The Well-Tempered Ear

Here are the classical music nominations for the 63rd annual Grammy Awards in 2021

November 28, 2020
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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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Can American film director Ron Howard make a sensitive and accurate biopic of Chinese superstar pianist Lang Lang? Or is it a cultural appropriation that deserves to be condemned?

September 27, 2020
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By Jacob Stockinger

The self-appointed PC diversity police have struck again.

This is getting silly and tiresome, insulting and embarrassing.

Some advocates of cultural diversity are crying foul over the latest project of the American and Academy Award-winning Hollywood film director Ron Howard: making a biopic of the superstar Chinese classical pianist Lang Lang (below).

The script will be drawn from the pianist’s bestselling memoir “Journey of a Thousand Miles” — which has also been recast as an inspirational children’s book — and the director and scriptwriters will consult with Lang Lang.

It seems to The Ear a natural collaboration, as well as a surefire box office hit, between two high-achieving entertainers. Check out their bios:

https://en.wikipedia.org/wiki/Lang_Lang

https://en.wikipedia.org/wiki/Ron_Howard

But some people are criticizing the project in the belief that because Ron Howard  (below) is white and Western, he cannot do justice to someone who is Chinese or to Asian culture.

Here is an essay, found on the website of Classic FM, by one objector. She is Chinese film director Lulu Wang (below), who says she has no interest in doing the project herself: https://www.classicfm.com/artists/lang-lang/pianist-biopic-ron-howard-faces-criticism-lulu-wang/

Talk about misplaced alarm over “cultural appropriation.”

Don’t you think that Lang Lang will have a lot to say about how he is depicted?

Do you wonder if Wang thinks cultural appropriation works in reverse?

Should we dismiss Lang Lang’s interpretations of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Tchaikovsky, Rachmaninoff, Prokofiev and Bartok simply because he is non-Western and Chinese rather than German, French or Russian?

Of course not. They should be taken on their own merits, just as the interpretations of any other Asian classical musician, and artists in general including Ai Weiwei, should be.

But however unfairly, cultural appropriation just doesn’t seem to work in reverse.

Mind you, The Ear thinks that cultural appropriation is a valid concept and can indeed sometimes be useful in discussing cross-cultural influences.

But it sure seems that the concept is being applied in an overly broad and even misdirected or ridiculous way, kind of the way that the idea of “micro-aggressions” can be so generously applied that it loses its ability to be truthful and useful.

Take the example of the heterosexual Taiwanese movie director Ang Lee. He certainly proved himself able to depict American culture in “The Ice Storm” and the gay world in “Brokeback Mountain.”

Let’s be clear. The Ear is a piano fan.

But if he objects to the project, it is because he doesn’t like Lang Lang’s flamboyant playing, his Liberace-like performance manners and showmanship, and his exaggerated facial expressions.

Yet there is no denying the human appeal of his story. He rose from a young and suicidal piano student (below) who was emotionally abused by his ambitious father – shades of the lives of young Mozart and Beethoven and probably many other prodigies – to become the best known, most frequently booked and highest paid classical pianist in the world. 

Yet not for nothing did some critics baptize him with the nickname Bang Bang.

Still, the Curtis Institute graduate does all he can to foster music education, especially among the young and the poor.

And there is simply no denying his virtuosity. (See Lang Lang playing Liszt’s Paganini etude “La Campanella” in the YouTube video at the bottom.)

So there is plenty to object to about Lang Lang the Piano Star besides the ethnicity of Ron Howard, who also did a biopic of opera superstar Luciano Pavarotti, in telling his story.

What do you think?

Is it culturally all right for Ron Howard to direct a film about Lang Lang?

Do you look forward to the movie and seeing it?

What do you think of Lang Lang as a pianist and a celebrity?

The Ear wants to hear.

 


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Classical music: The amateur, acclaimed and affordable Middleton Community Orchestra suspends its new season until further notice

September 4, 2020
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By Jacob Stockinger

At a time when many concert schedules are getting complicated due to virtual online concerts and other alternatives because of the coronavirus pandemic and Covid-19, the message couldn’t be simpler.

