The Well-Tempered Ear

Classical music: Pianist Ilya Yakushev returns to play Russian jazz with the Wisconsin Chamber Orchestra on Friday night, then a recital of piano classics at Farley’s House of Pianos on Saturday night

February 21, 2019
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ALERT: The second of two FREE Friday Noon Musicales — devoted to the music of John Harbison on the occasion of his 80th birthday — will take place this Friday at the First Unitarian Society of Madison, 900 University Bay Drive. The Mosaic Chamber Players will perform. The concert runs from 12:15 to 1 p.m. The composer will be there to sign copies of his new book “What Do We Make of Bach?”

By Jacob Stockinger

Although he has heard the jazz suites by Dmitri Shostakovich many times, The Ear was surprised to learn how many modern Russian composers fell under the spell of American jazz.

Cultural difference combined with cultural exchanges might be one explanation.

But he also wonders if perhaps living in a state of psychological and emotional distress and danger – the Stalinist Terror facing composers in the Soviet Union and the Jim Crow racism facing African-American jazz artists in the United States – created a certain affinity between such apparently different musical traditions.

One thing is certain: the program that Ilya Yakushev (below), who was born and trained in Russia and now teaches at the Mannes College of Music in New York City – promises to be one of the most interesting programs of this season.

During his return to Madison, the Russian virtuoso pianist – who has his own interest in jazz and played a solo version of George Gershwin’s “Rhapsody in Blue” when last here — will perform two programs at venues where he has proven to be a sensational audience favorite.

This Friday night, Feb. 22, at 7:30 p.m. in the Capitol Theater of the Overture Center, Yakushev will once again team up with the Wisconsin Chamber Orchestra (below) and its music director and conductor Andrew Sewell, to perform two rarely heard Russian works that demonstrate the influence of American jazz.

Those two Russian works are “Ten Bagatelles for Piano Orchestra” by Alexander Tcherepnin (below top) and the “Jazz Suite for Piano and Small Orchestra by Alexander Tsfasman (below bottom).

You can hear the Lyrical Waltz from Tsfasman’s Suite in the YouTube video at the bottom.

The WCO complements that with two jazz-influenced works by Igor Stravinsky (below): Suite No. 2 for Small Orchestra and “Ragtime.”

Then the concert concludes with one of the most iconic and well-known pieces of all classical music: the Symphony No. 40 in G minor, K. 550, by Wolfgang Amadeus Mozart.

For much more information about Yakushev and the program as well as to a link to buy tickets ($15-$80) go to:

https://wisconsinchamberorchestra.org/performances/masterworks-ii-4/

SATURDAY

Then on this Saturday, Feb. 23, at 7:30 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall, Yakushev will perform a program of impressive tried-and-true classics as part of the Salon Piano Series.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets can also be purchased at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event. Tickets can be purchased in advance from:

https://www.brownpapertickets.com/producer/706809brownpapertickets.com

For more information, go to: https://salonpianoseries.org

Yakushev’s recital program is:

Adagio in B minor, K. 540 (1788), by Mozart

Sonata in F minor “Appassionata,” Op. 57 (1804), by Ludwig van Beethoven

Vallée d’Obermann, S. 160 (1855), from “Années de pèlerinage, Première année” (Years of Pilgrimage, First Year), by Franz Liszt

The song “Widmung” (Dedication) by Robert Schumann as transcribed for solo piano by Liszt, S.566 (1848)

“Mephisto Waltz No. 1,” S. 514 (1862), by Liszt (below, in an 1886 photo, the year before he died, when Liszt was teaching many students, by Nadar)

In addition, on Saturday at 4 p.m., Yakushev will teach a FREE and PUBLIC master class at Farley’s House of Pianos, where he will instruct local students.

The master class program will include:

Sonata No. 1 in F Minor, Op. 2, No. 1, First Movement by Beethoven; performed by Kevin Zhang who studies with Kangwoo Jin.

Six Variations on “Nel cor piu non mi sento” (In My Heart I No Longer Feel) by Beethoven, performed by Daniel Lee who studies with Irmgard Bittar.

Etude in G-Flat Major (“Black Key”) Op. 10, No. 5,by Frederic Chopin; performed by Alysa Zhou, who studies with Denise Taylor.

Master classes for the 2018-19 season are supported by the law firm of Boardman & Clark LLP.

The concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

The Salon Piano Series is a nonprofit founded to continue the tradition of intimate salon concerts featuring exceptional artists. To become a sponsor of the Salon Piano Series, please contact Renee Farley at (608) 271-2626 or email renee@salonpianoseries.org

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Classical music: Here are classical music winners — and nominees — of the 61st annual Grammy nominations for 2019.

February 17, 2019
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By Jacob Stockinger

This should have come out sooner since the Grammy Awards (below) were given out a week ago. But it has been such a busy week for Iive music in Madison – as will next week be – that this was the first occasion to post them.

In any case, for all their insider shortcomings they are a matter of interest to many, and can be helpful in understanding the contemporary classical scene and new music as you build your own playlists and recording library.

There are some points of interest including the fact that two Grammys were won by Canadian violinist James Ehnes for his performance of the Violin Concerto by the contemporary composer Aaron Jay Kernis.

Ehnes (below) is in town this weekend to play the Violin Concerto by Johannes Brahms with the Madison Symphony Orchestra (the last performance is this afternoon at 2:30 p.m. in Overture Hall. The Ear hopes he might return to perform the Kernis concerto with MSO.

Also, Apollo’s Fire, which won in the Best Solo Vocal category, will perform Baroque music by Johann Sebastian Bach, Antonio Vivaldi and Marco Uccellini at the Wisconsin Union Theater on Saturday, March 30.

Finally and unfortunately, some Madison nominees — including retired UW-Madison flute professor Stephanie Jutt and her co-director of the Bach Dancing and Dynamite Society pianist Jeffrey Sykes — got edged out in the Producer category, as did retired UW professor James P. Leary for his liner notes to “Alpine Dreaming.”

 In the orchestra category is John Harbison — who is in town marking his 80th birthday with many events, including the world premiere tonight at the W-Madison of his Sonata for Viola and Piano. In the Chamber Music category, Canadian pianist Marc-André Hamelin will solo in concertos by Maurice Ravel and Richard Strauss with the Madison Symphony Orchestra on April 12-14. 

Look at the winners carefully. Clearly, the recording industry is, by and large, skipping over the usual classical masters such as Bach, Beethoven and Brahms to focus instead on living composers and contemporary music or stories relevant to our times, such as the opera by Mason Bates about the late Apple wizard Steve Jobs.

One major exception is the third Grammy in a row for the cycle of symphonies by the famed Russian composer Dmitri Shostakovich being done by the Latvian-born conductor Andris Nelsons and the Boston Symphony Orchestra.

Here are the nominees and winners – the latter marked with an asterisk, a photo and the word WINNER — for the 61st Grammy Awards. Leave a comment with wa you think of the nominees and winners.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES. Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds).

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

*WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS. Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)

* WINNER — BLANTON ALSPAUGH (below)

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei)
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
    • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
    • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
    • Presentiment (Orion Weiss)
    • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus) 

ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
    • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

  • Beethoven Unbound (Llŷr Williams)
    • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
    • Bolcom: Piano Music (Various Artists)
    • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
    • Love Comes In At The Eye (Timothy Jones, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)
    • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
    • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
    • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
    • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
    • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
    • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)
  1. Best Orchestral Performance Award to the Conductor and to the Orchestra
  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) 
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony) 
  • RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)
  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas, conductor (San Francisco Symphony) 
  • * WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor (Boston Symphony Orchestra)

 76.  Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers) 
  • * WINNER –BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 
  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir) 
  1. Best Choral Performance. Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 
  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • * WINNER — MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing) 
  • RACHMANINOV: THE BELLS. Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 
  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  1. Best Chamber Music/Small Ensemble Performance. For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • * WINNER — ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet 
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Aizuri Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS. Leif Ove Andsnes & Marc-André Hamelin
  • VISIONS AND VARIATIONS. A Far Cry 

  1. Best Classical Instrumental Solo. Award to the Instrumental Soloist(s) and to the Conductor when applicable. 
  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang; Simon Rattle, conductor (Berliner Philharmoniker) 
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque) 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • * WINNER — KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)
  1. Best Classical Solo Vocal Album. Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble 
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles) 
  • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist 
  • * WINNER — SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles
  •  
  1. Best Classical Compendium. Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 
  • * WINNER — FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer 
  1. Best Contemporary Classical Composition. A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • * WINNER — KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis (below top), composer (James Ehnes, Ludovic Morlot & Seattle Symphony). You can hear the first movement in the YouTube video at the bottom.
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Rediscovering the music of composer Florence Price is a great way to start the celebration of Black History Month

February 3, 2019
3 Comments

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By Jacob Stockinger

February is Black History Month.

