The Well-Tempered Ear
Meet and hear piano phenom Yunchan Lim
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By Jacob Stockinger
He is looks like a young, mop-topped Beatle, but he plays the piano with the lyricism of Arthur Rubinstein and the technical virtuosity of Vladimir Horowitz or Maurizio Pollini.
He is the South Korean pianist Yunchan Lim (seen below, during his winning performances at the last Van Cliburn Competition two years ago). If you haven’t yet heard of him or listened to him, you really should. Otherwise you are missing out of a phenomenal talent who is just 20 years old and offer sublimely beautiful interpretations.
Just listen to his superb and subtle performance of the “Aeolian Harp” etude, Op. 25, No. 1, by Chopin in the YouTube video at the bottom.
Recently, the British radio classical music radio station Classic FM offered a complete primer on Lim. It includes his personal and professional background and history as well as links to many of his special performances that have been acclaimed by his fellow musicians, the critics and the public.
Here is a link:
Do you know about Yunchan Lim?
Have you heard his playing?
What do you think of him?
The Ear wants to hear.
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Classical music predictions for 2024
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By Jacob Stockinger
The classical music blogger LudwigVan has made some interesting predictions about where classical music will go in the coming year.
Not all of the subjects might come to pass in classical music.
But many do seem possible or even plausible.
Like ticket prices dropping because of rising post-pandemic demand and tight family and personal budgets.
Or rising wages for musicians because of inflation.
Or the growing use of VR or virtual reality.
Or hearing more local music and musicians that appeal to younger audiences.
See for yourself. Here is a link:
The Ear will venture his own predictions:
First is that more and more audiences — especially the oldest baby boomers — will increasingly watch and listen to concerts via live streaming and recorded streaming.
It certainly is not as exciting as attending in person. But it is convenient. And it is way cheaper. For example, one good ticket to the Madison Symphony Orchestra or the Madison Opera will buy you a one-year unlimited subscription to the Paris-based arts streaming site medici.tv, which features live and recorded performances of all kinds, plus interviews, competitions and master classes, from around the world and especially Europe.
Then there are other factors to consider such as the artists and the programs you want to see and hear, or the inconvenience, expense and dangers of finding parking or navigating icy walking and driving at night and in bad weather.
And The Ear’s second prediction is that Asian musicians, especially Chinese and Korean, will continue to dominate international competitions.
See: https://welltempered.wordpress.com/?s=asian+musicians
Which predictions by Ludwig-Van do you think apply to classical music and are correct?
Do you have your own thoughts or predictions about trends in the classical world?
The Ear wants to hear.
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Gramophone critics name their favorite recordings of 2023
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By Jacob Stockinger
Based in London, Gramophone Magazine — below is the December cover celebrating the centennial of opera legend Maria Callas — is probably the best known and most highly respected magazine to focus on classical music.
The monthly features and reviews are usually quite illuminating. And the year-end wrap-ups or seasonal holiday guides are often excellent for purchasing CDs and LPs, or for simply finding out and sampling the new releases of the past year on a streaming service.
Below are the the favorites by various critics for Gramophone.
The Ear finds it particularly interesting and telling that the critics refer to their “favorite” recordings — not the “best” recording — of the past year. I find “favorite” more honestly subjective than the falsely objective “best,” which takes no account of personal taste or preference.
Unfortunately, unlike many other similar lists the Gramophone story does not include samples from YouTube or the actual recordings. (You can hear one sample in the YouTube video at the bottom where Andras Schiff plays Bach on a rarely heard clavichord.)
But each selection has a link to the full review that appeared in Gramophone.
You should know that Gramophone has the reputation of favoring British composers, artists and labels. And that nationalistic bias shows in some of this year’s selections.
Nonetheless, many of the choices —across many different genres from instrumental and vocal soloists to chamber music to orchestral and choral music — are informative and intriguing.
Check them out for yourself via this link:
To see any crossovers in British and American year-end lists, you can check out this year’s Top 10 from Tom Huizenga on National Public Radio (NPR):
What do you think of the selections?
Do you agree with any? Which ones?
Do you have your own suggestions about the best or favorite recordings you heard this year?
The Ear wants to hear.