The Middleton Community Orchestra (below) has suspended its new season until further notice.

You can check for additional information by going to the website: https://middletoncommunityorchestra.org

There it says: “Concerts are postponed until further notice. Check back here and join our email list for updates to the season.”

It’s too bad.

The season took a lot of organizing. It was going to take place in alternative venues because the Middleton Performing Arts Center, attached to Middleton High School, is undergoing renovations. (In the YouTube at the bottom, you can hear the MCO performing the Overture to Wagner’s opera “Die Meistersinger.”

It was also to feature new soloists including violinist David Perry of the UW-Madison Pro Arte String Quartet, and two guest conductors from Edgewood College and the UW-Whitewater.

It could also mean another cancellation of the new teenage concerto competition and concert as well as the cancellation of conductor Kyle Knox’s inaugural season as the MCO’s new music director (below).

Here is the largely amateur, well planned, unquestionably ambitious and very affordable season that was scheduled: https://welltempered.wordpress.com/2020/03/30/classical-music-the-middleton-community-orchestra-announces-an-ambitious-2020-21-season-with-new-soloists-and-conductors-but-with-no-middleton-venue-for-the-season/

Do you have comments for the MCO?

The Ear wants to hear.

 


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Classical music: This summer’s Token Creek Festival is CANCELED. Plus, a teenager’s piano “practice journal” on Instagram is instructive, entertaining and encouraging

July 17, 2020
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NEWS ALERT: This summer’s Token Creek Festival (TCF) — with the chamber music theme of Legacy to run from Aug. 21-Sept. 6 –has been CANCELED. Organizers say they hope to launch a virtual online season of archived performances at the end of the summer.  Also, once modestly sized gatherings are safe again, the TCF hopes to hold an off-season event. For more information and an official statement from TCF, go to: https://tokencreekfestival.org 

By Jacob Stockinger

Somewhere in New York City is a young Chinese piano prodigy who can help you get through what is often the most challenging and discouraging part of piano lessons: practicing.

His name is Auston (below) – no last name is given – and you can find him, in T-shirts and shorts, on Instagram at Auston.piano.

Auston is quite the prodigy. A 13, he plays difficult and dramatic repertoire: the Nocturne in C minor, the Scherzo No. 1 in B minor and the Ballade No. 1 in G minor, all by Chopin.

You can also hear him play the Prelude and Fugue No. 3 in C-sharp minor from the Well-Tempered Clavier, Book I, by Johann Sebastian Bach; the fiendish Toccata by Sergei Prokofiev; and the Piano Concerto No. 2 by Sergei Rachmaninoff.

One day, The Ear expects, Auston might well be among the impressive amateurs and, later, professionals who compete in international competitions.

But more than listening to him playing, his frequent social media entries – sometimes he posts two or three times a day — allow us to hear him practice. We even hear him practicing scales – so-called Russian scales that combine scales in parallel and contrary motion.

This week, he hit 100 video posts. Just yesterday Auston started sight-reading the “Winter Wind” Etude of Chopin, Op. 25, No. 11, which many consider to be the most technically difficult of all Chopin’s etudes. (You can hear the etude – played by Maurizio Pollini – and see the note-filled score in the YouTube video at the bottom.)

Starting out, he often plays hands separately (below) and sight-reads the score very, very slowly, making mistakes and working out fingering. He also uses a metronome at a very slow tempo. He gets frustrated but he never gives up. He just starts over again and provides an excellent role model for aspiring piano students.

But this young man is also fun to read. In his one-minute or less entries of his “practice journal” – which he also calls his “practice journey” — he is witty and self-deprecating in his commentaries about the music and especially about himself when he makes mistakes. As seriously as he takes the piano and practicing, he doesn’t take himself too seriously.

All in all he can even encourage others – including The Ear –to persevere and go through the same frustrations of practicing and learning a new piece.

In this case, it is the piano, but the postings could easily apply to practicing any other instrument or even to singing.