There are a lot of African-American performers and composers to emphasize during the month. Check out this exhaustive listing – conveniently organized into categories such as composers, conductors and pianists — in Wikipedia:

https://en.wikipedia.org/wiki/Category:African-American_classical_musicians

But this year one of the best ways to mark the event is to rediscover the composer Florence Price (below, in photos from the University of Arkansas Libraries).

Much of her work was until recently hidden in 30 boxes in her abandoned and dilapidated summer home located 70 miles south of Chicago.

A good introduction to Price (1887-1953) – who was famous in her day and was the first African-American woman composer to be performed by the Chicago Symphony Orchestra — can be found in the Deceptive Cadence blog of National Public Radio (NPR).

https://www.npr.org/2019/01/21/686622572/revisiting-the-pioneering-composer-florence-price

Here is a link to an excerpt from a new Albany recording of her two violin concertos:

https://www.npr.org/sections/deceptivecadence/2018/02/09/584312486/songs-we-love-florence-price-violin-concerto-no-2

And if you want to hear more of what her music sounds like check out the YouTube video at the bottom that has excerpts from the new Naxos recording, in the American Classics line, with her Symphonies Nos. 1 and 4.

You can also find quite a bit more of Price’s music, including a piano concerto, a piano sonata and orchestral suites, on YouTube.


Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
2 Comments

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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. Best Classical Solo Vocal Album 

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. Best Classical Compendium 

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. Best Contemporary Classical Composition 

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: The Token Creek Festival will “harvest” gardens of music from next Saturday through Sept. 2

August 20, 2018
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By Jacob Stockinger

The summer season for classical music in Madison has gotten busier and busier. But the summer still ends on the same high note — the Token Creek Chamber Music Festival that is co-directed by John Harbison and Rose Mary Harbison.

Here is the announcement about this year’s festival, the 29th, that begins this coming weekend:

“The late-summer garden inspires the 2018 season theme of “Harvest” at this year’s Token Creek Chamber Music Festival.

“Both garden and festival share much in common:  risk, patience, experimentation, disappointment, and finally amazement that a piece —whether a piece of ground or a piece of music — is capable of such nourishment, abundance and variety.

“In the musicians’ garden, with its unpredictability and surprise, there is always the hope of reducing the variables — but they persist, and the richness of choice, the endlessness of the resources we inherit drive us to continue to create.

“One of the advantages of our season title is that it implies a summing up, a reaping of things planted, but of a kind that can occur each year,” writes co-artistic director and composer John Harbison (below). “Each planting retains certain elements and adjusts others with the hope of increased productivity. But so many of the adjustments made in hope of improvement do not work, but create new problems, require new approaches.  What a fine analogy for the making of art.”

Here are this year’s Concert Programs. Please note something new this year: All weekend concerts start at 4 p.m.

Program I: ROOTS – Music of Bach and Primosch. On Saturday, Aug. 25, at 4 p.m. and Sunday, Aug. 26, at 4 p.m.

“Continuing our ongoing exploration of the music of Johann Sebastian Bach (below top) in cantatas and instrumental works, and its reflection in the music of James Primosch (below bottom), one of the few composers in our time able to grasp both the possibilities and responsibilities available in sacred music in a tradition inherited from Bach.”

Program II: NEW GROWTH – The Kepler Quartet (below, with composer Ben Johnston, and playing Johnston’s String Quartet No. 7 in the YouTube video at the bottom) on Wednesday, Aug. 29, at 7:30 p.m.

“A recital of beautifully alluring micro-tonal music “in between the notes.” The attractive and intelligible musical surface, and our experience hearing it, belies the at-times complex compositional methods.

“We are impressed by the pure pleasure of hearing tones combining differently but convincingly. The recital will be augmented with a demonstration and discussion by the Keplers.

Works are by Ben Johnston, Stefano Scodanibbio (below top), Henry Cowell (below middle) and Harry Partch (below bottom).”

Program III: CORNUCOPIA – Saturday, Sept. 1, at 4 p.m. and Sunday, Sept. 2, at 4 p.m.

“Schumann’s beloved and timeless song cycle “Dichterliebe” (A Poet’s Love) with tenor Frank Kelley (below) and his impassioned, enigmatic and exuberant Piano Trio in D minor anchor this program.

“The program also includes the Violin Sonata in G Major, K. 301, by Wolfgang Amadeus Mozart and Piano Sonata in E Major by Franz Joseph Haydn sonatas and the world premiere of John Harbison’s new song cycle, “In Early Evening,” to poems by Louise Gluck.”

The ARTISTS are Mark Bridges, cello; Laura Burns, violin; Ryne Cherry, baritone; Ross Gilliland, bass; John Harbison, portative organ and piano; Rose Mary Harbison, violin; Frank Kelley, tenor; The Kepler Quartet; Karl Lavine, cello; Sharan Leventhal, violin; Jennifer Paulson, viola; James Primosch, piano; Brek Renzelman, viola; Eric Segnitz, violin;  Janice Weber, piano; and Sarah Yanovitch, soprano.

Performances take place in the Festival Barn (below top and bottom), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie). 

The charming and rustic venue — indoors and air-conditioned, with modern comforts — is invitingly small; early reservations are recommended, and casual dress is suggested. Ample parking is available.

Tickets are $12-$32, and can be purchased at https://www.eventbrite.com/e/token-creek-festival-2018-harvest-tickets-47217166817

For more information about the performers and specific works on programs, call (608) 241-2525 or go to www.tokencreekfestival.org

ABOUT THE FESTIVAL

The Token Creek Festival has been called “ferociously interesting and important, an ideal musical experience, a treasure nestled in the heart of Wisconsin cornfields.” (Photo below is by Jess Anderson.)

“Now in its 29th season, this late-summer series near Madison is known for its artistic excellence, diverse and imaginative programming; a deep engagement with the audience; and a surprising, enchanting and intimate performance venue in a  comfortable refurbished barn.”


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

February 1, 2016
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ALERT: University of Wisconsin-Madison School of Music 2011 alumnus and violist Elias Goldstein is on his way to Carnegie Hall in New York City to perform all the virtuosic 24 Caprices originally for solo violin by Niccolo Paganini. But first he will perform them here in a FREE concert that also includes other works with pianist Thomas Kasdorf, another UW-Madison alumnus, on Tuesday night at 7 p.m. in Morphy Recital Hall. (Sorry, no word on the rest of the program.) Goldstein will also give a FREE and PUBLIC master class on Wednesday at 2:25 p.m. in Morphy Hall.

For more information, go to:

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

By Jacob Stockinger

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

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

St.Lawrence String Quartet 2016 2 BIG USE

Tickets are $27.50 to $42.50.

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

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

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

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

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

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

christopher costanza playing cello

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

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

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

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

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

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

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

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

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

john adams absolute jest

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

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

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

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

Beethoven big

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

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

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

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

Haydn

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

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

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

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

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

john adams with pencil

What else would you like to say?

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


Classical music: The Bach Dancing and Dynamite Society wants to hear from the public about repertoire to mark its 25th anniversary next summer. The Ear has some suggestions. Do you?

July 10, 2015
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By Jacob Stockinger

It happened on the last night of the successful three-weekend, six program, three-venue summer season –- the 24th such season for the Madison-based Bach Dancing and Dynamite Society -– that just ended.

BDDS poster 2015

The founders, artistic directors and performers were all milling around in the hallway of the Overture Center and were already talking about what a big event next summer will be because it will be the 25th season.

Clearly, planning the next season starts right away.

That night is when The Ear asked them if they wanted to get ideas from the public.

Yes, they said heartily, the more, the better!

So I said I would post about it, including my own suggestions and soliciting suggestions from the public.

Here they are. They include music from the Baroque, Classical, Romantic and Modern eras.

As you’ll see, I like the idea of using the number 25 as a symbol of the silver anniversary.

As in No. 25.

As in Opus 25.

If I had more patience and time, I might also do what a close friend suggested: Look for pieces of music that were written when the composer was 25. Maybe some of you know of such works and can suggest them!

Anyway, here are The Ear’s suggestions:

  1. The Piano Quartet No. 1 in G minor -– Op. 25 -– by Johannes Brahms. It has a wonderful gypsy Rondo final movement (below) and is the most popular of the three piano quartets. I can already hear Jeffrey Sykes and the great BDDS string players performing it.

Here is a link to a YouTube recording and video:

  1. How about one of those great chamber music reductions of orchestral music that BDDS does so wonderfully.

Specifically, I think of the Piano Concerto in C major, K. 503 – and No. 25 of 27 -– by Wolfgang Amadeus Mozart. If you heard BDDS perform the reduction of the Piano Concerto No. 24 in C minor, K. 491, this summer, you know how beautiful it can be, especially with the transparency of the different parts. And No. 25 is both majestic and sublime.

Find a transcription or make one.

Other orchestral candidates include: Mozart’s great Symphony No. 25 in G Minor (the Little G Minor to distinguish it from the Big G minor, No. 40) and Haydn’s Symphony No. 25 in C Major.

  1. The String Quartet in G Major, Op. 17, No. 5 – or No. 25 by my count, though I defer to specialists and musicologists — by Franz Joseph Haydn
  2. The graceful and tuneful Piano Trio No. 25 in G major (below) by Franz Joseph Haydn.

5. The second set of 12 Etudes – Op. 25 – by Frederic Chopin. I’ll bet pianist Jeffrey Sykes could work up a little bouquet of them from the ones he uses to teach piano in Berkeley and San Francisco.

But I have also heard some wonderful transcriptions of the etudes for other instruments. Op. 25, No. 7 in C-sharp minor, for example, is meant to sound like a cello. (You can hear it below played soulfully by Daniil Trifonov.)

The cello was Chopin’s second favorite instrument. It might be impressive fun to see what BDDS comes up with if they do their own transcriptions of some etudes. The solo piano version is still the best, but a transcription might emphasize color and show the musicality in the pioneering keyboard studies!

6. Antonio Vivaldi, Cello Concerto in A minor, RV 422, No. 25

7. Antonio Vivaldi, Bassoon Concerto in F major, RV 491, No. 25

8. Johann Sebastian Bach, Cantata No. 25, “Wir danken dir, Herr Jesu Christ” BWV 623. One could do the entire original version or perhaps use excerpts, like the Bach arias and duets that BDDS performed this summer.

9. Sergei Prokofiev, Symphony No. 1 “Classical,” Op. 25, in another reduction. It would go especially well with something by Haydn, who was the model for this Neo-Classical work.

10. Ludwig van Beethoven, Piano Sonata No. 25, Op. 79. Maybe with Jeffrey Sykes or UW-Madison guest pianist Christopher Taylor who performed all 32 Beethoven piano sonatas several years ago.

You can hear all these works on YouTube.

And The Ear is sure there are a lot more works to name.

So send in your suggestions in the COMMENT section.

The Ear wants to hear.

And so does the Bach Dancing and Dynamite Society.

 


Classical music: Why is Beethoven so popular? And why do all-Beethoven concerts work so well? Conductor Andrew Sewell answers these questions even as he prepares to perform the all-Beethoven concert tonight by the Wisconsin Chamber Orchestra.

May 1, 2015
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By Jacob Stockinger

Tonight at 8 p.m. in the Capitol Theater of the Overture Center, conductor Andrew Sewell (below top) will lead the Wisconsin Chamber Orchestra (below bottom) and guest pianist Bryan Wallick, who won the Vladimir Horowitz Prize and is returning to Madison, in an all-Beethoven concert to wrap up this season of the WCO indoors Masterworks programs.

AndrewSewellnew

WCO lobby

The program includes the “Leonore” Overture No. 1, the Piano Concerto No. 5 “Emperor” and the Symphony No. 7.

Tickets are $15-$62. For more information, visit: http://www.wcoconcerts.org/performances/masterworks-v

The Ear asked the guest pianist Bryan Wallick and WCO’s longtime music director and conductor Andrew Sewell to explain why all-Beethoven concerts work so well and why Beethoven remains so popular with the general public. (Coincidentally, the Madison Symphony Orchestra will also close its season with Beethoven, specifically the Symphony No. 9 (“Choral” or “Ode to Joy”) on May 8, 9 and 10.

Wallick’s answers appeared here on Wednesday and offered the perspective of an instrumentalist. Here is a link to his answers:

https://welltempered.wordpress.com/2015/04/29/classical-music-why-is-beethoven-so-popular-and-why-do-all-beethoven-concerts-works-pianist-bryan-wallick-explains-these-questions-even-as-he-prepares-to-play-the-emperor-concerto/

And here are the answers by conductor Andrew Sewell (below), who kindly responded to an email Q&A:

andrewsewell

Beethoven (below), along with a handful of other composers, including Mozart and Tchaikovsky, is one of the few composers who can make up a single-composer concert that also attracts the public. What accounts for that, do you think?

