The Well-Tempered Ear

Classical music: The 7th annual Schubertiade at the UW-Madison is this Sunday afternoon and will explore the influence of Beethoven on Schubert

January 23, 2020
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By Jacob Stockinger

This coming Sunday afternoon, Jan. 26, is the seventh annual UW Schubertiade – named after the evening gatherings of friends (below) where the composer Franz Schubert performed and premiered his own music.

This year’s theme, given that 2020 is the Beethoven Year, is the immense influence that the older Beethoven (below top) 1770-1827) had on the younger Schubert (below bottom, 1797-1828).

The event will begin with a pre-concert lecture by UW-Madison Professor of Musicology Margaret Butler at 2:15 p.m. in the Rehearsal Hall at the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art.

Then at 3 p.m. in the 330-seat Collins Recital Hall in the same building, the two-hour concert will take place.

The concert will close with the usual custom. The audience and performers will join in singing “An die Musik” (To Music). (In the YouTube video at the bottom, you can hear it sung by legendary German soprano Elisabeth Schwarzkopf and legendary British accompanist Gerald Moore.)

A reception will follow the concert in the main lobby.

For more description of the event plus a complete program and list of performers – who consist of UW-Madison graduates and musicians including soprano Jamie Rose Guarrine (below top) and mezzo-soprano Alisanne Apple (below middle) as well as the Pro Arte Quartet (below bottom, in a photo by Rick Langer) – go to: https://www.music.wisc.edu/event/our-annual-schubertiade/

At the site, you will also find information about buying tickets – general admission is $20 with free student tickets on the day of the concert is space is available – and about parking.

The event was founded by and continues to be directed by wife-and-husband pianists Martha Fischer and Bill Lutes (below) who also sing, accompany and play works for piano, four hands.

Lutes sent the following introductory remarks: “Ever since Martha and I presented the first of our annual Schubertiades back in January 2014, we’ve looked for ways to keep our all-Schubert birthday parties fresh and interesting for our audience.

“From time to time we contemplated introducing another composer – maybe even switching our allegiance from the immortal Franz to another of our favorites: perhaps a “Schumanniade.”

“This time, with six years of all-Schubert behind us, we thought we would do the obvious and finally unite Schubert with the composer who probably meant more to him than almost any other – Beethoven, whose 250th birthday is being celebrated this year.

“Once Beethoven moved permanently to Vienna at age 22, he soon became famous and eventually was regarded as the greatest of the city’s composers.

“Schubert, who was born in Vienna five years after Beethoven’s arrival, grew up hearing the older master’s works, often at their premieres. As his genius flowered early, Schubert was often challenged and inspired by Beethoven’s music.

“We bring together these two giants who lived in the same city, knew the same people, attended the same musical events, perhaps met or quite possibly didn’t.

“Yet Beethoven’s presence and example guided Schubert in his own road toward the Ultimate Sublime in music. Our concert of “Influences and Homages” features works where the musical, if not the personal, relationship is there for all to hear.”

Lutes also supplied a list of the song titles in English translation:

“Ich liebe dich” – I love you

“Der Atlas” – Atlas

“Auf dem Strom” – On the River

“Der Zufriedene” – The Contented Man

“Der Wachtelschlag” – The Quail’s Cry

“Wonne der Wehmut” – Joy in Melancholy

“Kennst du das Land?” – Do You Know the Land?

“An die ferne Geliebte” – To the Distant Beloved

“An die Freude” – Ode to Joy

“Gruppe aus dem Tartarus” – Scene from Hades

“Elysium”

“Nachthymne” – Hymn to the Night

“Abendlied unterm gestirnten Himmel” – Evening Song Beneath the Starry Firmament

Have you attended a past Schubertiade (below, in Mills Hall)?

What did you think?

Would you recommend it to others?

The Ear wants to hear.

 


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Classical music: Weekends are a good time to explore music and listen to it. So today The Ear starts a “2020” series for the new year.

January 4, 2020
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By Jacob Stockinger

It’s a new year and the first weekend of the new year. And The Ear wanted to find some kind of organizing principle to explore recorded music in the coming weeks and months.

Turns out the year 2020 – with its symmetry of numerals and suggestions of excellent vision — held a certain appeal.

So he checked out musical works that were either Op. 20 or No. 20. They could even occur together, like, say, a Prelude that is Op. 20, No. 20.

What he found was more than he expected: Dozens of composers and works that qualify as interesting and of suitable quality.

Some are well known, but many are rarely performed live or are neglected in recordings.