Check it out.

You will be impressed.

You will admire him.

You will laugh along with him.

And you just might practice more.

If this practice journal is a pandemic project, it succeeds way beyond what you — and probably Auston himself — might expect.

Happy listening!

And patient, productive practicing!

 


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Classical music: A good pandemic project for the Beethoven Year is to follow Boris Giltburg as he learns and posts all 32 piano sonatas in one year

May 27, 2020
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By Jacob Stockinger

There are a lot of ways that musicians are celebrating the Beethoven Year of 2020 – the 250th anniversary of the birth of the composer (below).

One of the most interesting ways also makes for an engaging and ongoing coronavirus pandemic project.

The prize-winning Russian-Israeli pianist Boris Giltburg (below in a photo by Sasha Gusov) is learning all 32 piano sonatas in one year.

It is a formidable challenge, not only because most of the sonatas are technically and musically difficult, but also because the pianist says he has played only nine of the 32 sonatas before.

Giltburg’s videos feature not only fine playing and interpretations, but also a very readable and informative diary he writes that includes notes – also available in German on the website — about the sonatas and about what the process of learning and playing them has been like.

His approach works and makes you a vicarious participant in the major undertaking.

He posts performances of the sonatas every few weeks. He is learning and posting them in chronological order so you get a sense of the evolution. Giltburg is now up to Sonata No. 9 in E Major, Op. 14, No. 1.

Here is some background about Giltburg from Wikipedia: https://en.wikipedia.org/wiki/Boris_Giltburg

And here is a link to more background at his personal website where you can also find information about his other recordings for Naxos (he is known for his Liszt, Rachmaninoff, Scriabin and Prokofiev) and concerts: https://borisgiltburg.com

But the heart of the project is at Beethoven32.com where you can find the sonatas starting from the first.

The Ear likes hearing them this way.

Listening to them one at a time and reading about them seems a less overwhelming way to become familiar with what is called “The New Testament” – as compared to the Old Testament of the 48 preludes and fugues in Bach’s “The Well-Tempered Clavier.”

The Ear finds the playing first-rate and the sound quality excellent with great close-up videos of the keyboard and Giltberg’s playing.

Here is a link to the main website, which is easier than hunting for individual sonatas on YouTube: https://beethoven32.com

The Ear suggests starting at the bottom with Giltberg’s introduction and then working your way up one at a time, allowing time to appreciate both the music and his diary notes.

To get you started, here his introduction to the project:

https://www.youtube.com/watch?v=qeBrn_kwvfg

And below is his performance the Sonata No. 1 in F minor, Op. 2, No. 1.

Let us know what you think of Giltberg as a Beethoven interpreter and what you think of his sonata project.

The Ear wants to hear.

 


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Classical music: The Middleton Community Orchestra announces an ambitious 2020-21 season with new guest soloists and conductors, but with no Middleton venue

March 30, 2020
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By Jacob Stockinger

Amid all the concert cancellations due to COVID-19 comes good news.

The mostly amateur and critically acclaimed Middleton Community Orchestra (MCO, below) — which has canceled and postponed concerts for the remainder of this season — has announced its five-concert line-up for the 2020-21 season.

It is undeniably ambitious on several counts.

But unfortunately it usual venue — the Middleton Performing Arts Center that is attached to Middleton High School — will be undergoing renovations.

That means that the MCO will be using other venues besides its home base (below) for its 11th season.

The new venues include the Mead Witter Foundation Concert Hall (below) in the new Hamel Music Center, 740 University Ave., at the UW-Madison, which will host three of the concerts.

Also included for the other two concerts are the brand new McFarland Performing Arts Center (below)  – where the MCO will give the center’s inaugural public concert on Oct. 7 — and Madison Memorial High School.

Concert dates and times are usually Wednesdays at 7:30 p.m. They are Oct. 7, Dec. 16, Feb. 17, April 2 (Friday) and May 26. Admission will remain $15 with free admission for students. And, as usual, post-concert meet-and-greet receptions will be held at all performances.

