The Well-Tempered Ear

Classical music: The timing and political climate could not be more relevant for seeing the Madison Opera’s production of “Fellow Travelers” this Friday night and Sunday afternoon

February 6, 2020
3 Comments

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

You might recall from a previous blog posting that this weekend, the Madison Opera will present its production of the 2016 opera “Fellow Travelers.”

(A preview from the Minnesota Opera’s production, which featured the same sets and many of the same singers at the Madison Opera’s production, can be seen in the YouTube video at the bottom.)

Performances are this Friday night, Feb. 7, at 8 p.m. and Sunday afternoon, Feb. 9, at 2:30 p.m. in the Capitol Theater of the Overture Center.

Here is a link to more background and details about American history, the production, the cast and tickets.

https://welltempered.wordpress.com/2020/01/14/classical-music-background-discussions-lectures-and-documentaries-lead-up-to-madison-operas-production-of-the-new-lgbtq-themed-opera-fellow-travelers-on-feb-7-and-9/

Today, all The Ear wants to do is to point out how timely this story about the “Lavender Scare” of purging and punishing gays during the Red Scare, anti-Communist witch hunt of McCarthyism in the late 1940s and 1950s.

The opera’s story is about a young man (below) who supports Republican Sen. Joseph McCarthy of Wisconsin and then finds himself romantically and sexually attracted to another man who works in the State Department, one of McCarthy’s favorite targets.

He then has to deal with hypocrisy, with the contradictions between his personal life and his political beliefs as he goes from being victimizer to victim.

The political climate for such a work exploring fear and prejudice couldn’t be more relevant .

A lot of the credit for that can go directly to President Donald Trump (below), the master of “Fake News.”

Trump is a right-wing fear-monger and name-smearer, constantly raging against “radical left-wing Democrats.” He has even called Sen. Bernie Sanders — a Democratic candidate for president — a “Communist,” even though Sanders describes himself as a democratic Socialist along the lines of Western European socialists.

It is also no secret that in addition to such unfair and insulting name-calling, Trump and his homophobic supporters – including Vice President Mike Pence and Christian Fundamentalists – are looking to roll back the civil rights and human rights of people who are lesbian, gay, bisexual, transgender and queer.

And they want to do so even at a time when an openly gay man who is married, Pete Buttigieg, is running for president and seems to have just won the Iowa caucuses.

Moreover, there is a direct link between McCarthyism and the homophobia of the Liar-in-Chief.

Remember that McCarthy’ lawyer was a closeted and self-hating gay man named Roy Cohn (below right, with McCarthy). There is some evidence that McCarthy himself was secretly homosexual too.

After the humiliating end of the Army-McCarthy hearings and the premature death of McCarthy, Cohn went into private practice in New York City.

And that is where Cohn became the lawyer – and a role model of thuggish public behavior — for a young real estate developer named Donald Trump (below left, with Roy Cohn).

Such partisan times as the present seem to call for and inspire didactic art – better called “message art.” The Ear hasn’t seen the opera yet, so he can’t say how well it fits the bill.

But at first glance, the opera sure seems to fit the times we live in and the personalities of many of those who determine such a disturbing political and social climate. As The Nation magazine put it, “Trumpism is the New McCarthyism.”

In short, the opera’s plot seems both pertinent and realistic, one that could take place in today’s Washington, D.C.

The Ear is anxious to find out more and to make up his own mind, including about the music to be sung by the cast and played by the Madison Symphony Orchestra under conductor John DeMain.

He also hopes many of you will see the opera, and then leave your reactions and comments here, be they positive or negative.

The Ear wants to hear.

 


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Why do we love Chopin? Ask pianist Jeremy Denk

August 12, 2017
1 Comment

By Jacob Stockinger

I can’t think of anyone who doesn’t like playing or hearing the music of Chopin (below).

Can you?

But just why the 19th-century Romantic composer has such universal appeal is hard to explain.

One of the best explanations The Ear has read came recently from pianist Jeremy Denk, whose essay on “Chopin as a cat” appeared in The New York Times.

Denk, who has performed two outstanding solo recitals in Madison, is clearly an important musical thinker as well as a great performer. You can also see that at once if you read his excellent blog “Think Denk.”