They come from all periods and styles, from early music to contemporary music.

And they come in all kinds of genres from vocal and choral music to chamber music, solo instrumental music and symphonic music.

Some works are short, some are medium and some are long.

For the longer ones, which are often divided up into smaller movements or other sections, it seems better to post the whole piece and let the reader decide how long they want to listen at a time rather than to post one part at a time and limit or force the reader.

Anyway, here is the first installment.

It is a wonderful solo piano piece that is too often overlooked, even though it is by a great composer who wrote it in his prime when he was writing many of his other more popular piano works.

It is the Humoresque, Op. 20, by the German Romantic composer Robert Schumann (below). It lasts about 29 minutes but is divided into other sections.

And the performance, often praised as outstanding or even definitive, is by the Romanian pianist Radu Lupu (below, young and old, the latter by Roberto Serra), the 1966 first prize-winner of the Van Cliburn International Piano Competition who recently retired because of ill health.

Here is a link to a detailed biography of the distinguished and somewhat reclusive and enigmatic 74-year-old pianist:

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

Here is YouTube video of Radu Lupu playing the Schumann Humoresque in a live recording from 1983:

Let The Ear know what you think of this piece and this idea for a 2020 series.

A long playlist for future 2020 postings – including works by Bach, Vivaldi, Haydn, Mozart, Beethoven, Schubert, Chopin, Dvorak, Tchaikovsky, Brahms and others — has already been compiled.

But if you have a favorite or suggested “2020” piece, leave word in the comment section.


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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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Classical music: The Wisconsin Chamber Orchestra and guest soloists will give a FREE public concert on Friday, Dec. 27, in the new Hamel Music Center at the UW-Madison to honor arts patrons Sandy and Jun Lee

December 15, 2019
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By Jacob Stockinger

If you are looking for a non-holiday concert to go to during Christmas week, the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) — which just performed a sold-out “Messiah” and is about to play the score for Madison Ballet’s production of “The Nutcracker” — has a surprise gift for you.

On Friday, Dec. 27, at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., at the UW-Madison, the WCO and three guest soloists will give a FREE “Winter Celebration” concert that is open to the public. (Donations to the WCO are suggested.)

The occasion is to celebrate the 50th wedding anniversary of Sandy and Jun  Lee (below), who are generous patrons of the arts in Madison.

The three guest artists for the concert are:

UW-Madison piano graduate Jason Kutz (below), who performs with the Willy Street Chamber players and other groups, will play the Introduction and Allegro Appassionato, Op. 92, by Robert Schumann.

Local mezzo-soprano opera star Kitt Reuter-Foss (below), who has sung at the Metropolitan Opera, will sing the “Habanera” from Bizet’s “Carmen” and “What a Movie” from Leonard Bernstein’s “Trouble in Tahiti.” (You can hear the famous “Habanera” in the YouTube video at the bottom.)

Renowned Chicago violinist Rachel Barton Pine, who has played several times with the WCO and just two months ago performed with the Madison Symphony Orchestra, will play the Violin Concerto No. 3 in B Minor, Op. 61, by Camille Saint-Saens.

In addition, the WCO, under the baton of music director Andrew Sewell (below, in a photo by Alex Cruz), will perform the “Poet and Peasant” Overture by Franz von Suppe; and the Overture to “Orpheus in the Underworld” by Jacques Offenbach.

Although the concert is free, tickets are required. You can go to this link to register by putting in your name and other required information: https://wisconsinchamberorchestra.org/performances/winter-celebration/

 


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Classical music: The successful centennial celebration of the Concert Series at the Wisconsin Union Theater continues this Friday night with a concert by the Kalichstein, Laredo and Robinson piano trio

December 5, 2019
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By Jacob Stockinger

This season marks the centennial of the Concert Series at the Wisconsin Union Theater (below are photos of the Memorial Union and Shannon Hall).

And so far, so good.

The anniversary features a variety of genres, and both individuals and ensembles, during the season-long event. Plus, many of the performers are returning to what The Ear calls “The Carnegie Hall of Madison.”

The anniversary started with a sold-out performance of the a cappella singing group Chanticleer and continued with a close to sold-out house for pianist Emanuel Ax in an all-Beethoven recital.

The first semester winds up this Friday night, Dec. 6, at 7:30 p.m. with the acclaimed piano trio of pianist Joseph Kalichstein, violinist Jaime Laredo and cellist Sharon Robinson (below).

The trio will be returning to Shannon Hall for the third time, this time as part of the new David and Kato Perlman Chamber Music Series.

The program features both the familiar and the unfamiliar.

It starts with the rarely heard Canonic Etudes by Robert Schumann. Then it continues with two of the most popular piano trios in the repertoire: the Piano Trio No. 1 in D Minor by Felix Mendelssohn and the “Archduke” Trio in B-Flat Major, Op. 97, by Ludwig van Beethoven. (You can hear the trio play the slow movement and finale of the “Archduke” Trio in the YouTube video at the bottom.)

Tickets are $10 to $50. For more information, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/kalichstein-laredo-robinson-trio/

The trio will also give a FREE and PUBLIC one-hour master class TODAY – Thursday, Dec. 5 — at 1:30 p.m. in the Collins Recital Hall of the new Hamel Music Center, 740 University Ave.

Such an activity is not unusual. Not only are the members of the trio active performers, they are also devoted to teaching and music education.

For more information about that side of the trio, read: https://union.wisc.edu/visit/wisconsin-union-theater/the-green-room/kalichstein-laredo-robinson-trio-shapes-future-performers/

And to learn more about the history of the trio, which recently celebrated its 40th anniversary, here is a link to its home website: http://www.kalichstein-laredo-robinson-trio.com

 


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Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
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By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)
  • AEQUA – ANNA THORVALDSDÓTTIR
    Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
  • BRUCKNER: SYMPHONY NO. 9
    Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
  • RILEY: SUN RINGS
    Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)
  • BLANTON ALSPAUGH
  • Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
    • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
    • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
    • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
    • Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
    • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
    • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
    • Visions Take Flight (Mei-Ann Chen & ROCO)
  • JAMES GINSBURG (below)
  • Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
    • Silenced Voices (Black Oak Ensemble)
    • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
    • Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
    • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
  • MARINA A. LEDIN, VICTOR LEDIN
  • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
    • The Orchestral Organ (Jan Kraybill)
    • The Poetry Of Places (Nadia Shpachenko)
    • Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
  • MORTEN LINDBERG
  • Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
    • Kleiberg: Do You Believe In Heather? (Various Artists)
    • Ljos (Fauna Vokalkvintett)
    • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
    • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
    • Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
  • DIRK SOBOTKA
  • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

 75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

  • BRUCKNER: SYMPHONY NO. 9
    Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • COPLAND: BILLY THE KID; GROHG
    Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • NORMAN: SUSTAIN
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)
  • TRANSATLANTIC
    Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • WEINBERG: SYMPHONIES NOS. 2 and 21
    Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

  1. Best Opera Recording
    Award to the Conductor, Album Producer(s) and Principal Soloists.
  • BENJAMIN: LESSONS IN LOVE & VIOLENCE
    George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
  • BERG: WOZZECK
    Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
  • CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
    Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
  • PICKER: FANTASTIC MR. FOX
    Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
  • WAGNER: LOHENGRIN
    Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

  1. Best Choral Performance
    Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
  • BOYLE: VOYAGES
    Donald Nally, conductor (The Crossing)
  • DURUFLÉ: COMPLETE CHORAL WORKS
    Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
  • THE HOPE OF LOVING
    Craig Hella Johnson, conductor (Conspirare)
  • SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
    Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
  • SMITH, K.: THE ARC IN THE SKY
    Donald Nally, conductor (The Crossing)

  1. Best Chamber Music/Small Ensemble Performance
    For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • CERRONE: THE PIECES THAT FALL TO EARTH
    Christopher Rountree and Wild Up
  • FREEDOM & FAITH
    PUBLIQuartet
  • PERPETULUM
    Third Coast Percussion
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Hermitage Piano Trio
  • SHAW: ORANGE
    Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • THE BERLIN RECITAL
    Yuja Wang
  • HIGDON: HARP CONCERTO
    Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
    Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
  • THE ORCHESTRAL ORGAN
    Jan Kraybill
  • TORKE: SKY, CONCERTO FOR VIOLIN
    Tessa Lark; 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.

  • THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
    Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
  • HIMMELSMUSIK
    Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
  • SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
    Matthias Goerne; Leif Ove Andsnes, accompanist
  • SONGPLAY
    Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
  • A TE, O CARA
    Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

  

  1. 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.
  • AMERICAN ORIGINALS 1918
    John Morris Russell, conductor; Elaine Martone, producer
  • LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
    Giancarlo Guerrero, conductor; Tim Handley, producer
  • MELTZER: SONGS AND STRUCTURES
    Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
  • THE POETRY OF PLACES
    Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
  • SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
    Hannu Lintu, conductor; Laura Heikinheimo, producer

  

  1. 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.
  • BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
    Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
  • HIGDON: HARP CONCERTO
    Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO IN D MAJOR
    Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
  • NORMAN: SUSTAIN
    Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
  • SHAW: ORANGE
    Caroline Shaw, composer (Attacca Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

 


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Classical music: This afternoon is your last chance to hear rave-winning performances by pianist Joyce Yang and the Madison Symphony Orchestra. Here’s a review to read

November 10, 2019
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By Jacob Stockinger

This afternoon — Sunday, Nov. 10 — at 2:30 p.m. in Overture Hall is your last chance to hear South Korean pianist Joyce Yang and the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) under the baton of music director John DeMain.

The program features the exciting, popular and beautiful Piano Concerto No. 3 by the Russian modernist composer Sergei Prokofiev as well as “Newly Drawn Sky” by contemporary American composer and Yale School of Music professor Aaron Jay Kernis (below) and the Symphony No. 2 by the German Romantic master Robert Schumann.

For more information about the performers, the program and tickets, go to: https://welltempered.wordpress.com/2019/11/04/classical-music-this-weekend-prize-winning-pianist-joyce-yang-solos-in-prokofievs-most-popular-piano-concerto-with-the-madison-symphony-orchestra-works-by-schumann-and-aaron-jay-kernis-are/

The prize-winning Yang (below), who  at 19 won the silver medal at the 2005 Van Cliburn International Piano Competition, rewarded a standing ovation with the late Earl Wild’s virtuosic arrangement of George Gershwin’s song “The Man I Love,” which you can hear Yang play in the YouTube video at the bottom.

The reviews that have appeared so far agreed: It is a rave-winning concert with special attention going to Yang, who is making her MSO debut after performing a solo recital several years ago at the Wisconsin Union Theater.

The Ear cannot find a link to the rave review by Bill Wineke for Channel 3000.

But here is the rapturous review that Michael Muckian wrote for Isthmus:

https://isthmus.com/music/joyce-yang-triumphs-with-prokofiev/

But you be the critic.

What did you think of Joyce Yang and the MSO?

The Ear wants to hear.

 


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Classical music: This weekend, prize-winning pianist Joyce Yang solos in Prokofiev’s most popular piano concerto with the Madison Symphony Orchestra. Works by Schumann and Aaron Jay Kernis round out the program

November 4, 2019
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By Jacob Stockinger

This weekend, prize-winning pianist Joyce Yang (below) will return to Madison to join the Madison Symphony Orchestra in her local concerto debut and perform Prokofiev’s brilliant, bravura and tuneful Piano Concerto No. 3 in C major, Op. 26.

The concert opens with Kernis’ Newly Drawn Sky and concludes with Schumann’s Symphony No. 2 in C Major, Op. 61.

Performances will be held in Overture Hall, 201 State Street, on Friday night, Nov. 8, at 7:30 p.m.; on Saturday night, Nov. 9, at 8 p.m.; and Sunday afternoon, Nov. 10, at 2:30 p.m.

Tickets are $19-$95 with discounts available. See below for details.

Speaking about the program, music director and maestro John DeMain (below, in a photo by Greg Anderson) says: “November brings us another Madison Symphony debut, that of the amazing pianist Joyce Yang. She will perform the Prokofiev’s dazzling Piano Concerto No. 3, one of the great and most popular concertos, and certainly a favorite of mine.”

Adds DeMain: “I can’t wait for audiences to experience the hauntingly beautiful Newly Drawn Sky by Aaron Jay Kernis. And of the four symphonies by Robert Schumann, many regard his second as the greatest of them all.”

According to Aaron Jay Kernis (below), who has won the Pulitzer Prize and a Grammy Award and who teaches at the Yale School of Music, Newly Drawn Sky” is “a lyrical, reflective piece for orchestra, a reminiscence of the first summer night by the ocean spent with my young twins, and of the summer sky at dusk.”

The chromatically shifting three-note chords that begin in the strings and transfer to the winds are a central element in the creation of this work. The works last approximately 17 minutes and was premiered at the Ravinia Festival in 2005 by the Chicago Symphony Orchestra.

