The Well-Tempered Ear

This weekend, starting Friday night, the Wisconsin Chamber Orchestra finishes up its winter season of online chamber music

April 15, 2021
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By Jacob Stockinger

This is the time of the year when music groups generally announce their next season while finishing up the current one.

But of course the pandemic continues to shroud plans for the new upcoming season in uncertainty and whether it will be online or in-person.

Meanwhile, groups are in the final stretch of finishing up this season.

This Friday night, April 16, at 7:30 p.m., the Wisconsin Chamber Orchestra (WCO, below in photo by Mike Gorski) will debut the fourth and last online chamber music concert of its curtailed and substituted winter season.

The varied program includes works, both well-known and neglected, by four composers — from Italy, Russia, France and Austria — who come from the 18th, 19th and 20th centuries.

The concert begins with the complete Concerto for Four Violins in B minor, RV 580, by Antonio Vivaldi (below). The string accompaniment will be scaled down.

Then comes the complete Septet for Winds, Strings and Piano by Russian composer Igor Stravinsky (below).

The first and third movements of the Nonet by the rediscovered 19th-century French composer Louise Ferenc come next. (Here is the Wikipedia link to Ferenc (below):

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

The final music will be the first, fourth and fifth movements – including the famous theme-and-variations – of the famously tuneful “Trout” Piano Quintet by Franz Schubert (below).

In the YouTube video at the bottom, you can hear the namesake theme-and-variations movement — based on one of Schubert’s songs — played by Itzhak Perlman, Pinchas Zukerman, Daniel Barenboim, Jacqueline du Pre and Zubin Mehta, with a graphical depiction of the score.

The concert lasts 60-75 minutes.

Tickets are $30.

Here is a link to program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz) and to purchasing a ticket through the Overture Center box office.

The ticket is good for one viewing between Friday night and Monday night, April 19, at 7:30 p.m.

https://wcoconcerts.org/events/winter-chamber-series-no-iv


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The UW Symphony Orchestra performs a FREE online concert Thursday night and Friday night the Wisconsin Chamber Orchestra debuts its second chamber music concert. But in-person micro-concerts on Sunday by the the Willy Street Chamber Players are sold-out

February 24, 2021
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By Jacob Stockinger

The second half of the music season is well under way, with just about every major group performing online – or in one case even in person.

Here are three selections this week:

THURSDAY

Two of the most musically and technically impressive concerts The Ear heard last semester took place at the UW-Madison’s Mead Witter School of Music. They were by the UW-Madison Symphony Orchestra under the direction of conductor Oriol Sans (below).

First, Sans conducted a socially distanced and virtual all-strings concert (below).

Then, for the second concert, the conductor had the winds and brass – which spray dangerous aerosol droplets – record their parts individually. Then for the live performance, Sans donned earphones and masterfully combined all the forces into a full orchestra performance (below).

You can see similar results – with percussion joining for the strings for the last piece — this Thursday night, Feb. 25, at 7:30 p.m. on YouTube when the UW Symphony Orchestra live-streams a 90-muinute concert from the Mead Witter Foundation Concert Hall in the Hamel Music Center. No in-person attendance is allowed.

Here is the program:

I Crisantemi (Chyrsanthemums) by Italian opera composer Giacomo Puccini (1858-1924), with Michael Dolan, guest conductor

“Leyendas: An Andean Walkabout” by contemporary American composer Gabriela Lena Frank (b. 1972) Coqueteos (Flirtations)

“Carmen” Suite (after the opera by Georges Bizet) by Russian composer Rodion Shchedrin (b.1932): Introduction; Dance; Carmen’s entrance and Habanera Torero; Adagio; Fortune-telling; and Finale.

Here is a link to the live-streamed video: https://youtu.be/GSrMLKrjlVg

And here is a link to more information, including program notes and the names of members of the orchestra: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/

FRIDAY NIGHT

On Friday night at 7:30 p.m. the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) will offer the second of its Winter Chamber Series. It will run between 60 and 75 minutes.

There will be string, brass and percussion music by Mozart, Beethoven, Rossini, Steve Reich, Craig H. Russell and Thomas Siwe. Be aware that three of the works – string quartets by Mozart and Beethoven and a string sonata by Rossini — are presented in excerpts. That is not listed on the webpage.

The cost for one-time access between Friday night and Monday night is $30.

Here is a link to more information, including a link to ticket sales from the Overture Center box office and program notes by WCO music director and conductor Andrew Sewell (below, in a photo by Alex Cruz): https://wcoconcerts.org/events/winter-chamber-series-no-ii

SOLD-OUT

The Micro-concerts scheduled for this coming Sunday, Feb. 28, by the esteemed Willy Street Chamber Players (below), are SOLD-OUT.

The 10-minute private concerts for two, which require masks and social distancing for all, are perhaps the most innovative move by any local music group during the coronavirus pandemic.

The Ear, who expects concert habits to change after the pandemic, thinks such micro-concerts have a very bright future even after the pandemic is under control and audiences can return safely to mass events.

The concert are pay-what-you can but a $20 donation for two was suggested.

For more information about the micro-concerts, listen to the YouTube video at the bottom and go to: http://www.willystreetchamberplayers.org/micro-concerts.html

 


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Library of Congress streams UW pianist Christopher Taylor’s online Liszt-Beethoven symphony recital for free this Thursday night

December 16, 2020
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By Jacob Stockinger

This Thursday night, Dec. 17, from 7 to 9 p.m. CST, University of Wisconsin-Madison virtuoso pianist Christopher Taylor (below) will close the celebration of the Beethoven Year, marking the 250th anniversary of the composer’s birth, at the Library of Congress. After the concert’s premiere, it will stay posted online.

For the past several years, Taylor has been performing the solo piano transcriptions by Franz Liszt of Ludwig van Beethoven’s nine symphonies both in Russia and at the UW-Madison. 

Here is more from the website of the UW-Madison’s Mead Witter School of Music:

“It takes extraordinary skill as an orchestrator to condense an entire symphony by Beethoven (below top) into a version for a solo instrument, but that is just what Franz Liszt (below bottom) accomplished in his piano transcriptions. (You can hear a sample, along with a visual representation, of the Fifth Symphony transcription in the YouTube video at the bottom.)

“Hear virtuoso pianist Christopher Taylor perform three of these transcendent symphony transcriptions, works he describes as a “new perspective on something familiar.” (The Ear, who has heard Taylor’s impressive performances of almost all nine symphonies, finds that comparing the two versions is like looking at the same photograph in color and then black-and-white. Color emphasizes details while black-and-white emphasizes structure. You hear new things by comparing the two.)

The performance was pre-recorded in the Mead Witter Foundation Concert Hall of the Hamel Music Center.

The program is:

BEETHOVEN/LISZT

Symphony No. 1 in C major, Op. 21

Symphony No. 2 in D major, Op. 36

Symphony No. 5 in C minor, Op. 67

You can find more details at: https://loc.gov/concerts/christopher-taylor.html

You can Register on Eventbrite

Hailed by critics as “frighteningly talented” (The New York Times) and “a great pianist” (The Los Angeles Times), Taylor has distinguished himself throughout his career as an innovative musician with a diverse array of talents and interests.

He is known for a passionate advocacy of music written in the past 100 years — Messiaen, Ligeti and Bolcom figure prominently in his performances — but his repertoire spans four centuries and includes the complete Beethoven sonatas, the Liszt Transcendental Etudes, Bach’s Goldberg Variations, and a multitude of other familiar masterworks.

Whatever the genre or era of the composition, Taylor brings to it an active imagination and intellect coupled with heartfelt intensity and grace.

Taylor has concertized around the globe, with international tours taking him to Russia, Western Europe, East Asia and the Caribbean. 

At home in the U.S. he has appeared with orchestras such as the New York Philharmonic, Los Angeles Philharmonic, Detroit Symphony, the Madison Symphony and the Milwaukee Symphony. As a soloist he has performed in New York’s Carnegie and Alice Tully Halls, in Washington’s Kennedy Center for the Performing Arts, the Ravinia and Aspen festivals, and dozens of other venues.

In chamber music settings, he has collaborated with many eminent musicians, including Robert McDuffie and the Borromeo, Shanghai, Pro Arte, and Ying Quartets.