The Ear suspects the current essay grew out of some remarks that Denk gave during a lecture on Chopin’s pedaling at the UW-Madison, and will be incorporated into the book he is working on that includes his previous acclaimed essays in The New Yorker magazine.

Denk (below), who has lately been performing an intriguing survey concert that covers 600 years of music, thinks that Chopin’s uniqueness resides in how he consolidated and fused both conservative values and radical, even modern, innovations.

To the Ear, it is the best modern analysis of Chopin that he has read since the major treatment that the acclaimed pianist-musicologist Charles Rosen wrote about the Polish “poet of the piano” in his terrific book “The Romantic Generation.”

Moreover, the online web version of Denk’s essay is much more substantial and satisfying than the newspaper print edition. It has not only audio-visual performances of important Chopin works by major artists such as Arthur Rubinstein and  Krystian Zimerman, it also suggests, analyzes and praises some “old-fashioned” historical recordings of Chopin by Ignaz Friedman, Alfred Cortot and Josef Hoffmann.

Now if only Jeremy Denk would record an album of Chopin himself!

Here is a link to the Chopin essay:

https://www.nytimes.com/2017/08/04/arts/music/jeremy-denk-chopin.html

Enjoy!

Please listen to the wonderful clips that Denk suggests.

Then tell us what pieces are your favorite Chopin works, big or small, and what performers are your favorite Chopin interpreters.

The Ear wants to hear.


Classical music: Conservative Republican presidential candidate and Evangelical Christian Ted Cruz wants to ban the tritone – or Devil’s chord – from classical music. NOT. Then again, maybe he does

March 21, 2016
1 Comment

By Jacob Stockinger

Today is the first day when you can vote early via absentee ballot for the presidential primary election in Wisconsin on Tuesday, April 5, when you can also vote to fill a seat on the state Supreme Court.

And tomorrow, Tuesday, brings more presidential primaries for both Republicans and Democrats in the Western states of Arizona and Utah. Plus, there will also be Democratic caucuses in Idaho.

So the following political piece — a pseudo-news report — seems timely and appropriate, especially given the drive by establishment Republicans to rally and choose the ultra-conservative U.S. Senator Ted Cruz from Texas (below) as a way to stop New York City businessman Donald Trump.

Republican presidential candidate, Sen. Ted Cruz, R-Texas, speaks at the Defending the American Dream summit hosted by Americans for Prosperity at the Greater Columbus Convention Center in Columbus, Ohio, Saturday, Aug. 22, 2015. (AP Photo/Paul Vernon)

Republican presidential candidate, Sen. Ted Cruz, R-Texas, speaks at the Defending the American Dream summit hosted by Americans for Prosperity at the Greater Columbus Convention Center in Columbus, Ohio, Saturday, Aug. 22, 2015. (AP Photo/Paul Vernon)

Sure, it’s a satire.

But it is a very well done satire — about something that was indeed banned in the Renaissance and Baroque eras by the Roman Catholic  Church.

But like so much satire, it is fun that also cuts close to the bone and contains more than a grain of truth about Cruz and about his many “first day on the job” promises if he gets elected president.

Cruz, the son of an evangelical minister, is such a devout and intolerant Christian fundamentalist, it is almost as if he is waging his own jihad, much like the Islamic terrorist state ISIS, on any culture he considers unChristian and heretical to his personal faith and what he considers to be the inerrant and literal truth of the Bible.

Hmm. Does that qualify him as an extremist or radical?

To The Ear, what is really and truly scary is Cruz — not the music.

And it is hard to say who is more threatening as a potential president: Donald Trump or Ted Cruz?

Well, make up your own mind, fellow music-lovers.

Here is the satire from submediant.com. It’s a good read with lots of details, specific composers and food for thought.

http://www.submediant.com/2016/03/15/citing-evangelical-faith-ted-cruz-calls-to-ban-satanic-tritone/

And here is a YouTube lesson in music theory that offers an explanation with examples of the Satanic tritone:


Classical music: New York Times critic Anthony Tommasini recalls his summer as a teenager listening to Stravinsky’s “The Rite of Spring” under conductor Leonard Bernstein – with Beethoven’s “Eroica” Symphony thrown in for good measure.

