San Francisco | The Well-Tempered Ear

Check out the 2022 classical music Grammys for trends and suggested listening

April 9, 2022
4 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

No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.

But chances are you haven’t heard much about the classical music Grammys.

That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.

But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.

You can also get a good idea of trends in classical music.

Contemporary or new music is big again this year, dominating the old standard classics.

Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.

You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.

Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.

Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.

If you want to see the nominations and winners in other categories, here is a link:

https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees

75. Best Engineered Album, Classical

Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)

76. Producer Of The Year, Classical

Blanton Alspaugh
Steven Epstein
David Frost
Elaine Martone
Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)

CLASSICAL

77. Best Orchestral Performance

“Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
“Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
“Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
“Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
“Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)

78. Best Opera Recording

“Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
“Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
“Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
“Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
“Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

79. Best Choral Performance

“It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
“Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
“Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
“Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
“Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
“The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)

80. Best Chamber Music/Small Ensemble Performance

“Adams, John Luther: Lines Made By Walking” — JACK Quartet
“Akiho: Seven Pillars” — Sandbox Percussion
“Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
“Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
“Bruits” — Imani Winds

81. Best Classical Instrumental Solo

“Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
“An American Mosaic” — Simone Dinnerstein
“Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
“Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
“Mak Bach” — Mak Grgić
“Of Power” — Curtis Stewart

82. Best Classical Solo Vocal Album

Confessions — Laura Strickling; Joy Schreier, pianist
Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)

83. Best Classical Compendium

American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)

84. Best Contemporary Classical Composition

“Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
“Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
“Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
“Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
“Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)

Posted in Classical music
Tags: #AlbanBerg, #AlexanderScriabin, #AlfredSchnittke, #AmericanSymphonyOrchestra, #ArtExhibition, #ArvoPärt, #AugustinHadelich, #BelaBartok, #BestPerformance, #BlackComposer, #BlackMusic, #BlogPost, #BlogPosting, #Bluebeard'sCastle, #BluesMusic, #CarolineShaw, #CelloSonata, #CelloSuite, #ChamberChoir, #ChamberMusic, #CharlesIves, #ChickCorrea, #ChoralMusic, #ChristmasMusic, #ClassicalGuitar, #CompactDisc, #ComposersofColor, #ConcertHall, #ContemporaryComposer, #ContemporaryMusic, #CoronavirusPandemic, #CorradoRavaris, #COVID-19, #DavidFrost, #DialoguesoftheCarmelites, #EmanuelAx, #FacebookPost, #FacebookPosting, #FemaleComposers, #FemaleMusicians, #FlorencePrice, #FrancisPoulenc, #FranzSchubert, #GasparCassado, #GilShaham, #GrammyAward, #GrammyAwards, #GrammyNominations, #GuitarMusic, #GustavMahler, #GustavoDudamel, #Hip-hopmusic, #HispanicMusic, #ImaniWinds, #J'NaiBridges, #JacobStockinger, #JakeHeggie, #JenniferKoh, #JohannesBrahms, #JohannSebastianBach, #JohnAdams, #JonBatiste, #JoyceDiDonato, #JudithSherman, #LatinAmerican, #LeosJanacek, #LiveStreaming, #londonSymphonyOrchestra, #LosAngelesPhilharmonic, #LouisAndriessen, #LudwigVanBeethoven, #MadisonOpera, #MadisonSymphonyOrchestra, #ManfredHoneck, #MardiGras, #MattHaimovitz, #MeadWitterSchoolofMusic, #MetropolitanOpera, #MichaelTilsonThomas, #NashvilleSymphony, #NashvilleTennessee, #NewOrleans, #NicoMuhly, #OfColor, #OperaMusic, #OrchestralMusic, #PacificChorale, #PercussionMusic, #PerformersofColor, #PeterIlyichTchaikovsky, #PhiladelphiaOrchestra, #PhilipGlass, #PianoAccompaniment, #PopMusic, #ProArteQuartet, #RacialJustice, #RichardStrauss, #RockMusic, #SaintJohn, #SandboxPercussion, #SanFranciscoSymphony, #SeattleSymphony, #SimoneDinnerstein, #SimonRattle, #SocialActivism, #SocialJustice, #SoulMusic, #SoundEngineer, #SouthKorea, #SouthKorean, #StayHuman, #StephenColbert, #StreamingService, #StringMusic, #SundayNight, #SusannaMalkki, #SymphonyofaThousand, #TexasGuitarQuartet, #TheEar, #TheGrammys, #TheKnights, #TheMet, #TheUW, #TheUW-Madison, #ThirdCoastPercussion, #ThomasDausgaard, #UniverstyofWisconsin, #ViolinMusic, #VocalMusic, #WillLivermore, #WindMusic, #WisconsinChamberOrchestra, #WisconsinPublicRadio, #WisconsinUnionTheater, #WORT-FM89.9, #WyntonMarsalis, #YannickNezet-Seguin, #Yo-YoMa, #YouTubevideo, Activism, activity, African American, Akhnaten, Alban Berg, Alexander Scriabin, Alfred Schnittke, alone, American, annual, arrt, art exhibition, Arts, Arvo Part, asian, Asian American, audience, Augustin Hadelich, Bach, band, Baroque, Bartok, Batiste, Béla Bartók, Beethoven, Berg, best, BIPOC, black, black music, blog, Bluebeard, Bluebeard's Castle, blues, Book, Brahms, Brahms Violin Concerto, brown, buy, Canon, Caroline Shaw, category, CBS, CBS-TV, CD, Cello, chamber, Chamber choir, Chamber music, change, Chanticleer, Charles Ives, checm, Chick Correa, children, China, Chinese, Choir, choral, choral music, chorus, Christmas, Classical, Classical music, classics, collaboration, color, commission, Compact Disc, compendium, compose, composer, composer of color, Composition, Concert, concert hall, concerto, conductor, contemporary, coronavirus, coronavirus pandemic, Corrado Ravaris, covid, David Frost, day, dialogue, Dialogues of the Carmelites, Dinnerstein, diversity, dominate, Dreams, Dudamel, Early music, ecstasy, Emanuel Ax, emphasis, engineer, Estonia, examples, Facebook, female, Florence Price, Franz Schubert, gender, genre, Gil Shaham, Glass, Grammy, Grammy Award for Best Classical Compendium, group, guitar, guitar music, Gustav Mahler, Gustavo Dudamel, Hadelich, hip-hop, Hispanic, Home, hope, House, hymn, idea, Imani Winds, inclusion, indicate, individual, industry, international, Ives, J'Nai Bridges, Jacob Stockinger, Jake Heggie, Janacek, Jazz, Jennifer Koh, Johann Sebastian Bach, Johannes Brahms, John Adams, Jon Batiste, Joyce DiDonato, Judith Sherman, Juilliard, Juilliard School, justice, Koh, Korean, LA, LateShowwithStephenColbert, Latin, Leos Janacek, like, link, liturgy, Livermore, local, London, London Symphony Orchestra, Los Angeles, Los Angeles Guitar Quartet, Los Angeles Philharmonic, Louis Andriessen, Ludwig van Beethoven, Madison, Madison Opera, Madison Symphony, Madison Symphony Orchestra, Magnificat, Mahler, Manfred Honeck, Mardi Gras, Marsalis, Matt Haimovitz, Mead Witter School of Music, Mednelssohn, Met, Metropolitan Opera, Michael Tilson Thomas, mosaic, movement, Mozart, MSO, MTT, Music, Nashville, Nashville Symphony, national, new, New Orleans, Nico Muhly, nomination, nominee, of color, old, one-man, opera, Orchestra, orchestral music, original, Overture Center, Pacific, Pacific Chorale, pandemic, part, partita, pasrt, percussion, performance, performer, performers of color, permanent, Peter Ilyich Tchaikovsky, Philadelphia, Philip Glass, Pianist, Piano, piano accompaniment, piece, pillar, Pitssburgh, poem, Poem of Ecstasy, pop, Poulenc, power, present, price, Pro Arte Quartet, producer, profit, profitable, project, publisher, Publishing, racial justice, Radio, recording, rediscover, regional, Richard Strauss, Rock, sacred, Saint John, San Francisco, San Francisco Symphony, Sandbox Percussion, Schnittke, School of Music, Schubert, Scriabin, sea, Seattle, Seattle Symphony, sex, share, Shaw, show, Simon Rattle, Simone Dinnerstein, sing, singer, Singing, social, social activism, social justice, soldier, solo, solo violin, Sonata, song, soul, source, South Korea, standard, Stay Human, Stephen Colbert, Strauss, streaming, string, string music, subscriber, Sunday night, Susanna Malkki, symphony, Symphony of a Thousand, tag, Tchaikovsky, tears, Tennessee, Texas, Texas Guitar Quartet, The Ear, The Knights, Third Coast Percussion, Thomas Dausgaard, together, trend, TV, United States, University of Wisconsin, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW School of Music, UW-Madison, venue, video, Violin, Violin concerto, violinist, vixen, vocal music, voice, warrior, way, WCO, Will Livermore, wind music, winner, Winterreise, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, Wisconsin Union Theater, Wolfgang Amadeus Mozart, women, work, world, WORT-FM 89.9, WPR, Wynton Marsalis, Yannick Nézet-Séguin, year, Yo-Yo Ma, YouTube

