The Well-Tempered Ear
Check out the 2022 classical music Grammys for trends and suggested listening
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By Jacob Stockinger
No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.
But chances are you haven’t heard much about the classical music Grammys.
That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.
But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.
You can also get a good idea of trends in classical music.
Contemporary or new music is big again this year, dominating the old standard classics.
Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.
You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.
Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.
Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.
If you want to see the nominations and winners in other categories, here is a link:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
- Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
- Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)
76. Producer Of The Year, Classical
- Blanton Alspaugh
- Steven Epstein
- David Frost
- Elaine Martone
- Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)
CLASSICAL
77. Best Orchestral Performance
- “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
- “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
- “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
- “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)
78. Best Opera Recording
- “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
- “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
- “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
- “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
- “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
79. Best Choral Performance
- “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
- “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
- “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
- “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)
80. Best Chamber Music/Small Ensemble Performance
- “Adams, John Luther: Lines Made By Walking” — JACK Quartet
- “Akiho: Seven Pillars” — Sandbox Percussion
- “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
- “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
- “Bruits” — Imani Winds
81. Best Classical Instrumental Solo
- “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
- “An American Mosaic” — Simone Dinnerstein
- “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
- “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
- “Mak Bach” — Mak Grgić
- “Of Power” — Curtis Stewart
82. Best Classical Solo Vocal Album
- Confessions — Laura Strickling; Joy Schreier, pianist
- Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
- Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
- Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
- Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
- Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
- Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)
84. Best Contemporary Classical Composition
- “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
- “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
- “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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This Saturday night the Wisconsin Chamber Choir and Grammy winner Sarah Brailey perform a free live-streamed concert of music by women
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By Jacob Stockinger
The Ear has received the following announcement to post:
The Wisconsin Chamber Choir (WCC, below) with a special guest — Grammy Award-winning soprano and UW-Madison graduate Sarah Brailey – will perform this Saturday, May 15, at 7 p.m.
“Music She Wrote” is a celebration of music composed by a highly diverse group of women from many ages.
Choir members will sing from their individual cars using wireless microphones, listening to the sound of the whole choir via their car radios.
The audience is invited to listen in live on YouTube and to let us know they are interested by sending an RSVP to our Facebook event.
There is no charge to view the livestream, but donations will be welcome.
Here are the links to hear the performance LIVE on YouTube or Facebook:
https://youtu.be/Iaz0wZhuG18 or:
https://www.facebook.com/events/1561155960751974/
The WCC had scheduled a regular concert with an all-female cast of composers for May 2020, which fell victim to Covid-19. As it became obvious that the pandemic would last longer, the WCC started exploring new ways of making and disseminating music.
From September 2020, we resumed activity in the shape of the Parking Lot Choir, generating local media coverage from WKOW-TV and Madison Magazine, whose story was headlined “Forget tailgates, parking lots are for choir practice.”
The result of this first rehearsal run was the widely acclaimed “Car Carols” concert in December 2020, whose format is the model for “Music She Wrote.”
In addition to the Parking Lot Choir, three smaller groups from the WCC assembled at the Edgewood College Amphitheater on Saturday mornings to rehearse (below) in widely spaced formations, wearing specially designed singer masks.
Another such group, made up of our members from southeastern Wisconsin, met in Whitewater on Sunday afternoons. Recordings by those four small groups will be aired during the May 15 broadcast in addition to live singing by the Parking Lot choristers.
The program includes: the Garden Songs by Fanny Hensel, née Mendelssohn (Felix’s sister, below), which were intended for outdoor performance; and Ethel Smyth’s March of the Women, the anthem of the women’s suffrage movement in the English-speaking world.
In addition to works by African American composers Ysaÿe M. Barnwell (below top) and Rosephanye Powell and by Cuban composer Beatriz Corona (below second), the program includes samples from outside the Western tradition — Lamma Badaa Yatathannaa, sung in Arabic, by Shireen Abu-Shader (below third), who hails from Jordan but received her academic education in the U.S. and Canada; and two pieces by Japanese composer Makiko Kinoshita (below bottom).
