The Well-Tempered Ear

Classical music: Christmas is Tuba Time. Who knew?

December 18, 2016
8 Comments

By Jacob Stockinger

It’s the holidays.

At a time when so much music for the holiday season is predictable from year to year, here is a kind of music that is unusual – at least to The Ear.

Apparently, for some years now Christmas has been a time to celebrate the tuba (below) worldwide.

tuba

The music they play isn’t classical, but it is seasonal. And it is a good excuse to celebrate and orchestral instrument and member of the brass family that too often goes largely unnoticed.

If you go to YouTube and type in TubaChristmas, you can find samples of TubaChristmas celebrations and concerts in Chicago, Portland, Rochester, Kansas City, Boston, Baltimore, New York City, Washington, D.C. and many more.

The Ear hasn’t heard if there is a TubaChristmas celebration in Madison or anywhere else in Wisconsin. If there is, please leave word in the COMMENT section.

Below is a photo from Getty Images of more than 400 tuba players – called “tubists” in the profession – who gathered in Chicago for 2003 Tuba Christmas. (In the YouTube video at the bottom, you can hear tubas playing carols at the Palmer House hotel in Chicago in 2013.)

400-plus-tubas-at-tubachicago-in-2003-getty-images

Maybe you knew about it, but The Ear sure didn’t, even though he should have.

And in case you didn’t either, here is a link to the story that aired this past week on “All Things Considered” for National Public Radio (NPR):

http://www.npr.org/2016/12/16/505878391/at-tubachristmas-an-underdog-instrument-shines

It is a fine story about the event – complete with some tuba music — along with its origin and some background about the tuba.

Enjoy!

And let us now what you think of the tuba and of TubaChristmas.

The Ear wants to hear.

http://www.npr.org/2016/12/16/505878391/at-tubachristmas-an-underdog-instrument-shines


Classical music: The Wisconsin Chamber Orchestra and piano soloist Ilya Yakushev excel in a varied program. But audience members should do better at observing concert etiquette. Plus, retired UW-Madison bass-baritone Sam Jones dies at 87.

January 26, 2015
4 Comments

ALERT: Sad news has reached The Ear. Samuel M. Jones, a bass-baritone who was an exceptional performer and teacher at the UW-Madison School of Music for 37 years and who also served as the cantor at Temple Beth El and the Choral Director at Grace Episcopal Church, has died at 87. Here is a link to the obituary in the Wisconsin State Journal:

http://m.host.madison.com/news/local/obituaries/jones-dr-samuel-m-jr/article_8a445e98-0cf3-5112-bd72-8840b58a0399.html?mobile_touch=true

Samuel M. Jones

By Jacob Stockinger

On Friday night, The Ear couldn’t be in two places at once.

Being in the mood for some solo piano playing – because The Ear himself is an avid amateur pianist – he attended the solo recital of works by Ludwig van Beethoven, Franz Liszt, William Bolcom and Johannes Brahms performed by UW-Madison School of Music professor Christopher Taylor. But more about that will come in another post this week.

However, Larry Wells — a college classmate and good friend who is a longtime and very knowledgeable classical music follower and who has worked, lived and attended concerts in Rochester, San Francisco, Moscow, Tokyo and Seoul — went to the concert Friday night by the Wisconsin Chamber Orchestra (below) in the Capitol Theater of the Overture Center.

He filed this review:

WisconsinChamberOrchestrainCapitolTHeaterlobby

By Larry Wells

The program opened with a short introduction by Maestro Andrew Sewell, the longtime music director and conductor of the Wisconsin Chamber Orchestra, to the “English Suite” for string orchestra by the contemporary British composer Paul Lewis. (Sewell himself is a New Zealand native who also trained in England.)

Paul Lewis composer

Although the work was termed by Sewell as an obligatory form for British composers in the manner of Ralph Vaughan Williams, Edward Elgar and the like, I found the rhapsodic opening and closing of the second section, “Meditation,” reminiscent of VW’s “Fantasia on a Theme of Thomas Tallis.” But the remainder of the piece seemed trite and forgettable.

Following was the Concerto No. 1 in D Minor for keyboard by Johann Sebastian Bach. In this case, a concert grand piano was used featuring soloist Ilya Yakushev, a Russian native who now lives in the U.S., who was making his second appearance with the WCO.

This familiar piece was played bouncily in the first movement, sweetly in the second, and really fast in the third. I enjoyed Yakushev’s playing, although from my seat the piano seemed slightly muffled and occasionally unheard over the orchestra.

ilya yakushev 3

The second half of the evening opened with the Chamber Symphony No. 2 by Arnold Schoenberg, which Maestro Sewell claimed to be in the manner of Richard Strauss. If so, Strauss was much more expressive and engaging.

The evening ended with the Piano Concerto No. 1 in G minor by Felix Mendelssohn, again featuring Yakushev. I was unfamiliar with the piece, and found it immediately engaging and enjoyable throughout. (You can hear Ilya Yakushev perform the Mendelssohn piano concerto in a YouTube video at the bottom.)

Altogether, it was a good evening of music.

But it was unfortunately marred early in the aforementioned “Meditation” movement when a woman two seats down from me decided to answer a text. The bright light from her cell phone was distracting, so I pointedly stared at her until her seat mate nudged her, and she put away the phone. The seat mate clearly felt that I was in the wrong and glared at me.

I noticed that there is no caution in the program about turning off cell phones, so I believe it would be a good idea for a brief announcement to be made at the beginning of the concert and at the end of the intermission for people to turn off their phones. That simple courtesy has still not become a part of all concertgoers’ routines.

smart phone

And what is with the Madison tradition of giving everything a standing ovation? (Below is a standing ovation at a concert on the Playhouse by the Bach Dancing and Dynamite Society.)

BDDS 2014 Playhouse standing ovation

There have been perhaps a dozen times in my long concert-going life when I have been so moved by the moment that I’ve leapt to my feet. I think of a standing ovation as recognition of something extraordinary — not as a routine gesture that cheapens to the point of meaninglessness.

For purposes of comparison, here is a link to the review of the same concert by the Wisconsin Chamber Orchestra and pianist Ilya Yakushev that veteran local music critic and retired UW-Madison medieval history professor John W. Barker wrote for Isthmus:

http://www.isthmus.com/daily/article.php?article=44422&sid=6243d3d1e78139b69884d31c5c1126e2


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