah Brailey (below), who is also pursuing her doctorate at the UW-Madison.

Thanks to individual donations and foundation grants, all of the funds raised during the gala will be shared among the participating singers.

We hope you will join us in showing that we value their talent, and want to help them get through this difficult time.

For news updates and details, go to: https://handelariacompetition.com

 


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Classical music: Meet the “Stay at Home” Symphony Orchestra. How do they sound so close and tight? Plus, today is May Day. What music would you play to celebrate workers?

May 1, 2020
2 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

ALERT: Today is May Day, a time to honor workers. What music would you play to celebrate and thank all the frontline workers — doctors, nurses, EMTs, police officers, firefighters, bus drivers, cleaners and janitors, grocery store workers, delivery people and others — who are now so indispensable?

By Jacob Stockinger

Many musicians — both singers and instrumentalists (below) — are self-isolating and doing their at-home best to keep those of us also sheltering in place entertained by performing virtual concerts.

It is something listeners can be grateful for. The players do an admirable and free public service during the COVID-19 crisis and coronavirus pandemic.

Of course, the virtual performances also have practical purposes.

The musicians keep their skills sharp during isolation.

And the virtual performances help to keep the names of individuals and groups, of composers and pieces, in the public’s mind at a time when live concerts have all been canceled or postponed.

There are many, many virtual concerts to choose from – made by local, regional, national and international musicians, some amateurs and some professional.

Many of them are solo performances given by an individual member of an orchestra, chamber music group or choral ensemble as well as big-name soloists such as pianist Emanuel Ax and cellist Yo-Yo Ma.

The individual ones are appreciated and impressive, even if some of the performances seem amateur-like in the sound or awkwardness.

What really impresses The Ear is when large groups, such as symphony orchestras and choirs, perform something with all the players at home and yet somehow the whole finished product sounds incredibly tight in and incredibly professional.

Last Saturday, the Metropolitan Opera even held a four-hour online gala with singers and instrumentalists from all over the world.

It makes The Ear wonder why they sound so good. How they do it, with all the complications and variables of timing and tempo, of rhythm, pitch and dynamics?

Is it the planning?

The processing and editing?

In any case, a very good example comes from the “Stay at Home” Symphony Orchestra playing Mozart’s Overture to the opera “The Marriage of Figaro.”

You can hear the YouTube video of the performance below.

Are there other such performances that you can point out to The Ear and you would like to see posted on this blog?

The Ear wants to hear.

 


Posted in Classical music
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