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How do you rank Beethoven’s five piano concertos? Which is your favorite set of recordings?
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By Jacob Stockinger
Lately, The Ear has been listening to the five piano concertos by Ludwig van Beethoven (below).
That, of course, is not counting the composer’s rarely performed piano transcription of his own violin concerto.
The five concertos are so different but so consistently great that they are always in demand for programming and always a pleasure to listen to as well, I imagine, to play.
Lately I have been sampling two new complete recordings that have received high praise from critics: one (below top) by the Chinese pianist Haochen Zhang, who won the Van Cliburn competition in 2009 and recorded his set, including a cadenza by him, with the Philadelphia Orchestra under conductor Nathalie Stutzmann; and the other, a complete live set (below bottom) by the American pianist Garrick Ohlsson, the winner of the 1970 Chopin competition, recently recorded at the Grand Teton Festival.
Both are fine recordings and well worth listening to.
They made me once again recalculate my personal ranking of the five piano concertos. I don’t mean a ranking by quality or which one is the best, but simply which individual concertos I prefer to listen to by frequency. Here is any order: 4, 3, 5 (Emperor), 1, and 2.
How would you rank these five masterworks?
There are so many excellent recordings of these glorious works. I have listened to individual concertos and complete sets by Claudio Arrau, Emanuel Ax, Alfred Brendel (who has recorded them three times), Maurizio Pollini, Mitsuko Uchida, Daniel Barenboim, Murray Perahia, Leif Ove Andnes, Glenn Gould, Arthur Rubinstein (who recorded them twice), Rudolf Serkin, Vladimir Ashkenazy, Jan Lisiecki, Rudolf Buchbinder, Krystian Zimerman, Yefim Bronfman; and on and on. It is hard to pick just one favorite and the idea of a “definitive” performance is impossible.
And truth be told, I generally turn to different performers for different concertos. Martha Argerich has not recorded all five but I love her performances of Piano Concertos 1, 2 and 3. I admire the late Nelson Freire in the Piano Concerto No. 5 (“Emperor”). And I am very moved by Krystian Zimerman’s playing of the inspired and unconventional middle movement of the Piano Concerto No. 4 in the YouTube video at the bottom.
But overall the most consistent sets I continue to like are classics by the late Leon Fleisher and Richard Goode, who completely understands and captures what is special about Beethoven, as he demonstrated in his pioneering complete set of Beethoven’s 32 piano sonatas.
How would you personally rank the Beethoven pianos concertos as your favorites by appeal and listenability?
Which pianist in Beethoven’s five piano concertos do you listen to and like the most often?
Is there a complete set you find irresistible and recommend to others? Or a particular recording of a particular concerto?
The Ear wants to hear.
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15-year-old South Korean pianist wins the Cliburn Junior
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NOTE: More on the unpopular move by the UW-Madison Mead Witter of Music to kill off the 130-year-old, campus-community Choral Union will be coming shortly. The Ear as received some very interesting replies and information.
By Jacob Stockinger
Boy, are the kids ever good — and getting better!
A 15-year-old Korean boy — Seokyoung Hong (below) — has won the 2023 Cliburn International Junior Piano Competition.
He won the demanding contest with an outstanding performance of “Rhapsody on a Theme of Paganini,” the technically challenging concerto by Sergei Rachmaninoff.
When out comes to pianists, South Korea is on a roll.
Hong’s triumph follows the impressive win by his fellow South Korean Yunchan Lim, 18, in the senior competition last year. He is the youngest ever pianist to win the prestigious competition.
Here is a link to the story on the British website Classical FM, with a sample of his playing in the finale of the concerto performance with the Dallas Symphony Orchestra:
https://www.classicfm.com/discover-music/instruments/piano/rachmaninov-2023-cliburn-junior-winner/
And in the YouTube video at the bottom you can hear Hong play his quarter-round solo recital of Rachmaninoff, Haydn, Chopin and Dutilleux.
The 14-year-old Chinese pianist Yufan Wu placed second. In third place was Jan Schulmeister, 16, of Czechs (Czech Republic).
And 21 of the 23 competitors, chosen out of 248 applicants from 44 countries, were Asian. Click on the profile to see their biographies and personal statements.