September 13, 2015
2 Comments

By Jacob Stockinger

The New York Times has come up with a terrific idea.

It is a series of essays called “Virgin Eyes.” It asks critics to recall a first experience with art or culture that they wish they could experience again, so powerful and formative and long-lasting was the first impression they received from it.

The series covers art and pop music, movies and television shows.

But it also features classical music and opera.

One of the more recent essays -– it should really be called Virgin Ears — was written by senior music critic Anthony Tommasini (below). You may recall he came to Madison several years ago as part of the centennial celebration of the University of Wisconsin-Madison’s Pro Arte Quartet.

tommasini-190

In his essay, Tommasini — who is a composer as well as a critic — recalls the formative summer of 1966 he spent listening to Igor Stravinsky’s “The Rite of Spring” in the hands of conductor Leonard Bernstein and the New York Phiharmonic.

That experience forever changed what Tommasini saw as radical music-making. (You can get a taste of Bernstein’s electrifying interpretation in the YouTube video at the bottom.)

Virgin Eyes Stravinsky

It is a delightful and informative read that echoes our own first experiences – in my case, the first piano recitals I heard by Arthur Rubinstein, Van Cliburn, Vladimir Horowitz and Rudolf Serkin.

Read and see if you don’t agree – and if it doesn’t make you think of your own experiences that you would like to re-live with virgin eyes and ears.

Here it is:

http://www.nytimes.com/2015/09/05/arts/music/how-i-spent-my-summer-with-bernstein-and-stravinsky.html


Classical music: French avant-garde composer Pierre Boulez turns 90. Do you find his music both radical and sensual?

March 29, 2015
Leave a Comment

By Jacob Stockinger

Once the enfant terrible of new music, French composer Pierre Boulez (below in 2011 in a photo by Martin Schalk of Getty Images) turned 90 on Thursday.

pierre boulez at 90 (2011) Matin Schalk Getty Images

But now Pierre Boulez is part of the establishment. (You can hear him discuss his approach to music, and how it differs from the 12-tone composers and atonal composers, in a YouTube video at the bottom. Somehow, I find his music more interesting to discuss than to listen to.)

Maybe you were lucky enough to attend the special concert marking the event last Friday night at the University of Wisconsin-Madison School of Music. (The Ear was unable to go.) It was organized and hosted by Marc Vallon (below, in a photo by James Gill), a French-trained bassoonist who teaches at the UW-Madison and who once worked with Boulez.

Marc Vallon 2011 James Gill (baroque & modern)[2]

A lot of musicians live in awe of Boulez, who has been very influential in the development of new music. They include the Italian pianist Maurizio Pollini (below top), who championed his work early on, and the American conductor David Robertson (below bottom) who does so today.

Polliniplaying

David Robertson

Perhaps the best summary of Boulez (below, in a photo from his younger years from Sony Music) is the one that was researched and written by Tom Huizenga for the Deceptive Cadence blog on NPR (National Public Radio).

pierre boulez younger with scorers Sony Music

It features audio samples from Boulez’ orchestral and instrumental works, from his masterpieces and his unknown works.

To be honest, I prefer the modernist Boulez who, as the music director of the Cleveland Orchestra and the Chicago Symphony Orchestra, conducts and records the music of Gustav Mahler and Claude Debussy. He definitely has a point of view that clarified the older music. I like his interpretations more than I like his compositions.

I am willing to admit that his music, his modernist esthetic, is important.

But I don’t think I would go so far as to call his music “sensual.” Radical, yes. But I find the sound too jagged and rough to be sensual, despite it being French. Sensual, for me, means pleasurable. And pleasurable is not an adjective I, personally, would use to describe the music of Boulez.

But then maybe I am just being overly insensitive.

Anyway, read the NPR story and listen to the samples, and then tell us how you perceive Pierre Boulez and his music.

http://www.npr.org/blogs/deceptivecadence/2015/03/26/395318157/the-sensuous-radical-pierre-boulez-at-90

The Ear wants to hear.


    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,231 other followers

    Blog Stats

    • 2,134,931 hits
%d bloggers like this: