The Well-Tempered Ear

Will you help revive the UW Choral Union?

October 20, 2023
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By Jacob Stockinger

Soprano Janet Murphy was a longtime and enthusiastic participant in the UW Choral Union.

(You can see it below performing Ralph Vaughn Williams’ “A Sea Symphony” under former director Beverly Taylor during its inaugural appearance with the UW Symphony Orchestra in Hamel Hall. At the bottom you can see and hear the UW Choral Union singing “He Watching Over Israel” from Mendelssohn’s oratorio “Elijah” 12 years ago in Mills Hall).

In the wake of the Choral Union being ended by former music school director Susan C. Cook this past summer, many participants were outraged and disappointed that the campus-community group would no longer exist.

Among them, Murphy formed a support group, Friends of the Choral Union, and met in person with the new director of the UW School of Music.

Murphy now seems optimistic that the Choral Union can be revived — IF there is enough public support.

She sent the following appeal and asked The Ear to post it:

A message from Friends of the UW Choral Union:

As many of you know, the UW Mead Witter School of Music decided to disband the Choral Union after 130 years. They have heard a great deal from the community about that!

Dan Cavanagh, the new director of the School of Music, has graciously offered to hold a conversation with the community this Monday evening.

He seems open to re-establishing the Choral Union if there is a lot of support for that.

It’s now or never for classical music lovers and fans of the Wisconsin Idea to show the School of Music that we want the Choral Union back.

We need many hundreds of fans to come.

A big turnout will mean as much as anything we say.

Please…

Bring your family and friends

Post on social media

Email broadly

A conversation with Dan Cavanagh (below top) and Director of Choral Activities Mariana Farah (below bottom) will take place this Monday October 23, 7-8:15 p.m. in Hamel Music Center, Mead Witter Foundation Concert Hall, 740 University Ave.

That’s where the UW Choral Union overfilled the 660-seat concert hall last April. Let’s fill the hall again!

Editor’s note: If you are looking for background, here are the previous stories dating back to the announcement of ending the Choral Union in June. It is also telling to read the many comments from participants and the public:


Do dogs like listening to music?

October 18, 2023
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By Jacob Stockinger

Maybe like The Ear you have seen and heard in person dogs who start singing when they hear a person singing or playing music.

It is kind of like wolves howling simultaneously, and maybe that skill has been passed sown through evolution.

But do dogs really like listening to music?

YES! say veterinary experts.

But their research suggests that dogs respond selectively and differently to different kinds of music.

Here is a link to the full story from Yahoo! with complete results. It also features extended YouTube videos and performances that dog owners might find helpful and useful, and that dogs might like to relax and be free of anxiety.

https://www.yahoo.com/lifestyle/dogs-music-vet-experts-yes-152734930.html

What do you think about dogs — or other kinds of pets — liking music?

Have you had such an experience with a dog?

What music does your dog respond to best?

Does your own experience confirm the vets’ research?

The Ear wants to hear.


UW-Madison master bassist Richard Davis dies at 93

September 13, 2023
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By Jacob Stockinger

First I saw him — particularly standing out because he was one of the very few Black professors on campus at that time.

Then I heard about him.

He was a prize-winning, critically acclaimed jazz bassist who was nationally and internationally famous and freelanced even while at the university.

But the first time I actually heard Richard Davis (below and in the YouTube video of a Fox News feature at the bottom) perform live at the University of Wisconsin-Madison, where he taught for decades after his arrival in 1977, he was playing in a small chamber orchestra that accompanied a cantata by Johann Sebastian Bach.

It was a memorable and outstanding performance perfectly suited to the Baroque style of the music, far from the top-notch jazz combos, rock bands, symphony orchestras, conductors and individual star singers that he usually played with. 

I don’t think I ever saw or heard met a more complete musician, and I doubt I ever will. It is hard to think of a skill Davis hadn’t mastered — whether it was composing, improvising, performing, recording or teaching. 

Davis died last Wednesday — ironically on the first day of classes of the fall semester at the UW-Madison— after spending two years in hospice care. He was 93.

He received a major obituary in The New York Times. Here is a link (you might have to register):

And here is a link to his extended biography, with a discography and an impressive list of awards and honors, in Wikipedia:

https://en.wikipedia.org/wiki/Richard_Davis_(bassist)

Did you ever hear Davis live or on a recording? In what kind of music?

Did you ever perform or study with him?

What was he like as a person and an artist?

The Ear wants to hear.


The iconic Sydney Opera House turns 50. Explore it here

August 14, 2023
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By Jacob Stockinger

It has become an iconic landmark that is recognized worldwide, with prominent “sails” on the roof that harken back to the founding and settling of its home.

And this year the distinctive Sydney Opera House (below) in Australia turns 50.

Of course it has hosted wonderful productions of operas and countless classical music concerts. But it has also played a  big role in the cultural, social ands political life of the city and the country.

The Ear found a terrific visual and historical overview of the famous building, both inside and out, that is also easy to navigate.

Here it is: https://www.abc.net.au/news/2023-08-13/sydney-opera-house-turns-50/102695374

Have you visited the Sydney Opera’s House?

What do you think of it as architecture?

Is it impressive in person inside as well as outside?

Did you hear music or attend some other event there?

What were the acoustics like?

The Ear wants to hear.


Do local arts presenters discriminate against single people? Is it unethical or illegal?

July 27, 2023
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By Jacob Stockinger

The start of selling single tickets — rather than season subscriptions, which have been on sale since the spring — is coming up.

The Wisconsin Chamber Orchestra starts selling them on this coming Monday, July 31, and the Madison Symphony Orchestra starts on Saturday, Aug. 19, both through the Overture Center box office (below), which will also start selling single tickets to Overture Presents events this Friday, July 28. The Madison Opera starts selling single tickets in September.

Do the Madison Symphony Orchestra and other arts presenters discriminate against single people when it comes to selling single or subscription tickets? And if they do, is it legal or illegal?

It may sound paradoxical, but the question is especially relevant because of demographics — specifically, the increasing number of single seniors and the growing trend among young people to stay single and marry later. And it certainly violates the principles of equity and equality. It also seems to violate good fiscal sense and the financial well-being of a business that is usually first-come, first served. Plus seating at a concert would seem a form of legally protected public accommodation.


A CASE STUDY

A veteran concert-goer and reader of this blog recalls the following incident from last spring:

“I spontaneously decided I might go to the Madison Symphony Orchestra concert with “Carmina Burana’ and Florence Price (Symphony No. 3). 

“I went to the website and saw a seat, one of a pair, in the orchestra section of Overture that looked good for $98. Plus, there was a $15 service fee.

“But when I selected that, I was told by the computer that it wasn’t for sale because it would leave the seat next to it empty.

“In other words, the MSO is doing so well that they can reject somebody buying a single ticket because they want to save the two tickets for a couple. So I just decided fuck it.

“It left me feeling that if I couldn’t easily buy the seat I wanted, why bother. There were other less ideal seats available.”

And so a $103 seat was lost to MSO’s revenue.

IS THE OVERTURE CENTER RESPONSIBLE?

To be fair, it might not be only the Madison Symphony Orchestra that is guilty of the practice.

The Ear heard from another reader who said a theater group in the Overture Center did the same thing. The reader could not remember details.

So it makes one curious to know if other resident groups in Overture — the Wisconsin Chamber Orchestra, the Madison Opera, Forward Theater, Children’s Theater of Madison, the Madison Ballet, Kanopy Dance and Li Chiao Ping Dance — do the same thing.

If so, then perhaps it is a policy of the Overture Center’s box office and the algorithm that its computer uses for selling tickets.

But that just shifts the discrimination, not corrects or prevents it.

SINGLISM

The practice of discriminating against single people — which may not be illegal but certainly seems unethical —  has even been given a name: singlism.

Singlism can be compared to racism, sexism and ageism, to discrimination based on religion and sexual orientation or gender identity. But single people are not legally protected classes under federal law and in many states.

Here is a definition:

https://www.multiamory.com/podcast/355-singlism-and-the-truth-about-being-single

I think Overture and all its resident groups receive public funds from the Wisconsin Arts Board, Dane Arts (formerly Dane County Arts Commission) and the Madison Arts Commission. 

It seems logical, then, to The Ear that some investigation by the city, county and state — perhaps the various Offices of Equal Opportunity — is in order and that some correction should be implemented immediately, given the upcoming sale of single tickets to single persons. At the very least, political leaders and government lawyers should weigh in on the ethics and legality of the issue.

Have you ever experienced similar discrimination?

Are you aware of others who have?

What do you think of the practice of refusing to sell certain tickets to a single person?

The Ear wants to hear.


Here are classical musicians who died in 2022

December 31, 2022
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By Jacob Stockinger

2022 saw the death of many classical musicians.

A few of the most prominent names have been featured in other year-end lists.

But as far The Ear can tell, the most comprehensive and most international list has been posted on website of The Violin Channel, which is located in New York City.

Kudos to The Violin Channel! The list is terrifically researched, organized and executed. If you want to know more and read a fuller obituary, just click on the name in red and a link will take you to it. Here it is:

https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Ftheviolinchannel.com%2Fin-memoriam-remembering-the-remarkable-musicians-we-lost-in-2022%2F&data=05%7C01%7C%7C84e7cdcc27d3458e94f808dae4f027bf%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638074017362646897%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=4oWM3jzNFYCimU5i6%2FTW3b8MSSebSXZNEsGWPihl5Uc%3D&reserved=0

Do you know of other names — including local names — that should be included?

