The Well-Tempered Ear

Classical music: The UW-Madison’s Wingra Woodwind Quintet performs a FREE concert this Friday night and will mark its 50th anniversary with a party and mini-concert on April 25. Plus, the Madison Symphony Orchestra’s Rhapsodie String Quartet and soprano Nancy Vedder-Shults perform concerts on Friday.

February 26, 2015
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ALERTS:

1) The master class by the Takacs String Quartet on Friday from 5 to 7 p.m. has been moved from Room 1341 of the UW-Madison Humanities Building to MOPRHY RECITAL HALL. The string quartet is in town to perform a concert of works by Schubert, Haydn and Beethoven at 8 p.m. on Saturday at the Wisconsin Union Theater.

2) The free Friday Noon Musicale, to be held 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison, 900 University Bay Drive, features soprano Nancy Vedder-Shults and pianist Dan Broner, who is also the FUS music director, in art songs by Franz Schubert, Robert Schumann, Johannes Brahms, Mary Howe and Seymour Barab.

3) The Madison Symphony Orchestra‘s Rhapsodie String Quartet (below, in a photo by Greg Anderson) will perform a concert this Friday night at 7 p.m. in St. Andrew’s Church, 1833 Regent Street, near Randall Elementary school on Madison’s near west side. The program is the Quartet No. 22 in B-flat Major by Wolfgang Amadeus Mozart and the Quartet No. 2 in A Minor by Felix Mendelssohn. Admission is open to the public, with a free-will donation requested.

Rhapsodie Quartet MSO Greg Anderson

By Jacob Stockinger

There are two reasons to pay attention to the Wingra Woodwind Quintet, one of the major performing artists ensembles at the University of Wisconsin-Madison School of Music.

The first reason is that this Friday, Feb. 27, at 7:30 p.m. in Morphy Hall, the group will perform a FREE concert. The program is “Tradition and Innovation: Music from the Old Country — Austria, Hungary and Bohemia, 1892-1969.”

Then on Saturday, April 25, from 4 to 6 p.m. at the University Club, the Wingra (below, in a photo by Michael R. Anderson) will celebrate its 50th year as an ensemble. The public is asked to RSVP by April 20 by sending an email to news@music.wisc.edu

Wingra Woodwind Quintet 2013 Michael Anderson

Here is a link to an extensive biography, member list and history of the Wingra Woodwind Quintet, done by Sarah Schaffer at the University of Wisconsin-Madison, along with more details about the 50th anniversary part.

http://www.music.wisc.edu/wingra-woodwind-quintet/

And here is the program for the concert on Friday:

Humoreske (1939) by Alexander Zemlinsky (1871-1942)

Woodwind Quintet No. 1 (1953) by Endre Szervánsky (1911-1977). You can hear this tuneful and dance-like work in a YouTube video at the bottom.

Nine Short Pieces for Children (1909) by Béla Bartók (1881–1945), arranged by UW-Madison bassoonist Marc Vallon (2014), who is a member of the Wingra Woodwind Quintet.

Intermission

Three Songs from “Das Knaben Wunderhorn” by Gustav Mahler ) (1860-1911), arranged by Trevor Cramer (1983)

Rheinlegendchen (1893)

Wer hat dies Liedl erdacht? (1892)

Lob des Hohes Vertandes (1896)

Wind Quintet No. 2 (1969) by Frigyes Hidas (1928–2007)

 


Classical music: After hearing pianist Shai Wosner play two Haydn concertos with the Wisconsin Chamber Orchestra, The Ear asks: When will Wosner return for a solo recital?

February 25, 2015
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By Jacob Stockinger

Last weekend brought a lot of conflicting classical music concerts to Madison.

But one of the best events proved to be the concert on Friday night in the Capitol Theater of the Overture Center by the Wisconsin Chamber Orchestra.

The program featured the supremely gifted but much under-publicized pianist Shai Wosner (below, in a photo by Marco Borggreve). He performed two contrasting keyboard concertos by Joseph Haydn — No. 4 in G Major and the better known No. 11 in D Major.

It was simply a sublime use of a modern instrument to make older music that was originally composed for the harpsichord. Never was the witty music by Haydn overpedaled or overly percussive or distorted for virtuosity’s sake. In every way, Wosner served Haydn — not himself.

Shai Wosner Photo: Marco Borggreve

The concert was also noteworthy because it featured the longtime music director and conductor Andrew Sewell. He led the Wisconsin Chamber Orchestra (below) to shine in an eclectic program that included the Samuel Barber-like neo-Romantic and neo-Baroque Prelude and Fugue by the 20th-century Italian-American composer Vittorio Giannini and especially the youthful Symphony No. 2 by Franz Schubert.

WCO lobby

Plus, Sewell (below) proved a perfect accompanist in the Haydn concertos. Clearly, chemistry exists between Sewell and Wosner, who have also performed together concertos by Ludwig van Beethoven and Wolfgang Amadeus Mozart with the WCO.

andrewsewell

It was, in short, a program that was beautifully planned and beautifully played – even down to Wosner playing an encore by Schubert (the late Hungarian Melody, a lovely bittersweet miniature) that set up the second half with the Schubert, whose musical attractions Wosner explains so insightfully in a YouTube video at the bottom.