Asian players keep racking up wins in international music competitions. Here is a link to a recent blog post about why Asian musicians seem to dominate Western classical music right now:
You can hear other competitors in many rounds of recitals and concertos on YouTube if you put “Cliburn Junior 2023” in the search engine.
Check them out at all stages of the competition.
The Ear promises: You will be impressed.
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NPR names relevant classical albums in a musical Diary of the Plague Year of the pandemic, racial protests, wildfires and hurricanes
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By Jacob Stockinger
For an unusual and difficult year, NPR (National Public Radio) and critic Tom Huizenga have found a new and unusual way to recommend this past year’s top classical music recordings.
On the “Deceptive Cadence” blog for NPR, Huizenga kept a personal month-by-month diary of “music and mayhem.”
For last February, for example, this ancient image of The Dance of Death inspired contemporary composer Thomas Adès to compose his own “Totentanz” or Dance of Death. (You can hear an excerpt from the work in the YouTube video at the bottom.)
Some of the thematically-related music is modern or contemporary, some of it is from the Baroque or Classical era.
In June, as protests against the death of George Floyd (below top) flared up and spread worldwide, NPR names a recording of the “Negro Folk Symphony” by African-American composers William Dawson and Ulysses Kay (below bottom), thereby helping to rediscover Black composers whose works have been overlooked and neglected in the concert hall and the recording studio.
Devastating wildfires on the West Coast, Presidential impeachment and hurricanes on the Gulf Coast also found their way into the choices of music to listen to.
It is an unusual approach, but The Ear thinks it works.
See and hear for yourself by going to the sonic diary and listening to the samples provided.
Here is a link to the NPR album diary: https://www.npr.org/sections/deceptivecadence/2020/12/21/947149286/music-and-mayhem-a-diary-of-classical-albums-for-a-troubled-2020
But many roads, if not all, lead to Rome, as they say.
What is also interesting is that a number of the NPR choices overlap with ones listed by music critics of The New York Times as the 25 best classical albums of 2020.
Some choices also are found on the list of the nominations for the Grammy Awards that will be given out at the end of January.
In other words, the NPR diary can also serve as yet another holiday gift guide if you have gift cards or money to buy some new and notable CDs, and are looking for recommendations.
Here is a link to the Times’ choices, which you can also find with commentary and a local angle, in yesterday’s blog post: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html
And here is a list to the Grammy nominations: https://welltempered.wordpress.com/2020/11/28/for-holiday-shopping-and-gift-giving-here-are-the-classical-music-nominations-for-the-63rd-grammy-awards-in-2021/
What do you think of the NPR musical diary of the plague year?
Do you find it informative? Accurate? Interesting? Useful?
Would you have different choices of music to express the traumatic events of the past year?
The Ear wants to hear.
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Pianist Jeremy Denk combines first-rate playing with innovative programs. He performs a virtual online recital this Friday night for the Wisconsin Union Theater
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By Jacob Stockinger
Jeremy Denk (below) is not only one of the top pianists on the concert stage today. He is also one of the most interesting and thoughtful pianists when it comes to original, innovative and eclectic programming.
Denk will display his talents again when he performs his third solo recital in Madison this Friday night, Dec. 11, for the Wisconsin Union Theater.
The concert of music by Robert Schumann, Clara Schumann, Johannes Brahms and Missy Mazzoli is at 7:30 p.m. and will be preceded by a public Q&A at 7 p.m. Because of the coronavirus pandemic, both the discussion and the concert will be virtual and online.
Access to the online posting is $20 for the general public, $17 for Wisconsin Union members, and $10 for students.
Denk’s performance, which is part of the Theater’s 101st Annual Concert Series, will include “Papillons” (Butterflies), Op. 2, by Robert Schumann; Three Romances, Op. 21, by Clara Schumann; “Bolts of Loving Thunder” by the contemporary American composer Missy Mazzoli (below); and Four Pieces for Piano, Op. 119, by Johannes Brahms. (You can hear Denk play the lyrically introspective first intermezzo of Brahms’ late Op. 119 in the YouTube video at the bottom.)
