The Well-Tempered Ear
Muti to conduct an opera academy in China
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By Jacob Stockinger
Italian maestro Riccardo Muti (below) — the 83-year-old retired music director of the Chicago Symphony Orchestra and longtime music director of the iconic La Scala Opera House in Milan— will take his workshops for young conductors and musicians to China for the first time this coming November and December.
Muti is a devoted advocate and practitioner of music education, and has led similar academies in: Ravenna and Milan, Italy; Tokyo, Japan; and Seoul, South Korea.
In a story published in Chinese media, Muti explains why he chose China this time. There he will work in the city of Suzhou with the Suzhou Symphony Orchestra and with individual applicants from around the world.
“During the past decades, classical music has gained a large fan base in China, with new concert halls and new symphony orchestras appearing in the country,” Muti adds. “There are also many great Chinese musicians performing around the world — pianists, violinists, singers and conductors — who have become like bridges, bringing our countries closer to each other.”
The repertoire he has chosen to work on is the one-act Italian opera “Cavalleria Rusticana” (Rustic Chivalry) by Pietro Mascagni.
It seems a perfect choice to The Ear. It is shorter and easier to stage than most full-length operas. It uses the Roman Catholic Church and religion as well as other aspects of European and Italian society and culture. This includes the famous “Regina Coeli” or Easter Hymn (below):
The opera itself has beautiful parts for the vocal soloists, the chorus and the orchestral instrumentalists — as you can hear above and in the famously melodic Intermezzo (in the YouTube video at the bottom) that was used in the film “The Godfather.”
Here is a link to the full story from the China Daily newspaper:
https://www.chinadaily.com.cn/a/202404/13/WS661a1d39a31082fc043c1c81.html
You might also recall an earlier blog post about the recent successes of Asian classical musicians:
https://welltempered.wordpress.com/?s=Asian+musicians
When it comes to Western classical music in China, it seems that success keeps building on success.
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Remembering the classical musicians who died in 2023
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By Jacob Stockinger
It remains an end-of-the-year ritual: remembering the dead who brought beauty to us through music.
Here are remembrances of the classical musicians we lost in 2023.
From Presto Music comes a list of world-known talents who died this past year — plus those who died in recent past years. It is relatively short and has links to the full obituaries, including the of American mezzo-soprano Grace Bumbry (below, in 2009, in the singing the famous Habanera from Bizet’s “Carmen” in the YouTube video at the bottom). A pioneer, she was the first Black singer to perform at the annual summer Wagner festival in Beyreuth, Germany, and she performed at the Wisconsin Union Theater during the 1978-79 season:
https://www.prestomusic.com/classical/articles/obituary/browse
Here is a longer, less renowned and more international list from The Violin Channel.
It includes many very well known musicians, including Menahem Pressler (below who co-founded and played for more than 50 years with the Beaux Arts Trio, which performed several times at the Wisconsin Union Theater. He also taught at the Indiana University Jacobs School of Music.
It also includes the jazz and classical bassist Richard Davis (below), who spent decades teaching and performing at the University of Wisconsin-Madison Mead Witter School of Music.
The Ear especially likes this list because ordinary “house” musicians — and not just stars — are remembered. After all, the majority of musicians who add so much to our lives are not stars — but usually just mainstream workers in the arts.
Click on the names in red to see the full biographies, many of which are more touching than you might expect — for example, the Ukrainian conductor who died young while defending his country against Russia.
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New Yorker critic Alex Ross names 26 notable classical music recordings from 2023
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By Jacob Stockinger
Alex Ross (below) writes for The New Yorker magazine and is perhaps the most respected classical music critic not only in the U.S. but in the world.
His bestselling book of collected essays, “The Rest Is Noise,” has been acclaimed and was nominated for a Pulitzer Prize. HIs latest book about Wagner, art and politics has also been highly praised.
This year, unlike in many others, Ross chose to list notable recordings along with a few general observations about the live performances and the recording scene.
For example, he has both sharp criticism and high praise of how the largest commercial labels as well as smaller specialty labels such as BIS and Hyperion are coping with the ever-growing popularity and challenge of streaming.
Ross also sounds a warning about the “transformation” of the iconic Mostly Mozart Festival by Lincoln Center to re-conceive the famous summer concert series as more “inclusive” — despite its financial and artistic success over decades.