To read more about Kernis and his successful career, go to: https://en.wikipedia.org/wiki/Aaron_Jay_Kernis

Sergei Prokofiev (below) himself played the solo part at the world premiere of his Piano Concerto No. 3 on Dec. 16, 1921 in Chicago with the Chicago Symphony Orchestra. Although he started work on the composition as early as 1913, the majority of it was completed in 1921 and the piece didn’t gain popularity until 1922 when it was confirmed in the 20th-century canon. (You can hear Prokofiev play the first movement in the YouTube video at the bottom.) The Ear thinks that the work has much Russian Romanticism in it and if you like Rachmaninoff, you will probably like this Prokofiev.

Originally a composer for keyboard, Robert Schumann (below with wife Clara) began writing symphonies around the time of his marriage to his virtuoso pianist and composer wife Clara Wieck, who encouraged his compositional expansions.

The uplifting Symphony in C major was created while the composer was troubled with depression and hearing loss; a Beethovenian triumph over pessimism and despair, the creation of this symphony served as a healing process for Schumann.

ABOUT JOYCE YANG 

Blessed with “poetic and sensitive pianism” (The Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammy-nominated pianist Joyce Yang, who years ago played a recital at the Wisconsin Union Theater, captivates audiences with her virtuosity, lyricism and interpretive sensitivity.

Yang first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takacs Quartet), and Best Performance of a New Work.

In 2006 Yang (below) made her celebrated New York Philharmonic debut alongside conductor Lorin Maazel at Avery Fisher Hall in Lincoln Center along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea.

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert.

One hour before each performance, Wisconsin Public Radio host Anders Yocom (below, in a photo by James Gill )will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msonov19programnotes.

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/joyce-yang-plays-prokofiev/through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
  • Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Flex-ticket booklets of 8-10 vouchers for 2019-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Subscriptions for the 2019–2020 season are available now. Learn more at: https://madisonsymphony.org/19-20

Discounted seats are subject to availability, and discounts may not be combined. 

Major funding for this concert is provided by Madison Magazine, Stephen D. Morton, National Guardian Life Insurance Company, Scott and Janet Cabot, and Peggy and Tom Pyle. Additional funding provided by Foley & Lardner LLP, Howard Kidd and Margaret Murphy, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts


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Classical music: This Saturday night, pianist Emanuel Ax returns to the Wisconsin Union Theater in an all-Beethoven recital, and also is in a FREE and PUBLIC Q&A that afternoon. That same night, UW-Madison professor Alicia Lee gives a free clarinet recital

November 1, 2019
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By Jacob Stockinger

This Saturday night, Nov. 2, brings two separate but noteworthy recitals by Grammy-winning pianist Emanuel Ax and by UW-Madison clarinetist Alicia Lee.

Here are details:

EMANUEL AX

Emanuel Ax and Madison go way back.

Since 1974, the Wisconsin Union Theater has often seen Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco) perform both as a soloist and a chamber musician with the legendary violinist Nathan Milstein and the superstar cellist Yo-Yo Ma, who is also a close friend. (Ax has also performed with the Franz Liszt Chamber Orchestra at the old Civic Center and with the Madison Symphony Orchestra in the Overture Center.)

This Saturday night, Nov. 2, Emanuel Ax returns again to help celebrate the centennial of the Union Theater’s Concert Series and to help kick off the Beethoven Year in 2020, which marks the 250th anniversary of the composer’s birth.

The concert is at 7:30 p.m. in Shannon Hall with a pre-concert lecture, given by Andrea Fowler, a UW-Madison graduate student in musicology. Her lecture is at 6 p.m. in the Memorial Union’s Play Circle.

The program centers on the first three piano sonatas, Op. 2, by Beethoven (below) plus two rarely heard sets of theme-and-variations. In addition, he will start the performance with the popular “Für Elise” Bagatelle known to so many piano students, their parents and the public. (You can hear “Für Elise” and see a graphic depiction of it in the YouTube video at the bottom.)

Tickets run from $15 for UW-Madison students to $70. For more information about tickets, Emanuel Ax, the program, sample reviews and links to Ax’s website, go to:

https://union.wisc.edu/events-and-activities/event-calendar/event/emanuel-ax/

NOTE: This time, there will also be a special event as part of his appearance.

On Saturday afternoon from 1 to 2 p.m. in Collins Recital Hall at the new Hamel Music Center, 740 University Ave., Ax will participate in a FREE and public Q&A.

Here is a publicity blurb about that event: “Join us for a Q&A with Grammy Award-winning pianist Emanuel Ax. Now is your chance to ask how he selects repertoire, what his practice schedule is like, if he has any pre-recital rituals, or whatever you would like to know!”

“This event is intended for UW-Madison students and UW campus community, however the Madison community is welcome.”