To purchase tickets to Denk’s performance, visit https://union.wisc.edu/events-and-activities/event-calendar/event/jeremy-denk/
Ticket buyers will receive an email from the box office approximately 2 hours before the event begins that will contain their link to view the performance. Anyone who purchases a ticket within 2 hours of the event’s start time will receive their email within 15 minutes of purchase.
To The Ear, Denk’s well-planned and fascinating program seems like a probing contrast-and-compare, narrative exploration of the musical styles and close personal relationships – a kind of love triangle — between Robert and Clara Schumann (below top); between Robert Schumann and Johannes Brahms, whom Robert Schumann championed; and between Brahms and Clara Schumann, who also championed Brahms (below bottom) but rejected him as a lover and suitor after the premature death of her husband Robert.
One of America’s foremost pianists, Denk is a winner of a MacArthur “Genius” Fellowship, and the Avery Fisher Prize, and was recently elected to the American Academy of Arts and Sciences.
In the United States, Denk has performed with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland Orchestra and frequently performs at Carnegie Hall. Internationally, he has toured with the world-famous Academy of St. Martin in the Fields and performed at Royal Albert Hall as part of the BBC Proms.
Denk’s talents include writing about music. Some of his stories about music have been featured on the front page of The New York Times Book Review as well as in The New Yorker, The New Republic and The Guardian. Many of those writings form the basis for a forthcoming book.
His passion for composing both music and writing compositions is evident in his music-based blog “Think Denk” — “to think” in German is “denizen” — which dates back to 2005.
“Jeremy Denk is one of the greatest pianists of our generation,” says WUT director Elizabeth Snodgrass. “While many pianists specialize in a particular period or composer, Jeremy is a musical omnivore whose wide-ranging interests span centuries and styles, and he is exceptional at playing all of them. As The New York Times said, he is ‘a pianist you want to hear no matter what he performs.’”
Proof of that can be found in the program “c. 1300-c. 2000” he toured with and recorded last year for Nonesuch, which features a sampling tour of 700 years of keyboard compositions.
Said a critic for the Boston Globe: “Denk has “an unerring sense of the music’s dramatic structure and a great actor’s intuition for timing.”
This performance was made possible by the David and Kato Perlman Chamber Music Endowment Fund.
Learn more about Jeremy Denk at: Facebook | Twitter | Instagram | Website
For more information and a video clip of Denk playing different Brahms, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/jeremy-denk/
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The UW-Madison Symphony Orchestra will provide a welcome break on Election Night
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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
If you find yourself needing some relief or a short break from vote counting and the barrage of election news this coming Tuesday night, Nov. 3, the masked and socially distanced UW-Madison Symphony Orchestra (below) fits the bill.
The group’s refreshingly short, one-hour and intermission-free online video premiere begins at 7 p.m. CST on YouTube. There is no fee for watching the event in the Mead Witter Foundation Concert Hall in the Hamel Music Center, although donations are welcome.
No in-person attendance is allowed.
The program features “Strum” (1981) by Jessie Montgomery (below, in a photo by Jiyang Chen); the famous and familiar Adagietto from the Symphony No. 5 by Gustav Mahler (which you can hear with conductor Claudio Abbado in the YouTube video at the bottom); and the youthful Sinfonia No. 7 in D minor by Felix Mendelssohn, who wrote 13 of the string symphonies between the ages of 12 and 14.
Here is a direct link to the UW-Madison music school’s YouTube channel: https://youtu.be/TMNCy9qooCM
Just a personal note of appreciation and encouragement from The Ear: If you are a fan of orchestral music and pay attention to the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Middleton Community Orchestra, for example, then you owe to it yourself to become acquainted with the UW-Madison Symphony Orchestra if you don’t already know it.
It is that good, as you can hear for yourself in this virtual concert during the pandemic. You will probably find yourself wanting to hear more.
The programs are outstanding and often feature neglected, modern and contemporary music as well as classic repertoire, and the playing is usually first-rate.
The orchestra sounds exceptionally good, often even professional, under its new conductor Oriol Sans (below), a native of Spain who arrived here last season from a post at the University of Michigan-Ann Arbor.
Sans has provided remarkable leadership both in the orchestra’s programs and in accompanying the University Opera productions and the UW Choral Union.
For more information, including the names of the orchestra’s members, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-video-premiere/
If you listen to it, please let us know: What did you think?