Ross’ remarks serve as a timely warning for programmers at concert venues and radio shows to be careful of trying to increase popularity with simplistic ways to “de-canonize” and “de-colonialize” the repertoire in the name of diversity, equity and inclusion.
One suspects that what matters most of all to Ross is the quality of the compositions and the performances — not the genre, color or culture of those who are responsible for them. Not all parts of culture, he suggests in a longer version of the remarks, need to appeal to all parts of society.
Anyway, read his remarks about the best recordings and see the list of 20 others and see what you think:
https://www.newyorker.com/culture/2023-in-review/notable-classical-recordings-of-2023
One noteworthy fact is that he named the young Korean pianist Yunchan Lim (below, in a photo by Lisa-Marie Mazzucci) to his “best-of” list for Lim’s live recording made during the Van Cliburn Competition that he won last year at the age of 18.
In the YouTube video at the bottom you can hear Lim play “Mazeppa,” perhaps the most fiendishly difficult of Liszt’s “Twelve Transcendental Etudes.” It depicts a Ukrainian folk hero who is punished for his adultery by being strapped naked to a galloping wild horse and struggles to free himself.
And if you have not yet heard Lim’s electrifying performance Rachmaninoff’s Piano Concerto No. 3 with conductor Marin Alsop during the finals of the Cliburn competition, you should check it out at YouTube.
Do you have any opinions about the recording that Ross selected?
About Yunchan Lim?
The Ear want to hear.
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How will you celebrate World Piano Day today?
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By Jacob Stockinger
Today — Tuesday, March 29, 2022 — is World Piano Day.
(Below is a restored vintage concert grand piano at Farley’s House of Pianos used for recitals in the Salon Piano Series.)
How will you mark it? Celebrate it?
It’s a fine occasion to revisit your favorite pianist and favorite piano pieces.
Who is your favorite pianist, and what piano piece would you like to hear today?
If you yourself took piano lessons or continue to play, what piece would you play to mark the occasion? Fo the Ear, it will be either a mazurka by Chopin or a movement from either a French Suite or a Partita by Johann Sebastian Bach. Maybe both!
What piano piece do you wish you could play, but never were able to? For The Ear, it would be the Ballade No. 4 in F minor by Chopin.
One of the best ways to mark the day is to learn about a new younger pianist you might not have heard of.
For The Ear, one outstanding candidate would be the Icelandic pianist Vikingur Olafsson ( below), who has won critical acclaim and who records for Deutsche Grammophon (DG).
Olafsson has a particular knack for innovative and creative programming, like his CD that alternates works by Claude Debussy and Jean-Philippe Rameau.
He also seems at home at in many different stylistic periods. His records every thing from Baroque masters, to Mozart and his contemporaries in the Classical period — including Carl Philipp Emanuel Bach — to Impressionists to the contemporary composer Philip Glass.
But The Ear especially loves his anthology of Bach pieces (below) that include original works and transcriptions, including some arranged by himself. His playing is always precise and convincing, and has the kind of cool water-clear sound that many will identify with Andras Schiff.
You can hear a sample of his beautiful playing for yourself in the YouTube video at the bottom. It is an live-performance encore from his inaugural appearance last August at The Proms in London, where he also played Mozart’s dramatically gorgeous Piano Concerto No. 24 in C minor (also available on YouTube.)
Final word: You might find some terrific pianists and performances on the Internet. Record labels, performing venues and other organizations are marking the day with special FREE recitals that you can reach through Google and Instagram.
Happy playing!
Happy listening!
Please leave a comment and let The Ear and other readers know what you think of the piano — which seems to be falling out of favor these days — and which pianists and piano pieces you will identify this year with World Piano Day.
The Ear wants to hear.
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UW-Madison alumna Kathryn Lounsbery gives a FREE virtual online talk this Tuesday night about how musicians can develop and market new skills during COVID
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By Jacob Stockinger
It is no secret that the coronavirus and COVID-19 pandemic have been especially hard on gig workers and artists worldwide – hurting musicians financially and professionally as well as psychologically and artistically.
But this Tuesday night, Nov. 10, from 7 to 8:30 p.m. UW-Madison alumna Kathryn Lounsbery (below) will give a FREE virtual and interactive talk about developing marketable skills that can help carry musicians through the pandemic and beyond.