For more information about the Q&A, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/q-and-a-with-emanuel-ax/

ALICIA LEE

At 8 p.m. in Collins Recital Hall, UW-Madison clarinetist Alicia Lee (below), who also plays in the UW Wingra Wind Quintet, will give a FREE recital of chamber music.

The program includes music by Robert Schumann, Bela Bartok, Isang Yun, Eugene Bozza and Shulamit Ran.

Two faculty colleagues will join Lee: pianist Christopher Taylor and violinist Soh-Hyun Park Altino.

For more information about the event, go to: https://www.music.wisc.edu/event/alicia-lee-faculty-clarinet/

For an extensive biography of Alicia Lee, go to: https://www.music.wisc.edu/alicia-lee/


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Classical music: Legendary Austrian pianist and scholar Paul Badura-Skoda dies at 91. In the 1960s, he was artist-in-residence at the UW-Madison School of Music

September 28, 2019
4 Comments

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By Jacob Stockinger

Paul Badura-Skoda, the celebrated Austrian pianist who was equally known for his performances and his scholarship, and who was artist-in-residence at the UW-Madison in the mid-1960s until 1970, died this past Tuesday at 91.

A Vienna native, Badura-Skoda was especially known for his interpretations of major Classical-era composers who lived and worked in that city including Haydn, Mozart, Beethoven and Schubert.

He was the only pianist to have recorded the complete sonatas by those composers on both the modern piano and the fortepiano, the appropriate period instrument.

If memory serves, Badura-Skoda’s last appearances in Madison were almost a decade ago for concerts in which he played: the last piano sonatas of Haydn, Mozart, Beethoven and Schubert; a Mozart piano concerto with the UW Chamber Orchestra; and a solo recital of Bach, Mozart, Schubert and Chopin at Farley’s House of Pianos.

But he also performed and recorded Bach, Chopin and Schumann among others. And Badura-Skoda was also renowned as a conductor, composer, editor and teacher.

You can find many of his recordings and interviews on YouTube. Normally, this blog uses shorter excerpts. But the legendary Paul Badura-Soda is special. So in the YouTube video at the bottom  you can hear Badura-Skoda’s complete last recital of Schubert (Four Impromptus, D. 899 or Op. 90), Schumann (“Scenes of Childhood”, Op. 15) and Mozart (Sonata in C Minor, K. 457). He performed it just last May at the age of 91 at the Vienna Musikverein, where the popular New Year concerts take place.

Here are links to several obituaries:

Here is one from the British Gramophone Magazine:

https://www.gramophone.co.uk/classical-music-news/pianist-paul-badura-skoda-has-died-at-the-age-of-91

Here is one from WFMT radio station in Chicago, which interviewed him:

https://www.wfmt.com/2019/09/26/pianist-paul-badura-skoda-dies-at-age-91/

Here is one, with some surprisingly good details, from Limelight Magazine:

https://www.limelightmagazine.com.au/news/paul-badura-skoda-has-died/

And here is his updated Wikipedia entry:

https://en.wikipedia.org/wiki/Paul_Badura-Skoda

But you will notice a couple of things.

One is that The Ear could not find any obituaries from such major mainstream media as The New York Times, the Wall Street Journal and The Washington Post. But each had many other feature stories about and reviews of Badura-Skoda’s concerts over the years in their areas.

The other noteworthy thing is that none of the obituaries mentions Badura-Skoda’s years at the University of Wisconsin-Madison School of Music in the 1960s, where he helped to raise the profile and prestige of the School of Music. Getting Badura-Skoda to join the university was considered quite an unexpected coup.

So here are two links to UW-Madison press releases that discuss that chapter of his life and career.

Here is an archival story from 1966 when Badura-Skoda first arrived at the UW-Madison:

http://digicoll.library.wisc.edu/cgi-bin/UW/UW-idx?type=turn&entity=UW.v67i8.p0011&id=UW.v67i8&isize=text

And here is a press release that came from the UW-Madison News Service eight years ago on the occasion of one of Badura-Skoda’s many visits to and performances in Madison:

https://news.wisc.edu/writers-choice-madison-welcomes-badura-skoda-again-and-again/

Rest in Peace, maestro, and Thank You.

It would be nice if Wisconsin Public Radio paid homage with some of Badura-Skoda’s recordings since a complete edition was issued last year on the occasion of his 90th birthday.

If you wish to pay your own respects or leave your memories of Paul Badura-Skoda and his playing, please leave something in the comment section.


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