His recordings have featured works by Liszt, Messiaen and present-day Americans William Bolcom and Derek Bermel. 

Throughout his career, Taylor has become known for undertaking memorable and unusual projects.  Examples include: an upcoming tour in which he will perform, from memory, the complete transcriptions of Beethoven symphonies by Liszt; performances and lectures on the complete etudes of Gyorgy Ligeti; and a series of performances of the Goldberg Variations on the unique double-manual Steinway piano (below) in the collection of the University of Wisconsin.

Numerous awards have confirmed Taylor’s high standing in the musical world. He was named an American Pianists’ Association Fellow for 2000, before which he received an Avery Fisher Career Grant in 1996 and the Bronze Medal in the 1993 Van Cliburn International Piano Competition. In 1990 he took first prize in the William Kapell International Piano Competition, and also became one of the first recipients of the Irving Gilmore Young Artists’ Award.

Taylor lives in Middleton, Wis., with his wife and two daughters. He is a Steinway artist.

For more biographical information — including his piano teachers and his education as well as his interest in mathematics and engineering — go to: https://www.music.wisc.edu/event/christopher-taylor-concerts-from-the-library-of-congress/

 


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The UW-Madison’s Pro Arte Quartet performs the fifth installment of its complete Beethoven cycle this Friday night at 7:30 in a FREE live-streamed concert

November 19, 2020
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By Jacob Stockinger

As we draw close to Dec. 16 and the 250th birthday celebrations for Ludwig van Beethoven (below, in 1803), one of the joys and highlights of the Beethoven Year continues to impress.

The UW-Madison’s acclaimed Pro Arte Quartet will give the fifth installment of their complete cycle of the 16 string quartets by Beethoven this Friday night, Nov. 20, at 7:30 p.m.

Here is a direct link: https://youtu.be/nZN7tRu8N_k

Members of the quartet (below, from left) are: violinists David Perry and Suzanne Beia; violist Sally Chisholm; and cellist Parry Karp.

The FREE online virtual concert is a livestream from the Mead Witter Foundation Concert Hall, where the quartet will once again play with masks and social distancing (below).

No in-person attendance is allowed.

“It’s different playing without a live audience,” says cellist Parry Karp. “But we’re getting used to it. Not having to play other live concerts or to go on tour around the state also allows us to focus more. And the upside of playing online is that we saw quite a number of viewers from Brazil and Argentina listening to our last concert.”

Before each of the two quartets, Professor Charles Dill (below in a photo by Katrin Talbot), who teaches musicology at the UW-Madison’s Mead Witter School of Music, will give a short introductory lecture.

The program features one early quartet and one middle “Razumovsky” quartet: String Quartet No. 3 in D Major, Op. 18 No. 3 (1798-1800); and String Quartet No. 8 in E Minor, “Razumovsky,” Op. 59, No. 2 (1806). 

You can hear the Ebène Quartet play the hymn-like slow movement of the Razumovsky quartet, with its use of a Russian theme, in the YouTube video at the bottom.)

Here is more background from Wikipedia about both quartets:

https://en.wikipedia.org/wiki/String_Quartet_No._3_(Beethoven)

https://en.wikipedia.org/wiki/String_Quartet_No._8_(Beethoven)

For more information about the program, the names of the orchestra’s players and impressive historical background about the Pro Arte Quartet, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-v/


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Salon Piano Series offers a free video of pianist Maxim Lando playing quiet Beethoven to ease the burden of the pandemic

October 15, 2020
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By Jacob Stockinger

The Ear has received the following note from the Salon Piano Series to post:

During these uncertain times, we appreciate remembering time spent together enjoying music.

Please take a break from your day to see and hear the young, prize-winning pianist Maxim Lando (below) perform the theme-and-variations third movement of Beethoven’s Sonata No. 30 in E Major, Op. 109, “Andante molto cantabile ed espressivo” (Slowly, very singing and expressive).

The 15-minute video – posted and viewable now- — was recorded live at Farley’s House of Pianos, as part of the Salon Piano Series, on Nov. 17, 2019.

Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.

For updates and more information, go to: https://salonpianoseries.org

Here is the Lando video: 

Editor’s note: Here is a Wikipedia entry with more impressive information about Maxim Lando’s biography and many concert performances around the world including China and Russia as well as the U.S.: https://maximlando.com

If you want to hear the entire Beethoven Sonata, you can hear a performance by Richard Goode in the YouTube video below.


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Classical music: The Salon Piano Series offers pianist Ilya Yakushev playing Gershwin’s “Rhapsody in Blue” online for FREE with no deadline

September 8, 2020
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By Jacob Stockinger

The Ear has received the following news from the Salon Piano Series to post:

During these uncertain times of the coronavirus pandemic, we appreciate remembering time spent together enjoying music.

Please take a break from the stresses of your day to see and hear George Gershwin’s “Rhapsody in Blue” performed by Ilya Yakushev (below) at Farley’s House of Pianos as part of the Salon Piano Series on Jan. 11, 2020.

The virtuosic Russian-born and Russian-trained Yakushev is well known to Madison audiences through his appearances with the Wisconsin Chamber Orchestra and his recitals at Farley’s House of Pianos.

His performance of the popular Gershwin piece in a solo arrangement was especially noteworthy. Because of bad weather and a canceled flight, Yakushev drove straight through to get here from New York City, where he lives and teaches, and performed just 1-1/2 hours later. He was up for 27 hours straight.

Here is a link to his website: http://www.ilyayakushev.com/index.html

You can see the LIVE performance in the YouTube video at the bottom.

It is free and there is no deadline for when the video stops being accessible to the public. The Salon Piano Series hopes to offer another unseen video in October.

Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships, and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.

Sincerely,

Salon Piano Series


Classical music: UW-Madison piano virtuoso Christopher Taylor performs a free virtual recital of impromptus by Schubert and Scriabin this Wednesday afternoon

August 4, 2020
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A note from The Ear: Thank you to the many blog followers who left a message of encouragement when I had computer troubles last week. The problem seems to be solved, at least temporarily. And I am healthy, despite the fears that some of you expressed that I was covering for coming down with the coronavirus virus or Covid-19.

By Jacob Stockinger

A friend has passed along the following note from Christopher Taylor, the piano virtuoso who won a bronze medal at the Van Cliburn International Piano Competition and who has been teaching for many years at the UW-Madison Mead Witter School of Music.

Taylor (below) writes:

“Despite having my performance schedule ravaged, like everyone else, I do actually have one positive morsel of news to relay regarding a “recital” coming up in the near future, which I wanted to you know about.

“It is being hosted by the Chautauqua Institution, where I’ve performed a few times in the past. Unsurprisingly, they’ve had to switch to an online format this summer.

“Just last week I made the actual recording, playing four impromptus by Scriabin, and Four Impromptus, Op. 142, by Schubert in the Mead-Witter Foundation Concert Hall (below, with the UW Choral Union and UW Symphony Orchestra), which seemed like a propitious setting. (Editor’s note: In the YouTube video at the bottom, you can hear the third impromptu in the set by Schubert performed by Vladimir Horowitz during his historic 1986 recital in Moscow.)

“Under the circumstances I think the video turned out pretty well. The actual streaming, which will include the 45 minutes of music plus a little live interview before and afterwards, takes place this Wednesday – Aug. 5 – at 3 p.m. CDT.

You can get there by way of the following link: https://porch.chq.org/ue/event/6518/

“Apparently there is a brief registration form one has to fill out prior to viewing the show, but basically getting in should be a free and painless process for all and sundry.

“Hope you get a chance to join in, and that you enjoy it!”

 


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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: Today is World Piano Day. Why do you love the piano? Do you have a favorite piano piece? A favorite pianist? Something to say about taking piano lessons? Want to thank your piano teacher? The Ear wants to hear

March 28, 2020
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By Jacob Stockinger

Today – Saturday, March 28, 2020 – is World Piano Day.

The international celebration is fitting because today happens to be Day 88 of the year – a timely parallel to the fact that most pianos have 88 keys.

Here is a link to the official website with a list of international events and other links to playlists of piano music on SoundCloud and Spotify: https://www.pianoday.org

Here is a link to the virtual live streaming piano festival — starting at 3 p.m. Central European Time (CET), which is 6 hours ahead of Central Daylight Time or at 9 a.m. CDT) — by the record label  Deutsche Grammophon: https://www.udiscovermusic.com/classical-news/deutsche-grammophon-world-piano-day-livestream/


A lot of us took piano lessons.

So today seems like a good occasion to say something about the role of the piano in your life.

Why do you love the piano? The sound? The physical act of playing? The vast repertoire?

Maybe you want to mention a specific piano piece that made a difference in your life, as the Scherzo No. 3 in C-sharp minor, Op. 39, by Chopin did for The Ear. (You can hear Arthur Rubinstein play it in the YouTube video at the bottom.)

Maybe you have a favorite piano piece or piano composer you like to listen to?

Maybe you wished you had stopped lessons earlier or continued them longer?

Would you like to say thank you to your piano teacher?

Maybe you have memories – good or bad — of a recital you gave?

Who is your favorite pianist from the past – maybe Van Cliburn or Vladimir Horowitz (below), Sviatoslav Richter or Dame Myra Hess?

Which pianist today would you recommend to others? Daniil Trifonov or Haochen Zhang, Simone Dinnerstein (below) or Maria Joao Pires?

Those suggestions hardly exhaust the possibilities. So be creative and leave a Comment with a YouTube link, if possible.

The Ear wants to hear.

 


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Classical music: This Sunday afternoon, the Madison Symphony Orchestra takes listeners “Behind the Score” of the Symphony No. 5 by Prokofiev

January 16, 2020
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By Jacob Stockinger

This Sunday afternoon, Jan. 19, at 2:30 p.m. in Overture Hall, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) and MSO music director John DeMain will present the story behind Prokofiev’s Symphony No. 5 with “Beyond the Score®: Sergei Prokofiev Symphony No. 5: Pure Propaganda?”

The one performance-only concert is a multimedia examination of the Russian composer’s musical celebration of the end of World War II. (You can hear the second movement in the YouTube video at the bottom.)

The presentation stars American Players Theatre actors James Ridge (below top), Colleen Madden (below second), Marcus Truschinski (below third) and Sarah Day (below bottom).

Along with MSO pianist Dan Lyons (below), the concert experience features visual projections, photos and musical excerpts.

Then in the second half comes a full and uninterrupted performance of the Symphony No. 5 by the orchestra conducted by John DeMain (below, in a photo by Prasad).

“This is one of the great offerings of Beyond the Score,” says DeMain. “Three generations of great Russian composers influenced Sergei Prokofiev (below) from childhood into his adult years, helping him create the most popular of his big symphonies, his fifth.

Adds DeMain: “I have so much fun working with the great actors from the American Players Theatre as they interweave the backstory with the orchestra. The visuals for this production are spectacular. After intermission, we play this wonderful symphony in its entirety.”

Prokofiev’s Symphony No. 5 was published in 1944. Taking inspiration from his experiences in America and his return to the Soviet homeland after the war, Prokofiev expresses the heroic, beautiful and strong nature of the music.

This Beyond the Score production joins Prokofiev at the end of World War II and discovers his inspiration for Symphony No. 5.

Incorporating war video footage and propaganda photos, the program presents the historical context behind the classical piece turned masterpiece.

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msojan20programnotes

  • Single Tickets are $16-$70 each and are on sale now at: https://madisonsymphony.org/event/beyond-the-score-2020-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.
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

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

ABOUT BEYOND THE SCORE®

For newcomers to classical music and longtime aficionados alike, each Beyond the Score® presentation is a dramatic exploration of a composer’s music.

Through live actors, stunning visual projections and virtuosic fragments of live music performed by members of the orchestra, the compelling story of the composer’s life and art unfolds, illuminating the world that shaped the music’s creation. Beyond the Score presentations weave together theater, music and design to draw audiences into the concert hall and into a work’s spirit.

The popular program seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences.

At its core is the live format of musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on large central surfaces, performed in close synchrony.

After each program, audiences return from intermission to experience the resulting work performed in a regular concert setting, equipped with a new understanding of its style and genesis.

Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®

Exclusive funding for this concert is provided by the Pleasant T. Rowland Foundation.

 


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