Leave them in the comment section.

The Ear wants to hear.

And here is a YouTube video performance of the Pie Jesu movement from the Requiem by Gabriel Faure: 


WORT-FM 89.9 now has a Monday morning show of modern and contemporary classical music with Paul Baker

April 6, 2022
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By Jacob Stockinger

The listener-sponsored, community radio station WORT-FM 89.9 — long a home for classical music from all eras, from the earliest to the newest — has a new program to join its many others about music in all genres and all periods as well as news and commentary about public affairs.

It airs on Monday mornings from 5 a.m. to 8 a.m. with Paul Baker (below, in his WORT studio). He is well-known radio host, music critic and amateur musician.

Baker recently shared with The Ear some insights into his new show “Listen Adventurously”:

Are you still doing your show for WSUM, the student-run FM radio station at the University of Wisconsin-Madison?

I hosted Only Strings on WSUM-FM 91.7 to focus on chamber music at a time when I was taking cello lessons. I wanted to absorb as much chamber music as possible, and preparing for, and hosting, a radio program was one good way to do that. I ended the show in 2019 when I reached the five-year mark.

How did the new WORT show come about?

I’ve been a WORT fan for more than 30 years. I know many of the program hosts and have been in touch with the music director, Sybil Augustine, for some time.

I had hosted a WORT Sunday early morning show briefly about 20 years ago. The Monday morning classical slot recently became available when Christopher Delamarter stepped down, so I raised my hand.

What can you tell us about the content of the show?

The show has been billed as 20th-century classical music. I am extending that to include pieces from the 2000s as well — things written as recently as last year. There is just so much good material. Younger composers and performers deserve to be heard. 

So the show will feature Bartok and Shostakovich and Samuel Barber, of course, but also Philip Glass and Arvo Pärt and Jennifer Higdon and Laura Schwendinger (below, who teaches at the UW-Madison’s Mead Witter School of Music and whose music is widely performed) and Chicago’s Third Coast Percussion Ensemble. In my opinion, there’s a lack of local availability to hear this music.

I enjoy sharing music with people. When I worked on campus, I programmed three shows for WSUM-FM. Now that I’m retired, I’m happy to have this opportunity on WORT. The only drawback is that I must get up at 4 a.m. for the 5 a.m. air time. But I’m a morning person, so it’s not that bad.

Editor’s note: If you want to see a sample playlist, as well as WORT’s daily show schedule, here a link to the one from this past Monday: https://www.wortfm.org/on-air-schedule/


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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: This summer, Madison Opera’s “Opera in the Park” will go virtual and be held online due to the coronavirus pandemic. Details will follow in early July

May 7, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the Madison Opera about this summer’s annual Opera in the Park (below, in a photo by James Gill.)

“Madison Opera’s Opera in the Park will be moving online this summer in response to the COVID-19 pandemic.

“Since the first Opera in the Park concert in 2002, it has become a Madison summer tradition, a free concert that draws over 10,000 people to Garner Park for selections from opera, Broadway, operetta and zarzuela. The 19th anniversary of this concert had been scheduled for July 25.”

(Editor’s note: As you can see in the YouTube video at the bottom, the traditional encore has the audience and soloists singing “It’s a Grand Night for Singing” from the musical “Carousel” by Rodgers and Hammerstein.)

Opera in the Park is by far our most important performance,” says Kathryn Smith (below, in a photo by James Gill), general director of the Madison Opera. “Sharing music under the stars is a highlight of every summer, but the health and safety of our community is our first priority. After careful discussion with local officials and stakeholders, we have decided to take the necessary step of moving from an in-person performance this summer to a digital one.

“Details on the digital performance will be solidified in the coming months and announced in early July.

“Soloists to perform with the Madison Symphony Orchestra include: soprano Karen Slack (below top), who returns to Madison Opera as Leonora in Verdi’s Il Trovatore (The Troubadour) this fall; soprano Jasmine Habersham (below middle), who makes her Madison Opera debut in Mozart’s The Marriage of Figaro next April; and baritone Weston Hurt (below bottom), who sang Germont in Verdi’s La Traviata last season and returns as Count di Luna in Il Trovatore next fall.

“While nothing will ever equal the magic of Opera in the Park when the hillside is full of people,” Smith says, “I know we can create something special to share, using the power of music to connect us even when we cannot gather in person.

“We look forward to returning to Garner Park next summer, and seeing a full display of everyone’s light-stick conducting skills (below).”

 


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