Western early music is represented by Italian composers Raffaella Aleotti (below top) and Chiara Cozzolani (below bottom), who lived in the 16th and 17th centuries.
Finally, there is singer-songwriter Judy Collins with her Song for Sarajevo, composed for the children of the war in Bosnia in 1994 and arranged by her longtime collaborator, Russell Walden. (You can hear it in the YouTube video at the bottom.)
For more details, visit: https://www.wisconsinchamberchoir.org/music-she-wrote.
Sarah Brailey (below, in a photo by Miranda Loud), a native of Wisconsin, studied at the Eastman School of Music and the University of Wisconsin–Madison, where she has just completed her doctorate. A consummate musician and internationally acclaimed soloist, she recently won a Grammy Award in the Best Classical Vocal Solo Album category for her role as The Soul in the world premiere recording of Ethel Smyth’s The Prison.
She is familiar to Madison audiences not only as a performer and co-founder of Just Bach but also as the co-host of WORT’s Musica Antiqua show on FM 89.9 and the director of Grace Presents.
As a graduate student, she joined the WCC for two seasons from 2004 to 2006. We are thrilled to welcome her back! For more information on Sarah, see her website at https://sarahbrailey.com
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Classical music: The coronavirus forces the cancellation of Bach Around the Clock plus concerts by pianist Drew Petersen and violinist Gil Shaham. Other groups will wait and see. Read local and national overviews
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By Jacob Stockinger
The pandemic of the coronavirus (below, from by the federal Centers for Disease Control) has now put Wisconsin into a public health emergency, as declared Thursday morning by Gov. Tony Evers, and continues to take its toll on the local art scene – and does so very quickly.
Since yesterday, the threat posed by the coronavirus and COVID-19 has forced the cancellation of three more major musical events:
The biggest is the cancellation of Bach Around the Clock 2020 on Saturday, March 28.
BATC is the FREE annual event celebrating the birthday of Johann Sebastian Bach (1685-1750). It runs for 12 hours, from 10 a.m. to 10 p.m., and offers dozens of performances by student, amateur and professional musicians.
A Saturday night concert and Sunday afternoon master class by up-and-coming pianist Drew Petersen (below) — for the Salon Piano Series at Farley’s House of Pianos– has been cancelled and postponed until the summer.
And the March 28 recital by violinist Gil Shaham (below) and pianist Akira Eguchi at the Wisconsin Union Theater has been cancelled
Some other major groups are taking a wait-and-see approach about cancelling events. They include: the Madison Opera, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.
You can read more about them, and about other local arts events, including pop music as well as museum openings and exhibitions, in a comprehensive overview by Michael Muckian in Isthmus: https://isthmus.com/news/news/coronavirus-impacts-arts-events/
And here is an excellent story from National Public Radio (NPR) about the national context of how the Coronavirus is impacting the arts across the U.S. https://www.npr.org/2020/03/12/814992409/in-the-age-of-covid-19-event-cancellations-precipitate-a-large-economic-impact
DETAILS ABOUT POSTPONEMENTS AND REFUNDS
Here is the announcement from BATC artistic director Marika Fischer Hoyt (below):
“Dear friends and colleagues,
“We on the BATC board have been carefully monitoring this rapidly-developing situation: the exponentially increasing number of cases being diagnosed in the U.S., the recommendations from the medical community, and responses from other organizations large and small.
“After careful consideration, we have decided, regretfully, that the most responsible course of action is to cancel the BATC festival this March.
“We on the board are so grateful to the performers, hosts and donors, who have invested time, talent and resources in this year’s festival. Our hope is to reschedule for a date in the fall. Stand by for more information on that soon.
“But for now, we ask for your understanding.
“I hope, even though we can’t celebrate his music together on the March 28, that we will all find ways to enjoy Bach’s music this month.”
For more information, go to: https://bachclock.com and facebook.com/batcmadison
Here are details about the Drew Petersen cancellations:
“Sadly, we are postponing both the Drew Petersen concert on March 14 and his master class on March 15 until the summer.
“New dates for the concert and master class are yet to be determined. We will announce them via email, the Salon Piano Series website and on social media for the Salon Piano Series.
“We know you’ll understand that our concern for your health and well-being made this decision necessary.
“You may request a refund or keep your ticket for the concert in the summer. Everyone who bought a ticket will have one week after the announcement of the new concert date to request a refund.
“If you would like a refund immediately, please follow the instructions below. Please allow several business days for refunds to be processed.
Paper Tickets: If you have a paper ticket, please take a photo of your ticket and email the photo to cristofori@salonpianoseries.org
explaining that you would like a refund.
Online Tickets: “If the ticket is not part of a season ticket, call Brown Paper Tickets at 1-800-838-3006.
If your ticket is part of a season ticket, contact Salon Piano Series at 608-271-2626. Refunds for season ticket holders will be issued through Salon Piano Series by check, not through Brown Paper Tickets.
Tickets Ordered by Phone
If you purchased a ticket by phone, contact Salon Piano Series at 608 271-2626 to request a refund.
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Classical music: The Wisconsin Union Theater will hold an on-stage “exercising” – or playing — session for the public with its Steinway piano on Sunday, Sept. 22. Details are pending
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By Jacob Stockinger
Attention area pianists – students and teachers, amateurs and professionals!
It may be time to start some serious practicing if you have ever wanted a chance to play on the stage at the venerable Wisconsin Union Theater.
A public session will take place in Shannon Hall (below) on Sunday, Sept. 22, although no specific hours or details of the sign-up process have been announced yet. That is when the Wisconsin Union Theater will allow selected members of the public to play on its Steinway.
If you didn’t already know, instruments – both new Steinway pianos and old Stradivarius violins – work better and sound better when they are warmed up and played regularly. That is, they are at peak performance when they are “exercised,” as it is called.
Kind of like human bodies!
The piano in question is the same piano used by world-famous guest artists on the Wisconsin Union Theater’s Concert Series, most of whom have also signed the gold-painted metal harp or frame inside the piano.
For example, in the photo below you can see Misha Dichter – renowned for his dazzling technique and his interpretations of Franz Liszt’s virtuoso works — becoming the first pianist to sign the third of the Union’s four Steinways, which span a century, in 1970. (You can hear Dichter play two Hungarian Rhapsodies, with incredible repeated notes and impressively fast octaves in both hands, by Liszt in the YouTube video at the bottom.)
Here is a link to the announcement, which has some fascinating background about the previous pianos at the Wisconsin Union Theater: https://union.wisc.edu/visit/wisconsin-union-theater/the-green-room/open-piano-day-puts-a-twist-on-tradition/
The Ear still hasn’t’ heard about specific hours; about the sign-up process; if music other than classical, such as jazz or pop or rock, will be allowed; or if the public can attend and listen.
But stay tuned.
As details become available, The Ear will share them.
Or you can go to website unionwisc.edu or the above web address and check for yourself.
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Classical music: Two performances of the UW-Madison’s popular Winter Choral Concert takes place this Sunday afternoon. On Friday, composer Melinda Wagner gives a free public master class
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ALERT: On Friday, Nov. 30, from 11:45 a.m. to 1 p.m. in Morphy Hall, the Pulitzer Prize-winning composer Melinda Wagner will discuss her music in a master class, which is FREE and open to both students and the public. (You can hear an interview with her in the YouTube video at th bottom.)
For more information about the acclaimed composer, including a video interview, go to: https://www.music.wisc.edu/event/guest-artist-master-class-melinda-wagner-composer/
By Jacob Stockinger
On this Sunday afternoon, Dec. 2, one of the most popular FREE and PUBLIC events at the University of Wisconsin-Madison’s Mead Witter School of Music will take place.
Two FREE performances of the annual Winter Concert, which always draws full houses, will take place at 2 p.m. and 4 p.m. at the Luther Memorial Church (below), 1021 University Avenue.