For his part, Sewell brought out balance and voicing, along with the expressive, but not excessive, lyricism that befits the ever-songful Schubert. As he has proven many times with his readings of Haydn and Mozart symphonies and concertos, Sewell is a master of the Classical style.

Wosner’s subtle and suitably quiet playing — he always puts virtuosity at the service of musicality — was also a model of clarity and restraint, perfectly suited to Haydn. But it left me with only one question:

When will we in Madison get to hear Shai Wosner in a solo recital?

(Below, you can hear Shai Wosner perform the second and third movements of the “Appassionata” Sonata by Beethoven at the 92nd Street Y in New York City in a YouTube video.)

Three of Wosner’s four acclaimed recordings are solo recitals of difficult works. They feature the music of Johannes Brahms, Arnold Schoenberg, the contemporary American composer Missy Mazzoli and especially Franz Schubert, with whom Wosner obviously feels, and shows, a special affinity. The fourth CD is a violin and piano duo done with the gifted young violinist Jennifer Koh.

I don’t know what presenter, besides the Wisconsin Union Theater, would bring Wosner back — and benefit from the WCO audiences that already have heard him. Or maybe the Wisconsin Chamber Orchestra could sponsor a solo recital as a sideline. But we could use more solo piano recitals in Madison — especially if they offer playing of the scale of Wosner’s.

I don’t know how it would happen, but I sure hope it does happen.

Shai Wosner is a great pianist who deserves a wider hearing in a wider repertoire.


Classical music: BBC Music Magazine asks 10 concert pianists to name 10 unknown piano concertos that deserve more attention and performances.

February 22, 2015
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By Jacob Stockinger

Maybe you were lucky enough to attend the gala showcase concert two weeks ago where winners (below) of the annual Concerto Competition at the University of Wisconsin-Madison School of Music performed. (They are below in a photo by Michael R. Anderson. From left they are: Keisuke Yamamoto, Ivana Urgcic, Jason Kutz and Anna Whiteway.)

2014 Concerto Winners

Here is a link to a preview post:

https://welltempered.wordpress.com/2015/02/03/classical-music-four-uw-madison-concerto-competition-winners-and-a-student-composer-will-be-featured-in-a-special-concert-and-reception-this-coming-sunday-night-at-7/

If so you heard some relatively unknown works by Ernest Chausson (a Poem for Violin and Orchestra played by Yamamoto) and Francois Borne (a Fantasy on Themes from “Carmen” for flute and orchestra played by Urgcic) plus soprano Whiteway singing a famous aria from “Romeo and Juliet” by Charles Gounod.).

But the finale was Kutz (below) playing a somewhat truncated version – edited for time constraints of the competition — of the famous “Rhapsody on a Theme of Paganini” by Sergei Rachmaninoff.

Jason Kutz playing Rachmaninoff Rhapsody 2015

Kurtz did a bang-up job of this great work, which for The Ear, may just be his best and most concise work for piano and orchestra.

You just can’t beat that work’s ultra-Romantic 18th Variation – at the bottom in a popular YouTube video with pianist Arthur Rubinstein and Fritz Reiner conducting the Chicago Symphony Orchestra – that is, a friend remarked, much like the “Nimrod” Variation of Sir Edward Elgar’s “Enigma” Variations. It is irresistible and never fails.

But the concerto repertoire is such a rich one! There is something just so appealing about seeing the dramatic cooperation bertween the soloist and the orchestra.

So I was pleased to see that the BBC Music Magazine recently asked 10 concert pianists to name 10 concertos that they think are neglected and should be better known and performed more often.

The story included enlightening statements as well as audio-video clips of excerpts.

So in the spirit on the concerto winners, here is a link to the story:

http://www.classical-music.com/article/10-piano-concertos-you-may-not-know

Read and listen and see what you think.

The Ear knows a fair number of piano concertos, but a lot of these were new to him.

What do you think of the list?

And do you have any names of concertos and composers to add to the list?

The Ear wants to hear.


Classical music: Baltimore Symphony Orchestra music director and conductor Marin Alsop lends her late parents’ valuable violin and cello as living memorials to them and as a way to help musicians in her orchestra.

February 21, 2015
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By Jacob Stockinger

Perhaps you have read about the rapidly escalating cost of great musical instruments.

That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.

For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.

But individuals can do so too.

Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.

Marin Alsop

When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.

stradivari-solomon-ex-lambert

Cello and bow

Alsop didn’t want to sell the instruments.

But she also didn’t want them to lie unused and defeat their original purpose.

So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.

Here is a story from The New York Times:

http://www.nytimes.com/2015/02/14/arts/music/at-baltimore-symphony-a-cello-and-a-violin-make-more-than-music.html?_r=0

It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.

Marin Alsop  2015 CR Gabriella Demczuk NYT


Classical music: Pianist Shai Wosner explains why we don’t hear more Haydn and like his music more. This Friday night at 8, Wosner performs two piano concertos by Haydn with the Wisconsin Chamber Orchestra.

February 19, 2015
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By Jacob Stockinger

This Friday night at 8 p.m. in the Capitol Theater on the Overture Center, pianist Shai Wosner returns for a third time to perform with the Wisconsin Chamber Orchestra under its longtime music director and conductor Andrew Sewell.

Shai Wosner Photo: Marco Borggreve

The program is largely from the Classical era. Wosner will perform two piano concertos by Haydn – No. 4 in G Major and No. 11 in D major – and the orchestra will perform the Symphony No. 2 in B-flat Major by Franz Schubert. In addition, a 1955 Prelude and Fugue by the accessible, 20th-century neo-Romantic composer Vittorio Giannini (below) will be performed.

Vittorio Giannini

Tickets are $15-$75. Call the Overture Center box office at (608) 258-4141.

The critically acclaimed Wosner, an Israeli native who studied at the Juilliard School with Emanuel Ax and who is now based in New York City, has previously performed Classical-era concertos by Wolfgang Amadeus Mozart and Ludwig van Beethoven with the WCO.

Wosner recently agreed to a Q&A about this new program.

Shai Wosner color

The prize-winning American composer John Harbison has said that Haydn is the most underappreciated and most under-performed of the great composers. If you agree with that, why do you think that is and how do you feel about Haydn?

It is probably true. I can only guess what the reasons might be. Perhaps, over the centuries, his name has been eclipsed by that of Mozart (below), as the two are often lumped together in spite of the profound differences in their biographies and their music.

Where Mozart has irresistible melodies all over to disarm you at first hearing, with Haydn sometimes you have to get into the “groove” of the music first — perhaps a remnant from earlier music — and then once you do, you can find both great melodies as well as all kinds of twists and turns that can be just as gripping.

Mozart c 1780 detail of portrait by Johann Nepomuk della Croce

Humor, of course, is central to Haydn’s world and one can sometimes mistake that for lightheartedness. But the fact is that it is often just one layer of meaning and by all means not the only one.

If you open up to it, you quickly realize the depth and sincerity with which Haydn (below) speaks — just like spending time with a really great person who likes to tell jokes a lot, but whose immense life experience and understanding of the world soon comes through as well.

Haydn

What are your plans for performances and recordings? Do your plans include performing or recording more Haydn, maybe concertos, sonatas and chamber music works?

Yes, I hope to record concertos along with a few other pieces as well in the near future.

What would you like the public to know about the two piano concertos by Haydn — who always composed at the keyboard — that you will perform here and their individual character? How do they compare to each other?

The G Major concerto is somehow the more “earthy” one — perhaps it’s the association of the key itself, which tends to relate to all things “rustic.” (For example, Mozart’s peasants and servants tend to sing in G Major). It seems to have a rough edge to it, a certain naughtiness.

The popular D Major concerto, on the other hand, is more patrician — even with the Hungarian finale. It shimmers with golden light like the interior of some idyllic palazzo in midday. (In a YouTube video at the bottom, you can hear the D Major concerto performed by famed pianist Paul Badura-Skoda, who was an artist-in-residence at the University of Wisconsin-Madison School of Music in the 1960s, and conductor Frans Bruggen.)

Haydn_3

How does Schubert go with Haydn? On your program, the Wisconsin Chamber Orchestra will also perform Schubert’s early Symphony No. 2 and you have recorded two CDs for the Onyx label that feature the music of Schubert. Clearly you feel a strong affinity with Schubert and have a point of view about him.

Schubert and Haydn are an interesting combination because early Schubert was very much influenced by Viennese Classicism, before Beethoven’s influence became much more dominant in his music.

At the same time, while Schubert (below) was using the same forms as Mozart and Haydn, they tend to come out very different under his hands, as if he couldn’t help it.

Most noticeable, I think, is the difference in energy.

In Haydn, to go back to the “groove,” there is a lot of raw rhythmic energy in fast movements and it helps to give shape to those movements as well.

In Schubert, on the other hand, even in fast movements, the overall shape tends to be much more contemplative, no matter quickly the notes go by.

Franz Schubert writing

This is your third appearance with the Wisconsin Chamber Orchestra, with whom you have performed concerts by Mozart and Beethoven. What would you like to say about Madison audiences and the WCO?

I have been fortunate to meet very interesting people in Madison, and clearly the audiences are very dedicated and comprised of real music-lovers.

It is a wonderful thing that the city supports not only a symphony orchestra but also a chamber orchestra (below is a photo of the WCO) as well, which is, of course, a very different animal and unfortunately not a very common one any more.

WCO lobby

Is there anything else you would like to say?

I look forward to visiting Madison, of course!


Classical music: Here are some other concerts – featuring vocal, orchestral, band, wind and reed music – that are on tap this weekend.

February 18, 2015
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By Jacob Stockinger

The big classical music events this week are the week-long residency at the UW-Madison of British composer Cecilia McDowall; the organ recital by Thomas Trotter in Overture Hall; and Friday night’s concert of Franz Joseph Haydn, Franz Schubert and Vittorio Giannini by the Wisconsin Chamber Orchestra with pianist Shai Wosner under conductor Andrew Sewell.

But there are other important events on tap too, events that should attract audiences.

FRIDAY

This week’s FREE Friday Noon Musicale, which runs from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison at 900 University Bay Drive, features the Mad Reeds Trio. Members include Laura Medisky, oboe (below); Cynthia Cameron-Fix, bassoon; and Vincent Fuh, piano.

The trio will perform music by Madeline Dring, Dan Welcher and Jean Francaix.

Laura Medisky 1

SATURDAY

At 8 p.m. in Shannon Hall of the Wisconsin Union Theater, the critically acclaimed and popular a cappella singing group Chanticleer will perform. The San Francisco-based group performs “Shenandoah” in a YouTube video at the bottom that has drawn more than 730,000 hits.)

Tickets are: General Public: $45, 25; Wisconsin Union Members and Non UW-Madison Students: $40; UW-Madison Faculty & Staff: $42; UW-Madison Student (with ID): $10. Prices do not include fees.

Here is a link with detail of the eclectic program that runs from early music and the Renaissance to jazz and Bossa Nova:

http://www.uniontheater.wisc.edu/press/Press%20Releases/14-15%20Season/Chanticleer%20Footlights%20Program.pdf

And here is a link to the concert announcement with video and audio clips:

http://www.uniontheater.wisc.edu/season14-15/chanticleer.html

Chanticleer

SUNDAY

At 1:30 p.m. in Morphy Recital Hall on the UW-Madison campus GUEST ARTIST Laura Loge, soprano (below), with pianist Kathryn Ananda-Owens, a graduate of Memorial High School in Madison who teaches piano at St. Olaf College, will perform a recital featuring Norwegian songs by Edvard Grieg, Grondahl, Frederick Delius, Kjerulf, Christian Sinding and Alnaes.

Admission is FREE.

The concert is supported by funding from the Ygdrasil Literary Society of Madison, Vennelag Lodge, Idun Lodge #74 Sons of Norway, the Madison Torske Klubben, and by the Anonymous Fund.

Laura Loge

At 2 p.m. in Mills Hall, the UW-Madison Concert Band, under director Mike Leckrone (below), will give a FREE concert. Sorry, no word about the program.

leckrone

At 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood Chamber Orchestra, under director Blake Walter (below in a photo by John Maniaci), will give its Winter Concert.

Admission is $5 to benefit music scholarships; FREE with Edgewood College ID.

blake walter john maniaci

Included on the program is the aria “Come Scolio” from the opera “Cosi fan Tutte” by Wolfgang Amadeus Mozart, featuring soprano Angela Sheppard (below), winner of the Edgewood College Music Department’s Student Concerto Competition, as well as a three-time recipient of the Ken and Diane Ballweg Music Scholarship. Also on the program are the Overture to “L’isola Disabitata” by Franz Joseph Haydn and the Symphony No. 2 in B-flat Major, D. 125, by Franz Schubert.

Angela Sheppard

At 3:30 p.m. in Mills Recital Hall, a FREE recital will present this year’s winners of the annual Irving Shain Woodwind-Piano Duo Competition at the UW-Madison School of Music.

A reception will follow the performance.

The competition and concert are made possible by retired UW-Madison Chancellor and chemistry professor Irving Shain (below).

Irving Shain

The 2014-15 WINNERS are

Kai-Ju Ho, clarinet and SeungWha Baek, piano.

Iva Ugrcic, flute  (below top, playing recently in the UW Concerto Competition winners’ concert) and Thomas Kasdorf, piano (below bottom).

Iva Ugrcic

Thomas Kasdorf

HONORABLE MENTION

Pedro Garcia, clarinet and Chan Mi Jean, piano.


Classical music: Award-winning British composer Cecilia McDowall to headline a three-day residency this week, with public workshops and concerts, at the University of Wisconsin-Madison School of Music.

February 17, 2015
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ALERT:  On this Wednesday, Feb. 18, at noon, British composer Cecilia McDowall will be featured live on Wisconsin Public Radio’s “Midday” show with host Norman Gilliland (88.7 FM). On this Thursday morning on WORT Radio (89.9 FM), host Rich Samuels plans a half-hour special on McDowall that he pre-recorded with organizer UW-Madison professor of trumpet John Aley. It will be broadcast at 7:15 a.m.

By Jacob Stockinger

A major event involving new music and contemporary music is taking place this week at the University of Wisconsin-Madison School of Music:

Here is a round-up provided by the UW-Madison School of Music and concert manager Kathy Esposito: 

British composer Cecilia McDowall (below), who in December was awarded the 2014 British Composer Award  (BCA) for Choral Composition, will visit UW-Madison’s School of Music this week for a three-day series of concerts and discussions.

Cecilia McDowall

The visit, to take place Thursday through Saturday, marks McDowall’s first United States residency and will include one colloquium and two concerts, all open to the public.

McDowall won the BCA prize for “Night Flight,” a work for a cappella choir and solo cello that honors Harriet Quimby (below), an aviatrix who was the first woman to fly over the English Channel. Download a BCA news release here. 

Harriet Quimby

“Night Flight” was premiered by the Phoenix Chorale, an Arizona ensemble that included a McDowall work on its 2008 Grammy-award winning CD, “Spotless Rose: Hymns to the Virgin Mary.”

Cecilia McDowall’s music has been commissioned and performed by leading choirs and instrumental groups, including the BBC Singers, the Westminster Abbey Choir, the City of Canterbury Chamber Choir, and the Royal Scottish National Orchestra. She came to composition later in life, after raising two children, teaching and singing in choirs for many years. She holds a master’s degree in composition from Trinity College in London and is now a composer-in-residence at the Dulwich College, a pre-college school in London.

Listen to selected McDowall works on SoundCloud.  

You can also listen to a sample in a YouTube video at the bottom.

Cecilia McDowall 2

Writes Guy Rickards of Gramophone magazine: “Cecilia McDowall is another of the new generation of highly communicative musicians who, though often inspired by extra-musical influences, favors writing which, without being in any way facile, is brightly cogent, freshly witty and expressive in its own right.

“She often uses minimalist ostinatos – the spirit of Steve Reich hovers – but constantly tweaks the ear with her range of spicy rhythms and colors, then suddenly produces a highly atmospheric and grippingly expressive interlude which is just as compelling. Each of the individual movements within her works is titled, sometimes descriptively, sometimes perhaps with tongue in cheek.”

On Friday, Feb. 20, in Mills Hall at UW-Madison, a student and faculty chamber orchestra (conducted by James Smith, below top), coupled with the university’s Madrigal Singers, conducted by Bruce Gladstone (below bottom), will perform the U.S. premiere of her work “Seventy Degrees Below Zero.” (Read a review here.)

Smith_Jim_conduct07_3130

BruceGladstoneTalbot

“Seventy Degrees” is a cantata for solo voice (to be sung by faculty tenor James Doing, below), which McDowall composed in 2012 to commemorate the voyage of British explorer Robert Falcon Scott to the Antarctic. Scott and crew members died while on that expedition; one hundred years later, the City of London Sinfonia and the Scott Polar Research Institute commissioned the music to honor Scott and his men.

James Doing color

As a twist, the concert will extend the polar theme with a slideshow and lobby presentation linking Antarctic research of yesterday with today’s, presented by Michael Duvernois (below) of UW-Madison’s IceCube Particle Astrophysics Center.

Michael Duvernois

McDowall’s residency will also feature the piano playing of UW-Madison’s Christopher Taylor (below) performing McDowall’s “Tapsalteerie,” described by Gramophone as “ingenious play with a cradle song by the turn-­of-the-­century Aberdeenshire fiddler James Scott Skinner.”

Many other UW-Madison faculty musicians will also perform. Here is a link with details about other performers:

http://www.music.wisc.edu/cecilia-mcdowall/

Taylor_Chris_piano01

Events include:

THURSDAY

At noon in Mills Hall.

Meet the composer at a free public colloquium.

The topic will be “The Effects of Extra-Musical Influences”: McDowall will discuss how she interweaves composition with events, past or present; with real, imagined or visual images; or as a response to the physical environment or written text.

FRIDAY

At 8 p,m. in Mills Hall.

Concert and Presentation: UW Madrigal Singers and Concert Choir, with a faculty/student chamber orchestra, featuring the U.S. premiere of “Seventy Degrees Below Zero.” With Michael Duvernois of the UW IceCube Particle Astrophysics Center.

Meet the composer and performers at a reception to follow in Mills Hall lobby.

Tickets: $20 adults, free for students. Tickets available via the Wisconsin Union Theater prior to show (online and in person) and on the day of show at Mills Hall.

Box office: http://www.uniontheater.wisc.edu/location.html

SATURDAY

At 8 p.m. in Mills Hall.

Concert: Cool It — The Chamber Music of Cecilia McDowall.

Free concert.

For a link to this festival on our website, please see: http://www.music.wisc.edu/cecilia-mcdowall/ 

For an interview:

http://www.boardroommum.com/interviews-archive/cecilia-mcdowall/


Classical music: Local all-female Arbor Ensemble will present two concerts of all-women composers this coming Saturday night in Madison and Sunday afternoon in Beloit.

February 16, 2015
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By Jacob Stockinger

Arbor Ensemble (below), a Madison-based chamber group, will perform its February program, “Women Composers:  Then and Now” on Saturday, Feb. 21, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison, Wisconsin; and on Sunday, Feb. 22, at 2:30 p.m. in Beloit College‘s Eaton Chapel in Beloit, Wisconsin.

Arbor Ensemble

This program will feature the premiere of “Whispers Through the Trees” by Charlotte Howenstein (below) as well as rarely heard works by Amy Beach, Clara Schumann, Lili Boulanger and Cherise D. Leiter. Sorry, no word on the specific program.

Charlotte Howenstein

Admission for the February 21 performance is $10, with $5 tickets available for students and seniors.  Admission for the February 22 performance is FREE.

Arbor Ensemble is comprised of committed artist educators, seeking to connect with audiences through their personal sound and unique, colorful instrumentation.

Berlinda Lopez (flute), Stacy Fehr Regehr (piano), Marie Pauls (viola, violin), and Rebecca Riley (cello) combine to create an expressive blend, performing a diversity of musical styles.

Arbor’s mission is to bring classical music to listeners from all walks of life through high quality chamber music performance, and to highlight the works of women composers.

For more information, visit Arbor Ensemble’s website at www.arborensemble.com.

 


Classical music: What piece of romantic music would you play for your beloved to mark Valentine’s Day?

February 14, 2015
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By Jacob Stockinger

Today is Valentine’s Day, 2015.

Cupid

Traditionally, a Valentine’s Day tribute is written out and comes in a greeting card or a love letter.

But The Ear has always found music a more suitable vehicle than words to express love.

So I using today’s holiday to post a link to a piece that celebrates love.

And I invite all readers of this blog to do the same.

Just use the Comments section to say what the piece is, who the composer is, and, if possible, what is the link to a YouTube video of the piece.

There are so many choices — with Johann Sebastian BachFranz Schubert, Wolfgang Amadeus Mozart, Frederic ChopinGiacomo Puccini, Peter Ilyich Tchaikovsky, Antonin Dvorak and Sergei Rachmaninoff   ranking at the top — that I look forward to hearing what you choose. I am sure some of them will be new to me.

As for myself, an avid amateur pianist, I will include a link from five years ago in which I posted three short solo piano romances by Robert Schumann — who was the most romantic of the Romantics — Johannes Brahms and Gabriel Faure.

https://welltempered.wordpress.com/2010/02/14/classical-music-survey-what-is-the-best-classical-music-for-valentine’s-day/

For good measure, this year I want to include a lovely violin piece -– “Salut d’amour” or “Love’s Greeting” by Sir Edward Elgar — as played by Sarah Chang in the popular YouTube video below.

That is my choice to mark today.

Now tell me yours.

Happy Valentine’s Day!

 


Classical music: Here are the 2015 Grammy winners and the nominees for classical music. Pro Arte Quartet recording producer Judith Sherman wins again.

February 10, 2015
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By Jacob Stockinger

The 2015 Grammy winners were announced Sunday night in a live three-hour broadcast.

The list of winners and nominees can be a good guide to new listening.

grammy award BIG

Of course most of the Grammy attention went to pop, rock, rap, country and the big selling music genres.

But here are the winners for classical music, along with the nominees and competition.

One thing to note: Producer of the Year again went to freelancer Judith Sherman (below).

Sherman will be in Madison again inn May to record the last two centennial commissions for the University of Wisconsin-Madison‘s Pro Arte Quartet. (Below, she is seen recording the first four commissions with the Pro Arte in Mills Hall.) The new recording includes the terrific Clarinet Quintet based on Allen Ginsberg’s landmark Beat poem “Howl” by American composer Pierre Jalbert and Belgian composer Benoît Mernier’s String Quartet No. 3.

Judith Shermanjpeg

Judith Sherman with Pro Arte

BEST ENGINEERED ALBUM, CLASSICAL

WINNER: Vaughan Williams (below): Dona Nobis Pacem; Symphony No. 4; The Lark AscendingMichael Bishop, engineer; Michael Bishop, mastering engineer (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus). Label: ASO Media

Adams, John: City Noir. Richard King, engineer; Wolfgang Schiefermair, mastering engineer (David Robertson & St. Louis Symphony); Label: Nonesuch

Adams, John Luther: Become Ocean. Dmitriy Lipay & Nathaniel Reichman, engineers; Nathaniel Reichman, mastering engineer (Ludovic Morlot & Seattle Symphony) Label: Cantaloupe Music

Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time. Dmitriy Lipay, engineer; Dmitriy Lipay, mastering engineer (Ludovic Morlot & Seattle Symphony). Label: Seattle Symphony Media

Riccardo Muti Conducts Mason Bates & Anna Clyne. David Frost & Christopher Willis, engineers; Tim Martyn, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra). Label: CSO Resound

Ralph Vaughan Williamsjpg

PRODUCER OF THE YEAR, CLASSICAL

WINNER: Judith Sherman (below)

  • Beethoven: Cello & Piano Complete (Fischer Duo)
  • Brahms By Heart (Chiara String Quartet)
  • Composing America (Lark Quartet)
  • Divergence (Plattform K + K Vienna)
  • The Good Song (Thomas Meglioranza)
  • Mozart & Brahms: Clarinet Quintets (Anthony McGill & Pacifica Quartet)
  • Snapshot (American Brass Quintet)
  • Two X Four (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble)
  • Wagner Without Words (Williams)