The ambitious new season includes some familiar faces but also some new names.

On Oct. 7, pianist Thomas Kasdorf (below) will open the season by performing the Piano Concerto No. 2 by Rachmaninoff; and then, on May 26, he will close the season with the Piano Concerto No. 1 by Beethoven as the first installment of a complete cycle of Beethoven piano concertos.

On Oct. 7, UW professor and Pro Arte Quartet first violinist David Perry (below top) will make his MCO debut in the Violin Concerto No. 4 by Mozart; and on Dec. 16, Madison Symphony Orchestra concertmaster Naha Greenholtz (below bottom) will return to play the Violin Concerto by Brahms.

On April 2, the Festival Choir of Madison (below), under its director Sergei Pavlov, will makes its MCO debut in the movie-score cantata “Alexander Nevsky” by Prokofiev.

And the teenage winners of the second Youth Concerto Competition, to be held next December, will perform with the orchestra on Feb. 17.

The conductor for three concerts will be Kyle Knox, the music director of the Wisconsin Youth Symphony Orchestras (WYSO) and associate conductor of the Madison Symphony Orchestra (MSO).

A frequent MCO guest conductor, Knox has also agreed to become the ensemble’s new principal conductor and artistic adviser. (In the YouTube video at the bottom, you can hear Kyle Knox conducting the MCO last December in Wagner’s Overture to the opera “Die Meistersinger von Nürnberg” (The Master Singers of Nuremberg) at the UW’s Hamel Music Center.)

Two guest conductors will be making their MCO debuts: UW-Whitewater professor Christopher Ramaekers (below top) on Oct. 7 and Edgewood College professor Sergei Pavlov (below bottom) on April 2.

Some repertoire still hasn’t been decided. For up-to-date information, as well as information about how to audition for the MCO, how to subscribe to its email newsletter and how to support it, go to the newly redesigned website at: https://middletoncommunityorchestra.org

“We will also try to schedule the concert with this year’s Youth Concerto Competition winners for this summer, even if it means going to an outdoor venue,” says MCO co-founder and co-artistic director Mindy Taranto. The winners are: violinists Ava Kenny and Dexter Mott, and cellist Andrew Siehr.

Adds Taranto: “We are really excited about the lineup of guest soloists and new conductors, and are especially grateful to Kyle Knox for his continued association with us. We’re going to have a fantastic year.”

 


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Classical music: With live concerts cancelled, what will you do for music? The Ear has some suggestions but wants to hear your ideas

March 16, 2020
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ALERT 1: It’s official. The Madison Symphony Orchestra has cancelled its performances of Dvorak’s Requiem on April 3, 4 and 5. Sometime this week, according to the MSO website, the administration will inform ticket holders about what they can do.

ALERT 2: The Mosaic Chamber Players have cancelled their performance of Beethoven Piano Trios on March 21 at the First Unitarian Society of Madison.

By Jacob Stockinger

Now that live concerts and performances have been cancelled for the near future – thanks to the threat of the pandemic of the coronavirus and COVID-19 — music-lovers are faced with a problem:

What will we – especially those of us who are isolated at home for long periods of time — do to continue to listen to music?

Perhaps you have a large CD collection you can turn to. Or perhaps you subscribe to a streaming service such as Apple Music, SoundCloud, Amazon Music or another one.

Don’t forget local sources such as Wisconsin Public Radio and WORT-FM 89.9, both of which generously broadcast classical music, from the Renaissance to contemporary music, and often feature local performers.

Here is a link to Wisconsin Public Radio (WPR): https://www.wpr.org

Here is a link to WORT 88.9 FM: https://www.wortfm.org

There are also many other choices.

Happily, there is YouTube with its mammoth collection of free musical performances and videos. You can surf YouTube for new music and classic music, contemporary performers and historic performers, excerpts and complete works.

Here is a link: https://www.youtube.com

Those who are students or amateurs might use the time to sing – like those marvelous, uplifting Italians making music from their balconies during the crisis – or practice and play an instrument at home.