Six of seven UW-Madison choirs — Chorale, Concert Choir (below top), Madrigal Singers, University Chorus, Women’s Chorus (below bottom) and Masters Singers — will perform in the charity concert.
Choirs will perform choral works both as individual ensembles and jointly.
Holiday carols are part of the program, and concert-goers are invited to sing along.
Professors and graduate students Beverly Taylor (below top), Bruce Gladstone, Michael Johnson and Andrew Voth will conduct, and UW Professor John Chappell Stowe (below bottom) will play the organ.
A free-will offering is accepted at the end of the program. Proceeds after expenses will be donated to “The Road Home,” an organization that provides housing and food to homeless families.
For more information, and a list of the complete and lengthy eclectic program – which includes works by Johann Sebastian Bach and Ralph Vaughan Williams as well as traditional music, jazz, pop music and a piece by UW-Madison alumnus Scott Gendel — go to: https://www.music.wisc.edu/event/two-winter-concerts-at-luther-memorial-church/2018-12-02/
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Classical music: Two new memoirs and a new recording are revealing but uneven in marking the centennial of Leonard Bernstein
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By Jacob Stockinger
We are only a month away from the centennial of the birthday of conductor, composer, educator and pianist Leonard Bernstein, which will be celebrated on Saturday, Aug. 25. Larry Wells, who is The Opera Guy for The Ear, recently assessed three of the many works – two new books of memoirs and one new recording — reexamining the life, career and legacy of Leonard Bernstein.
By Larry Wells
During this year commemorating the centenary of the birth of Leonard Bernstein (below, in a photo by Jack Mitchell), one need only consult https://leonardbernstein.com to find a day-by-day calendar of performances of his works.
As well as world-wide opportunities to hear his works -– even in Madison — there have been two recent books about Bernstein and a new recording of his final opera, “A Quiet Place,” that might be worth your time.
“A Quiet Place” was premiered in Houston as a sequel to his earlier opera “Trouble in Tahiti.” These first performances were conducted by our own John DeMain, the longtime artistic director of the Madison Symphony Orchestra and music director of the Madison Opera.
This nearly two-hour one-act opera dealing with incest, bisexuality, alcoholism and psychosis did not please the critics either for its libretto or for its music.
Soon thereafter Bernstein refashioned the opera by inserting “Trouble in Tahiti” in the middle and cutting some music. His subsequent recording has always baffled me because the music is so uninteresting and the casting is so haphazard.
The new recording on the Decca label (below) is of yet another version devised by Garth Edwin Sunderland. Reducing the orchestration to a chamber ensemble of 18 players, removing “Trouble in Tahiti,” and restoring some of the cuts, this recording by Kent Nagano and the Montreal Symphony Orchestra allows us to hear most of the original version of the opera.
(To read Sunderland’s analysis of his edition, check https://leonardbernstein.com/uploads/pages/files/PFR_2013_FW.pdf.)
The new recording is a valiant attempt by Nagano (below) to breathe some life into this dreary work, but I remain unconvinced that “A Quiet Place” is any more than a failed, final stab by a composer most of whose work I admire very much.
Charlie Harmon was Bernstein’s personal assistant, and his recent memoir ”On the Road and Off the Record with Leonard Bernstein: My Years with the Exasperating Genius” (below) goes a long way in explaining the failure of “A Quiet Place.” (You can hear the Postlude to Act I of “A Quiet Place” in the YouTube video at the bottom.)
To hear Harmon tell it, by this time in Bernstein’s life the maestro depended on drugs to go to sleep, drugs to keep himself awake, and alcohol in excess. He also had a penchant for younger men.
The picture he paints of a troubled genius is rather pathetic, and Bernstein comes across as thoughtless, self-centered and exasperating. When Harmon (below, on the right with Bernstein) writes of his shock at being groped by Bernstein, I had to wonder what else he had expected. Still, it is an entertaining read.