Morten Lindberg

  • Beppe: Remote Galaxy (Vladimir Ashkenazy & Philharmonia Orchestra)
  • Dyrud: Out Of Darkness (Vivianne Sydnes & Nidaros Cathedral Choir)
  • Ja, Vi Elsker (Tone Bianca Sparre Dahl, Ingar Bergby, Staff Band Of The Norwegian Armed Forces & Schola Cantorum)
  • Symphonies Of Wind Instruments (Ingar Bergby & Royal Norwegian Navy Band)

Dmitriy Lipay

  • Adams, John Luther: Become Ocean (Ludovic Morlot & Seattle Symphony)
  • Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time (Ludovic Morlot & Seattle Symphony)
  • Fauré: Masques Et Bergamasques; Pelléas Et Mélisande; Dolly (Ludovic Morlot, Seattle Symphony Chorale & Seattle Symphony)
  • Hindemith: Nobilissima Visione; Five Pieces For String Orchestra (Gerard Schwarz & Seattle Symphony)
  • Ives: Symphony No. 2; Carter: Instances; Gershwin: An American In Paris (Ludovic Morlot & Seattle Symphony)
  • Ravel: Orchestral Works; Saint-Saëns: Organ Symphony (Ludovic Morlot & Seattle Symphony)

Elaine Martone

  • Hallowed Ground (Louis Langrée, Maya Angelou, Nathan Wyatt & Cincinnati Symphony Orchestra)
  • Mahler: Symphony No. 2 ‘Resurrection’ (Benjamin Zander, Stefan Bevier, Philharmonia Chorus & Orchestra)
  • Sibelius: Symphonies Nos. 6 & 7; Tapiola (Robert Spano & Atlanta Symphony Orchestra)
  • Vaughan Williams: Dona Nobis Pacem; Symphony No. 4; The Lark Ascending (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus)

David Starobin

  • All The Things You Are (Leon Fleisher)
  • Complete Crumb Edition, Vol. 16 (Ann Crumb, Patrick Mason, James Freeman & Orchestra 2001)
  • Game Of Attrition – Arlene Sierra, Vol. 2 (Jac Van Steen & BBC National Orchestra Of Wales)
  • Haydn, Beethoven & Schubert (Gilbert Kalish)
  • Mozart: Piano Concertos, No. 12, K. 414 & No. 23, K. 488 (Marianna Shirinyan, Scott Yoo & Odense Symphony Orchestra)
  • Music Of Peter Lieberson, Vol. 3 (Scott Yoo, Roberto Diaz, Steven Beck & Odense Symphony Orchestra)
  • Rochberg, Chihara & Rorem (Jerome Lowenthal)
  • Tchaikovsky: The Tempest, Op. 18 & Piano Concerto No. 1, Op. 23 (Joyce Yang, Alexander Lazarev & Odense Symphony Orchestra

Judith Sherman Grammy 2012

BEST ORCHESTRAL PERFORMANCE

WINNER: Adams, John (below): City Noir.  David Robertson, conductor (St. Louis Symphony). Label: Nonesuch

Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time.  Ludovic Morlot, conductor (Seattle Symphony). Label: Seattle Symphony Media

Dvořák: Symphony No. 8; Janáček: Symphonic Suite From Jenůfa. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra). Label: Reference Recordings

Schumann: Symphonien 1-4. Simon Rattle, conductor (Berliner Philharmoniker). Label: Berliner Philharmoniker Recordings.

Sibelius: Symphonies Nos. 6 & 7; Tapiola. Robert Spano, conductor (Atlanta Symphony Orchestra). Label: ASO Media

John Adams

BEST OPERA RECORDING

WINNER: Charpentier (below): La Descente D’Orphée Aux Enfers. Paul O’Dette & Stephen Stubbs, conductors; Aaron Sheehan; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble). Label: CPO

Milhaud: L’Orestie D’Eschyle. Kenneth Kiesler, conductor; Dan Kempson, Jennifer Lane, Tamara Mumford, Sidney Outlaw, Lori Phillips & Brenda Rae; Tim Handley, producer (University Of Michigan Percussion Ensemble & University Of Michigan Symphony Orchestra; University Of Michigan Chamber Choir, University Of Michigan Orpheus Singers, University Of Michigan University Choir & UMS Choral Union). Label: Naxos

Rameau: Hippolyte Et Aricie. William Christie, conductor; Sarah Connolly, Stéphane Degout, Christiane Karg, Ed Lyon & Katherine Watson; Sébastien Chonion, producer (Orchestra Of The Age Of Enlightenment; The Glyndebourne Chorus). Label: Opus Arte

Schönberg: Moses Und Aron. Sylvain Cambreling, conductor; Andreas Conrad & Franz Grundheber; Reinhard Oechsler, producer (SWR Sinfonieorchester Baden-Baden Und Freiburg; EuropaChorAkademie). Label: Hänssler Classic

Strauss: Elektra. Christian Thielemann, conductor; Evelyn Herlitzius, Waltraud Meier, René Pape & Anne Schwanewilms; Arend Prohmann, producer (Staatskapelle Dresden; Sächsischer Staatsopernchor Dresden). Label: Deutsche Grammophon

Marc-Antoine Charpentier color

BEST CHORAL PERFORMANCE

WINNER: The Sacred Spirit Of Russia. Craig Hella Johnson, conductor (Conspirare). Label: Harmonia Mundi

Bach: Matthäus-Passion. René Jacobs, conductor (Werner Güra & Johannes Weisser; Akademie Für Alte Musik Berlin; Rias Kammerchor & Staats-Und Domchor Berlin). Label: Harmonia Mundi

Dyrud: Out Of Darkness. Vivianne Sydnes, conductor (Erlend Aagaard Nilsen & Geir Morten Øien; Sarah Head & Lars Sitter; Nidaros Cathedral Choir). Label: 2L (Lindberg Lyd).