I think his name is synonymous with classical music. His music defines it — the working out of themes, melody and development — from his overtures, symphonies, concertos, piano sonatas and string quartets.

Beethoven big

What role has Beethoven played in your career? Are there works in particular that you were drawn to as a student or a performing professional?

As a young concertgoer, at the age of 8, I heard his Symphony No. 9 “Choral” and fell in love with the “Ode to Joy.” I was captivated by his life and biography, about his deafness overtaking him, and stories of his inner personal struggles. I remember reading all about his life as a youngster, and I loved playing his music.

As a violinist, I loved getting to know his violin sonatas and symphonies. One of my first significant orchestral experiences at age 16 was playing his “Leonore” Overture No. 3 with the New Zealand Youth Orchestra, and a year later, the Fifth Symphony. Beethoven’s overtures and symphonies are the bread and butter of any orchestra.

Andrew Sewell BW

Beethoven consistently ranks as the general public’s favorite classical composer. Why is that, do you think? The consistently high quality of the music? The diversity of works and forms that his creativity expressed itself in? The sense of overcoming struggle and personal hardship you find in his works?

All of the above. You said it in the wide variety of forms he used –- symphonies, overtures, sonatas, chamber music. The string quartets alone, like Mozart’s Piano Concertos, are a lifetime testament in which we see his development as a composer and inner struggles.

His personal life is intertwined with the complexities of his later works, as he stretched the boundaries of form and development. His Ninth Symphony and the late string quartets testify to this. Overcoming struggle and personal hardship give the music its triumphal drive.

beethoven BW grim

Is there an aspect of Beethoven that you think the public needs to pay more attention to and that you intend to emphasize in your interpretations?

The “Leonore” Overture No. 1 is probably the least played of the four overtures related to his one and only opera, “Fidelio.” Inadvertently he created a new form, known as the Concert Overture, and which Mendelssohn later took up.

This overture, does not include the off-stage trumpet reverie, as in Nos. 2 and 3. For some reason, Beethoven was not satisfied, and continued to refine it in later compositions. What I find intriguing about this overture is the way he transitions from slow to fast sections and back again so seamlessly and how he experimented with a continuous form.

The Symphony No. 7  — below is a page of the work’s manuscript from Beethoven’s almost illegible notebooks — is among his most energetic symphonies. It never lets up and is physically demanding on all sections of the orchestra. One needs stamina for this music. It is also extremely exciting to play and to listen to, hence it is a very popular symphony. (At the bottom,  in a popular YouTube video with almost 8 million hits, you can hear the famous and well-known Allegretto movement from the Symphony No. 7 with an intriguing bar graph score.)

Beethoven Symphony no 7 MS

Is there anything you would like to say or add?

An all-Beethoven program is a great way to end the season, especially when you have pianist Bryan Wallick (below) returning to perform with us. We are most excited to hear and share his performance of the mighty “Emperor” Piano Concerto.

Bryan Wallick mug

 


Classical music: Is the Toronto Symphony censoring freedom of speech? Read about the Twitter Wars in Toronto that involve two pianists who have played in Madison.

April 18, 2015
1 Comment

By Jacob Stockinger

Tweets — those messages that comes via Twitter — may be short, containing a maximum of only 140 characters.

Sample Tweet from space

But they can sure pack a wallop and get people riled up.

Consider what is happening in Toronto with the Toronto Symphony Orchestra  (below top, in a photo by John Loper) that canceled an appearance – with full payment of a concert fee  — by the Ukrainian-born pianist Valentina Lisitsa (below bottom).

Toronto Symphony Orchestra USE CR John Loper

Valentina Lisitsa

Lisitsa tweeted about the political situation in her native Ukraine and that apparently caused quite the stir among symphony sponsors. So the symphony canceled her performances of the Piano Concerto No. 2 in C Minor by Sergei Rachmaninoff – and paid her concert fee anyway. (Rachmaninoff and this concerto are specialties of Lisitsa, as you can hear on the YouTube video at the bottom)

Locally, Lisitsa — known for her power, endurance and phenomenal technique as well as her savvy use of YouTube to establish a career — has played several times at the Wisconsin Union Theater and at Farley’s House of Pianos.