Bernstein’s daughter Jamie Bernstein has recently published “Famous Father Girl: A Memoir of Growing Up Bernstein” (below) Here we get a glimpse into Bernstein’s family life. The portrait of his troubled relationship with his long-suffering wife Felicia Montealegre is particularly interesting.
I heard Jamie Bernstein (below) speak recently in Tucson, and she told amazing anecdotes about Aaron Copland, Samuel Barber and William Schuman.
Little of that appears in the book. She assumes that the reader is interested in her own love life and her failed pop music career. I would have preferred to read more about the many fascinating people who surrounded Bernstein and less about her privileged and entitled life.
I have always been a big fan of Bernstein. I admired him as a conductor, teacher and composer. Anyone who has even a nominal interest in the man will find both of the recent memoirs at least diverting. The recording of “A Quiet Place,” however, is only for the true devotees.
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Classical music: The fifth FREE citywide annual Make Music Madison – featuring 300 concerts at 100 venues — takes place all day tomorrow
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By Jacob Stockinger
Tomorrow – Thursday, June 21, 2018 — is the Summer Solstice.
That means summer arrives.
That makes it the longest day and shortest night of the year.
And that also makes it the day when the fifth annual Make Music Madison will take place. The FREE citywide festival of outdoor music-making will go on all day.
According to the official website, there will be more than 300 concerts at more than 100 venues.
The website also has a very well-organized listing of concerts, artists and venues. It features a very user-friendly search engine – called a Filter Map — where you can check out the events by genre of music, name of the performers and the venue. It also includes rain accommodations, and given the weather this week, that could come in handy.
Here is a link to the complete listings:
http://www.makemusicmadison.org/listings/2018/locations/
Here is a link to the website, which has a fascinating and impressive overview and also a gallery of photos from last year’s event:
http://www.makemusicmadison.org
Of course the majority of the music that will be played by both amateurs and professionals, both individuals and groups, will be non-classical: jazz, pop, hip-hop, rock and roll, folk, world, musical theater, early music, blues, Celtic, funk, gospel and many more.
But from what The Ear sees there are about 25 noteworthy classical offerings too. They include music for guitar, organ, brass, strings, cello, flute and piano, including a public piano that will be at the UW-Madison’s Alumni Park from 11 a.m. until 4 p.m. Other venues include churches and libraries, schools and shopping malls, parks and businesses.
Here is a more detailed list of classical offerings with artists as well as venues (you can hear a vocal group from 2015 in the YouTube video at the bottom):
http://www.makemusicmadison.org/listings/2018/artists?artist_name=&genre=Classical
Happy Listening!
If you go, leave a message about your reaction and how well it went in the COMMENT section.
The Ear wants to hear.
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Classical music: Is Royal Wedding cellist Sheku Kanneh-Mason the next Yo-Yo Ma?
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By Jacob Stockinger
If you watched the Royal Wedding of Prince Harry and American Meghan Markle – who are now known as the Duke and Duchess of Sussex – you were probably impressed by many things.
Not the least of them was the performance by the young Afro-British cellist Sheku Kanneh-Mason, who performed three pieces: “After a Dream” by Gabriel Faure; “Ave Maria” by Franz Schubert; and “Sicilienne” (an ancient dance step) by Maria Theresia von Paradis.
The young player acquitted himself just fine, despite the pressure of the event, with its avid public interest in the United Kingdom and a worldwide TV viewership of 2 billion.
But that is to be expected. He is no ordinary teenage cellist. Now 19, he was named BBC Young Musician of the Year in 2016 — the first black musician of African background to be awarded the honor since it started in 1938. A native of Nottingham, even as he pursues a busy concert and recording schedule, he continues his studies at the Royal Academy of Music in London.
So it was with great anticipation that The Ear listened to “Inspiration,” Kanneh-Mason’s new recording from Decca Records, which is already a bestseller on Amazon.com and elsewhere, and has topped the U.S. pop charts. (There are also many performances by him on YouTube.)
Unfortunately, The Ear was disappointed by the mixed results.