Did the performances please or impress you?
Did you like or dislike the scheduling on Election Night?
The Ear wants to hear.
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The Well-Tempered Ear 
Going live! Here are some links to newly announced summer concerts and 2021-22 seasons
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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
Get out your datebooks.
Now that the pandemic is fast abating, at least locally, music groups and music presenters in the Madison area have been announcing a return to live music and their new seasons and summer events in a relentless way.
The Ear had been out of commission since mid-May until this week. But in any case, The Ear was overwhelmed and just couldn’t keep up with a separate post for each one.
Still, he thought it might be helpful to be able to check the dates, performers, programs, tickets and other information in one place.
Remember that the Madison Early Music Festival is no more. It has been absorbed into the regular music curriculum at the UW.
Please know that many groups – including, but not limited to, the University of Wisconsin-Madison’s Mead Witter School of Music (below is the UW Symphony Orchestra — masked, socially distanced and virtually streamed — during the pandemic), University Opera, Edgewood College, Just Bach, Grace Presents, the Salon Piano Series, the First Unitarian Society of Madison, Bach Around the Clock, the Festival Choir of Madison, the Wisconsin Chamber Choir and the Madison Bach Musicians – have not yet released details of their new seasons.
But most of their websites say that an announcement of their new season is coming soon.
There are also some trends you may notice.
Many of the groups are raising prices and persistently seek donations as well as subscribers, no doubt to help make up for the loss of revenue during the pandemic.
The Madison Symphony Orchestra and the Wisconsin Chamber Orchestra have reduced the number of concerts or start later.
Some have simply rescheduled events, like the Wisconsin Union Theater closing its season with soprano Renée Fleming. And the Madison Symphony Orchestra’s new season is largely the same one they were planning to have to celebrate the Beethoven Year in 2020-21.
The Bach Dancing and Dynamite Society, the Middleton Community Orchestra and the Willy Street Chamber Players all have pop-up concerts and scheduled outdoor concerts in parks. Some have also scheduled individual mini-concerts or personal sessions.
If you look at programs, you will see an emphasis on Black composers and performers by almost all groups. (The Madison Symphony Orchestra has scheduled “Lyric for Strings” by George Walker, below. You can hear it performed by the Los Angeles Philharmonic under Gustavo Dudamel in the YouTube video at the bottom.)
What is most disappointing is that no group seems to have announced a special concert or event to pay homage to the public ordeal, health care workers and victims of the COVID-19 pandemic.
The Ear keeps thinking a performance of a suitable requiem (by perhaps Mozart, Faure, Brahms, Verdi or Britten) or Beethoven’s Ninth Symphony would have been an appropriate way to start the in-person season and, at the same time, acknowledge the more than 7,000 deaths in Wisconsin and almost 600,000 deaths in the U.S. and almost 4 million worldwide as of now. Maybe even Barber’s overplayed Adagio for Strings would suffice.
Finally, very few groups seem to be offering online virtual concert attendance as a possibility for those listeners who found that they actually enjoyed at least some the music in their own homes and at their own times.
IN ANY CASE, HERE IS WHAT HAS ALREADY TAKEN PLACE OR IS STILL ON TAP. CHECK IT OUT!
Bach Dancing and Dynamite Society in free live and for-pay recorded concerts: https://bachdancing.org
Middleton Community Orchestra’s summer concerts at Fireman’s Park (below) in Middleton: https://middletoncommunityorchestra.org
Madison Bach Musicians summer workshops (below): https://madisonbachmusicians.org/2021-summer-chamber-music-workshop/
Concerts on the Square with limited paid admission at Breese Stevens Field (below): https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
Madison Symphony Orchestra (below, in a photo by Peter Rodgers): https://madisonsymphony.org/concerts-events/madison-symphony-orchestra-concerts/
Madison Opera and Opera in the Park (below): https://www.madisonopera.org/oitp21/; and https://www.madisonopera.org/21-22/
Wisconsin Union Theater: https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/
Willy Street Chamber Players (below) at Orton Park: http://www.willystreetchamberplayers.org/2021-summer-concert-series.html
If you know of more entries or have observations to make about these, please leave word and, when possible, a link in the comment section.
The Ear wants to hear.
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