Then the Toronto Symphony tried to engage pianist-composer Stewart Goodyear (below), who is famous for doing marathons in which he plays all 32 piano sonatas by Ludwig van Beethoven in one day. He has performed several times with the Wisconsin Chamber Orchestra.

Goodyear

Anyway, here is a terrific account of the story — with great reporting and writing from Anastasia Tsioulcas — that was posted on Deceptive Cadence, the outstanding classical music blog that is on NPR (National Public Radio).

Here is the link:

http://www.npr.org/blogs/deceptivecadence/2015/04/09/398571112/twitter-outrage-takes-toronto-canceling-two-pianists

What do you think of this dust-up?

Was Lisitsa treated fairly?

The Ear wants to hear.


Classical music: The Wisconsin Chamber Choir will perform the “German” Requiem by Brahms plus two world premieres this coming Saturday night in Madison and Sunday afternoon in Whitewater. Also, here are the winners and sonatas you can hear in the FREE Beethoven piano sonata recital this Sunday afternoon at the UW-Madison.

April 15, 2015
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ALERT: The Ear has been informed of the winners of the annual UW-Madison Beethoven Sonata Competition. The FREE winners’ recital is this Sunday afternoon at 3:30 p.m. in Morphy Recital Hall. Three major late sonatas will be featured on the program: the Sonata in A Major Op. 101, played by Kangwoo Jin (below right in a photo by Katherine Esposito); the last Sonata in C minor, Op. 111, played by  SeungWha Baek (middle); and the titanic “Hammerklavier” Sonata, Op. 106, played by Luis Alberto Peña (left).

For more information about the student performers and their teachers, go to:

http://www.music.wisc.edu/events/beethoven-competition-recital/

Beethoven 2015

By Jacob Stockinger

Our friends at the Wisconsin Chamber Choir write:

This coming weekend, the Wisconsin Chamber Choir (below) performs the “German” Requiem by Johannes Brahms plus world premieres by Giles Swayne and Christian Ellenwood.

wisconsin-chamber choir 2012

The two performances are:

This Saturday, April 18, at 7:30 p.m. in Luther Memorial Church (below), 1021 University Avenue, Madison. Tickets are $25 in advance ($30 at the door); students pay $10 ($15). Visit: www.WisconsinChamberChoir.org

luther memorial church madison

This Sunday, April 19 at 3 p.m. in the Young Auditorium, 930 West Main Street, Whitewater. Tickets are $20.50, $18.50, $15.50; UW-Whitewater students pay $10.50. Visit http://www.uww.edu/youngauditorium

One of the most beloved and popular of all choral works, the German Requiem by Johannes Brahms (below), is a masterpiece of musical Romanticism. (You can hear the opening movement on a YouTube video at the bottom.)

brahms-1

Brahms began the work as a memorial to his mentor, Robert Schumann (below), but the death of Brahms’ own mother spurred him to complete it several years later.

Schumann photo1850

The score embraces a wide variety of emotions, from the lush sounds of the choir and orchestra that envelope the audience in a message of consolation, to lively fugues, worthy of Bach or Handel, that promise the hope of salvation. This music will thrill audiences as well as comfort all who have ever lost a loved one.

Sharing billing with the Brahms are two world premieres, one commissioned by each choir.

The Wisconsin Chamber Choir will present Our Orphan Souls by British composer Giles Swayne (below top) on a transcendental text from Herman Melville’s novel Moby Dick.

The UW-Whitewater Chamber Singers will present Prairie Spring by UW-Whitewater professor of music, Christian Ellenwood (below bottom), a setting of the poem by American author Willa Cather.

Giles Swayne

Christian Ellenwood copy

Joining the WCC in this performance are soprano soloist Tanya Kruse Ruck, baritone Brian Leeper, and bass Gregory Berg; the UW-Whitewater Chamber Singers; and Sinfonia Sacra, the WCC’s own fully professional orchestra made up of members of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and the Wisconsin Baroque Ensemble.

Founded in 1998, the Madison-based Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Haydn; a cappella masterworks from various centuries; and world-premieres. Robert Gehrenbeck (below) who directs the Choral Program at the UW-Whitewater, is the Wisconsin Chamber Choir’s Artistic Director.

Robert Gehrenbeck new headshot 2013 USE

 


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