But other organizations – solo performers, chamber music ensembles, symphony orchestras, opera houses – are also trying to meet the challenge by providing FREE public access to their archives.

And it’s a good time for that.

Music can bring us together in this crisis.

Music can help us relax, and fight against the current panic and anxiety.

It’s also a good time to have a music project. Maybe you want to explore all the many symphonies or string quartets of Haydn, or perhaps the 550 keyboard sonatas by Scarlatti, or perhaps the many, many songs of Franz Schubert.

Here are some suggestions offered as possible guidance:

Here is what critics for The New York Times, including senior critic Anthony Tommasini (below) who likes Van Cliburn playing a Rachmaninoff concerto, will do: https://www.nytimes.com/2020/03/13/arts/music/coronavirus-classical-music.html

If you are an opera lover, you might want to know that, starting today, the Metropolitan Opera (below) in New York City will be streaming for FREE a different opera every day or night.

The productions are video recordings of operas that have been broadcast over past years in the “Live in HD” program. The titles are listed by the week and here is a link:

https://operawire.com/metropolitan-opera-to-offer-up-nightly-met-opera-streams/

If you like orchestral music, it is hard to beat the Berlin Philharmonic – considered by many critics to be the best symphony orchestra in the world — which is also opening up its archives for FREE.

Here is a background story with a link: https://www.newyorker.com/culture/cultural-comment/coronavirus-concerts-the-music-world-contends-with-the-pandemic

Here is another link, from Norman Lebrecht’s blog “Slipped Disc,” to the Berlin Philharmonic along with some other suggestions, including the Vienna State Opera: https://slippedisc.com/2020/03/your-guide-to-the-new-world-of-free-streaming/

And if you like chamber music, you can’t beat the FREE performances being offered by the acclaimed Chamber Music Society of Lincoln Center, some of whom recently performed in Madison at the Wisconsin Union Theater and with the UW-Madison Symphony Orchestra: https://www.chambermusicsociety.org/watch-and-listen/

But what about you?

What will you listen to?

Where will you go to find classical music to listen to?

Do you have certain projects, perhaps even one to recommend?

How will you cope with the absence of live concerts?

The Ear wants to hear.


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Classical music: The Madison Symphony Orchestra announces its 2020-21 season to mark The Beethoven Year. Plus, this Sunday afternoon, the Edgewood Chamber Orchestra also celebrates The Beethoven Year

February 21, 2020
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ALERT: The Madison Symphony Orchestra has just announced its 2020-21 season, which is heavy on works from Beethoven’s mid-career “Heroic” period to mark the Beethoven Year celebrating the 250th anniversary of the birth of the composer (below).

Other composers to be featured include Haydn, Mozart, Dvorak, Tchaikovsky, Rachmaninoff, Ravel, Sibelius, Honegger, Grofé, Kabalevsky and the African-American composer George Walker.

Familiar soloists include pianists Olga Kern and Garrick Ohlsson; violinists James Ehnes and Gil Shaham. Also soloing are retired UW-Madison professor and MSO principal oboe Marc Fink and MSO concertmaster Naha Greenholtz.

The traditional Christmas Concert is in early December.

The “Beyond the Score” program in late January, with actors from American Players Theater in Spring Green,  focuses on Stravinsky’s revolutionary “The Rite of Spring.” And the MSO Chorus will perform in Beethoven’s Symphony No. 9 “Choral” and “Missa Solemnis.”

All concerts will be conducted by John DeMain.

Here is a link to details about the season and how to subscribe: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/

Let The Ear know what you think of the new MSO season in the Comment section.

By Jacob Stockinger

This Sunday afternoon, Feb. 23, the Edgewood Chamber Orchestra of Edgewood College presents a special winter concert.

The performance is at 2:30 p.m. in McKinley Performing Arts Center of Edgewood High School, 2219 Monroe Street, on Madison’s near west side.

The conductor is Blake Walter (below, in a photo by John Maniaci) and the guest soloist is violinist David Huntsman.