The cellist’s playing is certainly impressive for its technique and tone. But in every piece, he is joined by the City of Birmingham Orchestra or its cello section. The collaboration works exceptionally well with the Cello Concerto No. 1 by Dmitri Shostakovich.
However, so many of the other works seem too orchestrated and overly arranged. So much of the music becomes thick and muddy, just too stringy. The Ear wanted to hear more of the young cellist and less of the backup band.
One also has to wonder if the recording benefits from being a mixed album with a program so full of crossovers, perhaps for commercial reasons and perhaps to reach a young audience. There is a klezmer piece, “Evening of the Roses” as well as a reggae piece, “No Woman, No Cry” by Bob Marley and the famous song “Hallelujah” by Leonard Cohen.
In addition, there are the familiar “The Swan” from “The Carnival of the Animals” by Camille Saint-Saens and two pieces by the inspiring cellist referred to in the title of the recording, Pablo (or Pau in Catalan) Casals (below).
A great humanist and champion of democracy who spent most of his career in exile from dictator Franco’s Spain, Casals used the solo “The Birds” as a signature encore. Played solo, it is a poignant piece — just as Yo-Yo Ma played it as an encore at the BBC Proms, which is also on YouTube). But here it simply loses its simplicity and seems overwhelmed.
Clearly, Sheku Kanneh-Mason is a musician of great accomplishment and even greater promise who couldn’t have wished for better publicity to launch a big career than he received from the royal wedding. He handles celebrity well and seems a star in the making, possibly even the next Yo-Yo Ma, who has also done his share of film scores and pop transcriptions
But when it comes to the recording studio, a smaller scale would be better. Sometimes less is more, and this is one of those times. (Listen to his beautiful solo playing and his comments in the YouTube video at the bottom.)
To take the full measure of his musicianship, The Ear is anxious to hear Kanneh-Mason in solo suites by Johann Sebastian Bach and concertos by Antonio Vivaldi; in sonatas by Ludwig van Beethoven, Franz Schubert and Johannes Brahms; in concertos by Antonin Dvorak and Edward Elgar; and in much more standard repertory that allows comparison and is less gimmicky.
Did you hear Sheku Kanneh-Mason’s live performance at the royal wedding? What did you think?
And if you have heard his latest recording, what do you think of that?
Do you think Sheku Kanne-Mason is the next Yo-Yo Ma?
The Ear wants to hear.
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The Well-Tempered Ear 
Here are the classical music nominations for the 63rd annual Grammy Awards in 2021
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
It’s time again for the annual Grammy Awards (below).
Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.
After all, the coronavirus pandemic has changed our listening habits.
Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.
Perhaps you listen to Compact Discs using home stereo systems.
Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.
However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.
You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.
They can help you judge how many or how few contemporary composers and new works get performed.
Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.
Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.
The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.”
Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.
Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec.
Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.
If you notice more local connections, please leave word in the Comment section.
The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.
73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
· DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· GERSHWIN: PORGY AND BESS
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
· HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
· IVES: COMPLETE SYMPHONIES (below)
Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
· SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)
·
74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
· BLANTON ALSPAUGH
• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)
· DAVID FROST (below)
• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)
· JESSE LEWIS
• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)
· DMITRIY LIPAY
• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)
· ELAINE MARTONE
• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
· ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
· CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
· COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
· IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
· LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
· DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
· FLOYD, C.: PRINCE OF PLAYERS
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
· GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
· HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
· ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)
·
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
· CARTHAGE
Donald Nally, conductor (The Crossing)
· DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
· KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
· MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
· ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
·
78. 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.
· CONTEMPORARY VOICES
Pacifica Quartet
· HEALING MODES
Brooklyn Rider
· HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
· HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
· THE SCHUMANN QUARTETS
Dover Quartet
·
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
· BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
· BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
· DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
· THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)
·
80. 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.
· AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
· CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
· FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
· A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
· SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
·
81. 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.
· ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
· SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
· SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
· THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
· WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
·
82. 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.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
· DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
· HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
· ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)
If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list
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