There is no in-person attendance. But here is a link to the live-streaming session of YouTube video: https://youtu.be/me1tC0LfEVU
Here is more information from the Mead Witter School of Music:
“Pure talent does not always equal a paycheck. Now, more than ever, musicians need to be savvy and employ out-of-the-box thinking with regards to their careers.
“Kathryn Lounsbery — a graduate of the UW-Madison School of Music — has taken her two classical piano degrees and crafted a life in music that includes teaching, performing, comedy, workshops, music-directing, cabaret and more.
“In this interactive session, she will pass on ways in which musicians can craft creative and rewarding careers for themselves, all while making a living.
“Lounsbery is a Los Angeles-based pianist, vocal coach, educator, comedian, music director, composer, arranger and educator. She holds a Master’s degree from the University of Southern California (2004) and a Bachelor of Music degree from the University of Wisconsin-Madison (2000).
“She has served on the faculty of The American Musical and Dramatic Academy (AMDA) for a decade. Many of her former students are currently on Broadway and have been in feature films and television shows. Prior to her tenure at AMDA, she was on the faculty at Sonoma State University.
“Lounsbery is endorsed by Roland Pianos and frequently gives concerts and clinics on their behalf across the U.S. and abroad.
“For seven years, she served as a Keyboard Editor at Alfred Music Publishing, the world’s largest educational music publisher.
“Lounsbery has worked alongside entertainment industry greats including David Foster, Jim Brickman, Evan Rachel Wood, Travis Barker, Kathy Najimy, Charlotte Rae, Laura Benanti and Aubrey Plaza to name a few. She has been a music coach for HBO, Showtime and ABC series.
“As a comedian, Kathryn was featured on NBC’s “Last Comic Standing” and has appeared at The Laugh Factory and The Improv, and has headlined at The World Famous Comedy Store. Her musical improv skills lead her to hold the position of music director at the famed Second City in Chicago for several years.
“Lounsbery is the creator and director of “Authenticity and Bad-Assery,” a popular performance-based workshop in Los Angeles. There is currently a waitlist to participate.
“She has toured the country with her solo show “Kathryn Lounsbery Presents Kathryn Lounsbery.” Her comedy videos have garnered millions of views and have been shown at film festivals around the world. (You can see a comedy beefcake video based on Beethoven’s “Pathetique” piano sonata in the YouTube video at the bottom.)
“She is also the music arranger on “The Potters” an animated feature to be released through Lionsgate in 2021.”
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Should you keep practicing at 90? Ask famed cellist Pablo Casals
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By Jacob Stockinger
Do you ever get old enough and accomplished enough to stop practicing?
Just ask the legendary Catalan cellist Pau (Pablo) Casals (below).
That’s the same Pablo Casals (1876-1973) who spent his entire life learning and performing, as you can read in his Wikipedia biography: https://en.wikipedia.org/wiki/Pablo_Casals.
That’s also the same pioneering Pablo Casals who also first discovered, recorded and popularized the solo cello suites by Johann Sebastian Bach, which you can sample in the YouTube video at the bottom. It was recorded in 1954 when Casals was 77.
What do you think about his remark?
Do you agree with Casals?
Would you still practice at 90?
The Ear wants to hear.
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The Madison Symphony Orchestra seeks matching funds as it launches a musicians’ relief fund to reach $355,000 by Nov. 5
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By Jacob Stockinger
The Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers) has announced that a Musicians’ Relief Fund has been established with the goal of securing $355,000 to cover 100% of the orchestra payrolls for the canceled September through December 2020 subscription concerts.
This initiative is in addition to the compensation already provided to its musicians for canceled services from April 2020 to date.
To launch the fund, the MSO Board of Directors has committed current Symphony resources to guarantee 52% of the $355,000 total — $184,000 — and has informed the orchestra that the September and October orchestra payrolls will be paid in full.
MSO is seeking community support to help us raise another $171,000 to assure the orchestra’s compensation for the canceled November and December 2020 subscription concerts.
All contributions to this effort will directly support the musicians. An Anonymous Donor has launched the appeal with a $50,000 lead gift. The campaign seeks to raise the additional funds by Nov. 5, 2020.