The concert celebrates the 250th anniversary of the birth of the Ludwig van Beethoven.

The Chamber Orchestra will perform the Symphony No. 2 in D Major, Op. 36, by Beethoven, who seems influenced in this work by Mozart and especially his teacher Haydn but who moved beyond them in this symphony. (You can hear the innovative Scherzo movement, which replaced the traditional minuet, in the YouTube video at the bottom.)

Also on the program are Handel’s Overture to the opera “Semele” and the virtuosic Introduction and Rondo Capriccioso by Camille Saint-Saens, which features soloist David Huntsman (below).

Tickets are $5 for general admission, and admission is free with an Edgewood High School or Edgewood College ID.


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Classical music: This Saturday night, Russian pianist Ilya Yakushev returns to the Salon Piano Series at Farley’s House of Pianos to perform popular works by Beethoven, Liszt and Gershwin

January 6, 2020
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By Jacob Stockinger

This coming Saturday night, Jan. 11, at 7:30 p.m., the acclaimed Russian-born pianist Ilya Yakushev (below) will make his fourth recital appearance at the Salon Piano Series.

The concert will be held at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Yakushev — who studied in his native St. Petersburg and at the Mannes School of Music in New York City — has also performed several times with the Wisconsin Chamber Orchestra.

He never fails to impress with both his virtuosic technique and his insightful interpretations, whether he is playing Russian repertoire by Mussorgsky, Rachmaninoff and Prokofiev or jazzy American classics like Gershwin.

“Yakushev is one of the very best young pianists before the public today,” said the American Record Guide about Yakushev who has also won major  international competitions.

For more information about Yakushev, including critics’ reviews, a biography, concert dates and a discography, go to his website: http://www.ilyayakushev.com

The Madison program includes:

Beethoven – Sonata “Pathetique,” Op. 13

Liszt – “Six Consolations” (You can hear the famous Consolation No. 3, often learned by students and played as an encore by concert artists, in the YouTube video at the bottom.)

Gershwin – music from the opera “Porgy and Bess” in an arrangement for solo piano

An artist’s reception will follow the concert.

Tickets are $45 in advance ($10 for students) or $50 at the door. Service fees may apply. Student tickets can only be purchased online and are not available the day of the event.

You can purchase tickets on line at: https://www.brownpapertickets.com/producer/706809

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

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

The Salon Piano Series is a nonprofit founded to continue the tradition of intimate salon concerts featuring exceptional artists. For more information about the series, including upcoming concerts and how to support it, call (608) 271-2626 or go to: https://salonpianoseries.org.

 


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Classical music: Famed radio station WQXR names the best 100 recordings of 2019. Listen to samples of them here

December 28, 2019
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By Jacob Stockinger

Did you get a gift card for the holidays?

Are you looking how to spend it by either purchasing CDs or subscribing to a streaming service?

Help and guidance are available.

Few names in the airing of classical music carry more prestige than the famed radio station WQXR in New York City.

To check out the radio station’s choice of the best recordings of 2019 is also to see where the worlds of recording and concertizing are heading.

Such trends include rediscovering neglected composers and championing new music as well as women composers, such as Clara Schumann, and composers of color, such as the American composer Florence Price (below), who has often been featured on Wisconsin Public Radio this past year.

But you will also find noteworthy recordings of such classics as Johann Sebastian Bach – and two of his rarely heard cousins instead of his sons – and well as outstanding recordings of symphonies and piano sonatas (below, the set by Igor Levit) for the upcoming Beethoven Year to mark the 250th anniversary of the birth of the composer.

And you will also find names of outstanding performers you may not have heard of — such as the exceptional Chinese pianist Haochen Zhang (below), a Van Cliburn Competition gold medalist whom The Ear would like to see perform here.

Here is a link to 25 picks with commentaries– plus another 75 titles and samples, without commentary, to round out a Top 100.

Happy listening!

https://www.wqxr.org/story/best-classical-recordings-2019/


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