Holst: First Choral Symphony; The Mystic Trumpeter. Andrew Davis, conductor; Stephen Jackson, chorus master (Susan Gritton; BBC Symphony Orchestra; BBC Symphony Chorus). Label: Chandos Records

Mozart: Requiem. John Butt, conductor (Matthew Brook, Rowan Hellier, Thomas Hobbs & Joanne Lunn; Dunedin Consort). Label: Linn Records

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

WINNER: In 27 Pieces – The Hilary Hahn Encores (below). Hilary Hahn & Cory Smythe. Label: Deutsche Grammophon

Dreams & Prayers. David Krakauer & A Far Cry. Label: Crier Records

Martinů: Cello Sonatas Nos. 1-3. Steven Isserlis & Olli Mustonen. Label: BIS

Partch: Castor & Pollux. Partch. Track from: Partch: Plectra & Percussion Dances. Label: Bridge Records, Inc.

Sing Thee Nowell. New York Polyphony. Label: BIS

Hilary Hahn Encores CD cover

BEST CLASSICAL INSTRUMENTAL SOLO

WINNER: Play. Jason Vieaux. Label: Azica Records

All The Things You Are. Leon Fleisher. Label: Bridge Records, Inc.

The Carnegie Recital. Daniil Trifonov. Label: Deutsche Grammophon

Dutilleux: Tout Un Monde Lointain. Xavier Phillips; Ludovic Morlot, conductor (Seattle Symphony). Track from: Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time. Label: Seattle Symphony Media

Toccatas. Jory Vinikour. Label: Sono Luminus

BEST CLASSICAL SOLO VOCAL ALBUM

WINNER: Douce France. Anne Sofie Von Otter; Bengt Forsberg, accompanist (Carl Bagge, Margareta Bengston, Mats Bergström, Per Ekdahl, Bengan Janson, Olle Linder & Antoine Tamestit). Label: Naïve

Porpora: Arias. Philippe Jaroussky; Andrea Marcon, conductor (Cecilia Bartoli; Venice Baroque Orchestra) Label: Erato

Schubert: Die Schöne Müllerin. Florian Boesch; Malcolm Martineau, accompanist. Label: Onyx

Stella Di Napoli. Joyce DiDonato; Riccardo Minasi, conductor (Chœur De L’Opéra National De Lyon; Orchestre De L’Opéra National De Lyon). Label: Erato/Warner Classics

Virtuoso Rossini Arias. Lawrence Brownlee; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra). Label: Delos

BEST CLASSICAL COMPENDIUM

WINNER: Partch (below): Plectra & Percussion Dances. Partch; John Schneider, producer. Label: Bridge Records, Inc.

Britten To America. Jeffrey Skidmore, conductor; Colin Matthews, producer. Label: NMC Recordings

Mieczysław Weinberg. Giedrė Dirvanauskaitė, Daniil Grishin, Gidon Kremer, & Daniil Trifonov & Kremerata Baltica; Manfred Eicher, producer. Label: ECM New Series

Mike Marshall & The Turtle Island Quartet. Mike Marshall & Turtle Island Quartet; Mike Marshall, producer. Label: Adventure Music

The Solent – Fifty Years Of Music By Ralph Vaughan Williams. Paul Daniel, conductor; Andrew Walton, producer. Label: Albion Records

harry partch

BEST CONTEMPORARY CLASSICAL COMPOSITION

WINNER: Adams, John Luther (below): Become Ocean. John Luther Adams, composer (Ludovic Morlot & Seattle Symphony). Label: Cantaloupe Music

Clyne, Anna: Prince Of Clouds. Anna Clyne, composer (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble). Track from: Two X Four. Label: Cedille Records

Crumb, George: Voices From The Heartland. George Crumb, composer (Ann Crumb, Patrick Mason, James Freeman & Orchestra 2001). Track from: Complete Crumb Edition, Vol. 16. Label: Bridge Records, Inc.

Paulus, Stephen: Concerto For Two Trumpets & Band. Stephen Paulus, composer (Eric Berlin, Richard Kelley, James Patrick Miller & UMASS Wind Ensemble). Track from: Fantastique – Premieres For Trumpet & Wind Ensemble. Label: MSR Classics

Sierra, Roberto: Sinfonía No. 4. Roberto Sierra, composer (Giancarlo Guerrero & Nashville Symphony). Track from: Sierra: Sinfonía No. 4; Fandangos; Carnaval.  Label: Naxos

John Luther Adams

 


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