All contributions to the MSO Musicians’ Relief Fund are tax-deductible and will be used for musicians’ compensation.
Donations can be mailed to the Madison Symphony Orchestra, 222 W. Washington Ave., Suite 460, Madison WI, 53703.
An online donation form is found at madisonsymphony.org/relief-gift.
To contribute gifts of appreciated stock or to discuss other options, contact Jeff Breisach, Manager of Individual Giving, at jbreisach@madisonsymphony.org.
“The 91 members of the Symphony are a core cultural asset of the greater Madison community,” said MSO Board President Ellsworth Brown (below). “We are committed to doing all we can to assist them through the challenges of the coronavirus pandemic.”
“While some MSO musicians have other day jobs, many rely heavily on the wages they earn performing with this Symphony, as well as other orchestras and ensembles in the region,” said MSO Executive Director Rick Mackie (below). “The cancellations of services have caused stress and anxiety for our artists.”
The MSO has demonstrated support of its musicians since April of this year, compensating the orchestra for all canceled rehearsals and performances.
Generous donors, strong financial management and a federal Small Business Administration Paycheck Protection Loan enabled the Symphony to pay 100% of the orchestra payrolls for the April and May subscription concerts, the spring youth education programs, HeartStrings®, Madison Opera and Overture Presents engagements, and Concert on the Green.
These unexpected paychecks provided relief to the MSO staff and to our musicians (below, with music director and conductor John DeMain in a photo by Peter Rodgers) were forthcoming with their individual appreciation.
HERE ARE SAMPLES OF THE MUSICIANS OF THE MADISON SYMPHONY ORCHESTRA EXPRESSING THEIR GRATITUDE FOR COMPENSATION RELIEF
“I am very grateful that our organization values the health of its musicians and patrons yet also understands the financial difficulty imposed on musicians by being unable to work due to the pandemic. The MSO is a gem of an organization, and if you haven’t heard it enough lately, please let me reiterate my gratitude.”
“WOW! I am humbled to be a part of the Madison Symphony Orchestra. Thank you so much for valuing the musicians and honoring us with payment for cancelled rehearsals and performances. The news made me cry.”
“As someone who makes a living totally from teaching and playing, this has been an incredibly difficult time. I lost half of my students, because they do not want to study online, and of course, all gigs were cancelled. I am truly grateful to you for making this possible. You have no idea how much this will help not only financially, but mentally as well. THANK YOU!!!
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Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison
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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: The Willy Street Chamber Players postpone their sixth season from this summer to next summer because of the coronavirus pandemic
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By Jacob Stockinger
The Ear has received the following announcement from the Willy Street Chamber Players, one of his favorite classical music groups, summer or winter. Their programming and performing are first-rate. Indeed, in December of 2016, The Ear named the Willys “Musicians of the Year.” For an overview of the ensemble, see the YouTube video at the bottom.
For more information and links, go to: http://www.willystreetchamberplayers.org
| Dear WSCP Family,
It is with heavy hearts that we announce the postponement of this July concert series to summer 2021.
Just a few weeks ago, we were hard at work putting the finishing touches on an amazing 2020 summer season. We had no idea the COVID-19 pandemic would soon bring everything to a screeching halt.
As we have continued to monitor the situation, we have become increasingly convinced that postponement is the best path forward. The health and safety of our audience, musicians and community remain paramount.
We are eager to find ways to serve our community during this extremely difficult time and will begin by highlighting some of our wonderful Willy Street neighbors, friends and past partnerships on our Facebook page.
As a subscriber to our mailing list, you’ll also have access to some very special video memories and unique surprises in the coming months to thank you for for your support.
We are devastated we won’t be able to share our music with you this July, and our hearts go out to everyone affected by COVID-19. We will get through this together.
We know that we have created something truly special together over the past five years and look forward to continuing our beautiful east side tradition for years to come.
Stay safe, keep in touch and see you soon, WSCP
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Classical music: Acclaimed local soprano Sarah Brailey explains why performing artists and presenters need help during the COVID-19 pandemic
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By Jacob Stockinger
Sarah Brailey (below) is worried.
And with good reason.
Chances are good that you have seen the local soprano or heard her sing.
