The Well-Tempered Ear
The New York Times music critics suggest 10 must-hear online classical concerts during December
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By Jacob Stockinger
Tomorrow is Dec. 1, 2020.
Lately, at the end of every month the music critics for The New York Times publish a list of 10 virtual and online classical concerts for the following month that they think deserve special attention.
Often – but not always — their choices feature the unusual: new music and world premieres; neglected repertoire; and lesser-known performers that most of us are not likely to hear locally.
The December choices, for example, include an oratorio “Perle Noire” (Black Pearl), by composer Tyshawn Sorey, about the famous African-American, Paris-based expat dancer Josephine Baker – she of the banana skirt (below). But she was more than just a risqué dancer and entertainer. She fought in the French Resistance movement against the Nazis and was a civil rights champion.
But this list also includes seasonal fare such the holiday tradition by which the Chamber Music Society of Lincoln Center performs in one night all six Brandenburg Concertos by Johann Sebastian Bach (you can hear an excerpt in the YouTube video at the bottom); and other holiday celebrations such as a concert by the early music vocal group Tenet (below, in a photo by Nan Melville.)
But those suggestions do not take away from more local efforts and performances.
The Ear is certain that those same critics would approve of supporting local musicians and music groups during the coronavirus pandemic.
And there are many local offerings. The Madison Symphony Orchestra, the Wisconsin Union Theater, the University of Wisconsin-Madison’s Mead Witter School of Music, the Madison Bach Musicians and Just Bach all have virtual online concerts scheduled for December.
You can check out their offerings at their websites and here on this blog as the month unfolds.
But if the Times’ choices interest you – and they should — here is a link: https://www.nytimes.com/2020/11/25/arts/music/classical-music-stream-december.html
Note that the blurbs show Eastern Time but also include how long the performances are posted for and links to the organizations presenting the concerts.
Happy listening!
And Happy Holidays!
Do you have other online performances – local, regional, national or international — to suggest?
Please leave the necessary information in the Comment section.
The Ear wants to hear.
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Classical music: The Ear hears the impressive young pianist Joyce Yang and thinks Madison needs more piano recitals. Plus, a FREE concert of female vocal duets is at noon on Friday.
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ALERT: This week’s FREE Friday Noon Musicale, held 12:15-1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, will feature sopranos Susan Savage Day and Rebekah Demaree with pianist Sharon Jensen in duets by Gabriel Faure, Jacques Aubert, Jules Massenet, Claudio Monteverdi, UW-Madison alumnus Lee Hoiby and more.
By Jacob Stockinger
There he was last Thursday, sitting in the lower balcony in Shannon Hall at the Wisconsin Union Theater.
The Ear was in Piano Himmel, listening to a masterful performance.
The occasion was a solo piano recital by Joyce Yang (below), an up-and-coming, prize-winning Korea-born and America-trained pianist, still in her late 20s, who was making her Madison debut.
And the same thought haunted The Ear, himself an avid amateur pianist, that also came to him during a fine student piano recital this summer.
That thought was simply this: Madison needs to have many more solo piano recitals.
The piano is perhaps the one most commonly studied musical instrument and is a staple of music education, so the potential audience should be there. The repertoire is vast and wonderful. And the piano just hasn’t been receiving its due compared to the many new choral groups and chamber music ensembles that always seem to be proliferating in the area.
The Wise Teacher recalls years ago when almost a dozen solo piano recitals happened during a single season. This season there are only three -– and two have already taken place.
One was the recital of Mendelssohn, Franck and Chopin by Spanish pianist Daniel del Pino (below top) on Oct. 4 at Farley’s House of Pianos on its Salon Piano Series. (The Ear couldn’t go because he is was in Chicago that afternoon hearing a piano recital by Maurizio Pollini.) The second was by Joyce Yang. The third one will be the performance by UW-Madison virtuoso professor Christopher Taylor (below bottom) on Friday, Feb 26. (No program has yet been announced.)
Here is an afterthought: Maybe the Madison Symphony Orchestra could start a piano series like the Chicago Symphony Orchestra offers on Sunday afternoons?
Let’s be clear: This is a matter more of pleasure and education than of justice.
Take Yang’s performance, which drew an unfortunately small house of only 300-400.
The first half was remarkable for both the clarity and color she possessed. Ethnic themes, folk songs and folk dances, especially Latin American and Spanish in nature, united the first half of her program.
She opened with two sonatas by Domenico Scarlatti, the three “Estampes” or Prints by Claude Debussy and two pieces from “Iberia” by Isaac Albeniz and three virtuosic “cowboy” dances by the Argentinian composer Alberto Ginastera.
In all those works, Yang proved a complete and mature keyboard artist. Her technique is rock solid, but it is her musicality that most impresses the listener. The Ear was particularly struck by Yang’s command of dynamics, her ability to play softly and still project, and to delineate and balance various voices.
The second half, all works by Sergei Rachmaninoff, proved less satisfying to The Ear, if not to the audience. It featured two transcriptions of vocal works or songs — “Dreams” and “Vocalise” — by the late American virtuoso pianist Earl Wild (below).
Unfortunately, Wild himself possessed a Lisztean (or Horowitzean) command of keyboard technique. And like Franz Liszt (or Vladimir Horowitz), Wild just couldn’t resist adding Liberace-like flourishes, flash and trash to his transcriptions in places where simplicity rather than Big Chords would have more than sufficed.
At certain points in a Wild transcription, the work inevitably sounds louche or decadent and over-the-top, like something you might hear at a piano bar or in a cocktail lounge. In short, they are more piano than music. (You can listen to Earl Wild himself performing his own transcription of Rachmaninoff’s “Vocalise” in a YouTube video at the bottom.)
Then came the Sonata No. 2 in B-flat minor by Rachmaninoff (below) in its revised 1931 edition. To be honest, this is a Big Piece that is full of sound and fury signifying not very much that The Ear can discern. (The Ear much prefers Rachmaninoff’s piano concertos, preludes and Etudes Tableaux.)
To be sure, the bombastic sonata requires impressive and powerful piano playing, which must explain the muscular work’s popularity among professional pianists and certain segments of the public. It is a Wower and wow us it does, although many of us would rather be seduced than wowed.
The sonata surely is effective in live performance and brought an immediate standing ovation. That, in turn, was rewarded with another Earl Wild transcription this time of George Gershwin’s “The Man I Love.” Too bad the love once again seemed overpowered by difficult but flawlessly executed scales and runs.
But putting those shortcomings aside, the sound of an amazingly played piano recital was such a welcome experience.
The Ear hopes that many more of them are somehow in store.
Tags: Argentina, Arts, Chicago Symphony Orchestra, Chopin, Christopher Taylor, Classical music, concerto, dance, Daniel del Pino, Debussy, Domenico Scarlatti, Dreams, duet, Earl Wild, Estampes, etude, Farley's House of Pianos, Faure, First Unitarian Society of Madison, folk dance, Folk music, Franck, George Gershwin, Ginastera, Horowitz, Iberia, Isaac Albéniz, Jacob Stockinger, Joyce Yang, Jules Massenet, Korea, Lee Hoiby, Liberace, lieder, Liszt, Madison, Madison Symphony Orchestra, Mendelssohn, Monteverdi, Music, music educaiton, Musical instrument, Piano, Piano concerto, Prelude, prints, recital, Sonata, songs, soprano, Spain, student recitals, The Man I Love, transcription, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Vladimir Horowitz, vocal music, vocalise, Wisconsin, Wisconsin Union Theater, YouTube
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