She is the artistic director of the Handel Aria Competition, which she herself won in 2015. (In the YouTube video at the bottom, you can hear Brailey sing the aria “Will the Sun Forget to Streak” from Handel’s oratorio “Solomon,” with the Trinity Baroque Orchestra under conductor Julian Wachner, in the St. Paul Chapel in New York City.)
Brailey is a co-founder of and participant in the monthly free Just Bach concerts here. In addition, while pursuing graduate studies at the UW-Madison, she is a concert artist with a budding international career. For more about her, including a rave review from The New York Times and sample videos, go to: https://sarahbrailey.com
But right now the Wisconsin native is especially concerned about the lasting impact that the Coronavirus pandemic will have on her own career as well as on the careers of others like her and on the well-being of arts presenters.
Brailey (below, in photo by Miranda Loud) sent The Ear the following essay:
By Sarah Brailey
This is a scary time for everyone, but particularly for anyone who works as an independent contractor.
I am a freelance classical soprano based in Madison. I maintain a very active performing career, traveling all over the globe, and I am also a doctoral student at the UW-Madison Mead Witter School of Music.
When COVID-19 hit the United States, presenting organizations on the east and west coasts started canceling concerts to comply with social distancing recommendations.
I initially thought I was lucky to be living in the middle of the country where our lesser population density might save us. Plus, I am a Teaching Assistant at the UW right now, so I will still be getting my stipend — although teaching virtual voice lessons will be its own special challenge!
But many of my colleagues are not so lucky and are facing bankruptcy. If the government doesn’t include independent contractors in its relief packages, a lot of people are going to be insolvent.
And I myself am not immune. As the seriousness of the situation became clear, all my concerts in the next two months soon disappeared one by one.
While not being able to perform is emotionally devastating, these cancellations are also financially devastating.
There exists a clause in every standard performance contract called “force majeure” (superior force), which is idiomatically referred to as, “an act of God.” This clause excuses a party from not honoring its contractual obligations that becomes impossible or impracticable, due to an event or effect that the parties could not have anticipated or controlled.
This can come in handy for a presenter if there is, say, a blizzard that necessitates the cancellation of a concert. (This happened to me a few seasons ago with the Boston Symphony.) If the presenter will not make any money on ticket sales, they are not then further injured by having to pay the musicians for the canceled concert. (Below, Brailey sings Samuel Barber’s “Knoxville: Summer of 1915” with the Colorado Symphony.)
The ramifications of this pandemic are unprecedented. Every freelance musician I know is suddenly out of work. The current conventions put all of the upfront financial burden on the artists. We are paid in one lump sum at the end of a project. We do not get a fee for the countless hours of preparation.
We often book travel and lodging on our own dime, and are not reimbursed until the end of the gig. We pay for our own health insurance, and we cannot file for unemployment because our work is paid via IRS Form 1099 and not W2s. The abrupt work stoppage caused by this pandemic means insolvency – or even bankruptcy — for many artists. (Below, Brailey sings Handel’s “Messiah” at the famed Trinity Church on Wall Street in New York City.)
Many institutions — and, unfortunately, many of the bigger players like The Metropolitan Opera — are invoking force majeure without much regard for how their artists are struggling.
My colleague, tenor Zach Finkelstein, is covering this in great detail on his blog The Middle Class Artist, as is Alex Ross, the prize-winning music critic for The New Yorker. Read his piece on force majeure here.
However, there are also thankfully some good stories to tell. The Bach Society of Minnesota reimbursed all my travel expenses and is paying 75 percent of my fee, as is the Lyra Baroque Orchestra.
I am helping Zach keep track of the organizations that are helping their artists in this time of need. (Read about them here. Madison Opera is on the list.)
The arts are not just cultural enrichment; they are an essential part of our economy. In 2017, the industry contributed $877.8 billion, or 4.5 percent, to U.S. Gross Domestic Product (GDP) and employed over 5 million workers. We cannot afford to let this industry disappear. I fear that many individual artists and arts organizations will not recover from this. (Below, Brailey sings Johann Sebastian Bach’s “Magnificat” at the Bucknell Bach Festival.)
While we wait out this storm, I implore you to donate to a Madison arts organization. Here is a short list of recommendations along with some national relief funds for artists.
Local Arts Organizations
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