Pianist Jeremy Denk combines first-rate playing with innovative programs. He performs a virtual online recital this Friday night for the Wisconsin Union Theater

December 9, 2020
1 Comment

By Jacob Stockinger

Jeremy Denk (below) is not only one of the top pianists on the concert stage today. He is also one of the most interesting and thoughtful pianists when it comes to original, innovative and eclectic programming.

Denk will display his talents again when he performs his third solo recital in Madison this Friday night, Dec. 11, for the Wisconsin Union Theater.

The concert of music by Robert Schumann, Clara Schumann, Johannes Brahms and Missy Mazzoli is at 7:30 p.m. and will be preceded by a public Q&A at 7 p.m. Because of the coronavirus pandemic, both the discussion and the concert will be virtual and online.

Access to the online posting is $20 for the general public, $17 for Wisconsin Union members, and $10 for students.

Denk’s performance, which is part of the Theater’s 101st Annual Concert Series, will include “Papillons” (Butterflies), Op. 2, by Robert Schumann; Three Romances, Op. 21, by Clara Schumann; “Bolts of Loving Thunder” by the contemporary American composer Missy Mazzoli (below); and Four Pieces for Piano, Op. 119, by Johannes Brahms. (You can hear Denk play the lyrically introspective first intermezzo of Brahms’ late Op. 119 in the YouTube video at the bottom.)

To purchase tickets to Denk’s performance, visit https://union.wisc.edu/events-and-activities/event-calendar/event/jeremy-denk/

Ticket buyers will receive an email from the box office approximately 2 hours before the event begins that will contain their link to view the performance. Anyone who purchases a ticket within 2 hours of the event’s start time will receive their email within 15 minutes of purchase.

To The Ear, Denk’s well-planned and fascinating program seems like a probing contrast-and-compare, narrative exploration of the musical styles and close personal relationships – a kind of love triangle — between Robert and Clara Schumann (below top); between Robert Schumann and Johannes Brahms, whom Robert Schumann championed; and between Brahms and Clara Schumann, who also championed Brahms (below bottom) but rejected him as a lover and suitor after the premature death of her husband Robert.

One of America’s foremost pianists, Denk is a winner of a MacArthur “Genius” Fellowship, and the Avery Fisher Prize, and was recently elected to the American Academy of Arts and Sciences.

In the United States, Denk has performed with the Chicago Symphony, New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and Cleveland Orchestra and frequently performs at Carnegie Hall. Internationally, he has toured with the world-famous Academy of St. Martin in the Fields and performed at Royal Albert Hall as part of the BBC Proms.

Denk’s talents include writing about music. Some of his stories about music have been featured on the front page of The New York Times Book Review as well as in The New Yorker, The New Republic and The Guardian. Many of those writings form the basis for a forthcoming book.

His passion for composing both music and writing compositions is evident in his music-based blog “Think Denk” — “to think” in German is “denizen” — which dates back to 2005.

“Jeremy Denk is one of the greatest pianists of our generation,” says WUT director Elizabeth Snodgrass. “While many pianists specialize in a particular period or composer, Jeremy is a musical omnivore whose wide-ranging interests span centuries and styles, and he is exceptional at playing all of them. As The New York Times said, he is ‘a pianist you want to hear no matter what he performs.’”

Proof of that can be found in the program “c. 1300-c. 2000” he toured with and recorded last year for Nonesuch, which features a sampling tour of 700 years of keyboard compositions.

Said a critic for the Boston Globe: “Denk has “an unerring sense of the music’s dramatic structure and a great actor’s intuition for timing.”

This performance was made possible by the David and Kato Perlman Chamber Music Endowment Fund.

Learn more about Jeremy Denk at: Facebook | Twitter | Instagram | Website

For more information and a video clip of Denk playing different Brahms, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/jeremy-denk/

Posted in Classical music
Tags: #AcademyofSt.MartinintheFields, #AmericanAcademyofArtsandSciences, #AmericanComposer, #AveryFisherPrize, #BBCProms, #Beautifulmusic, #BlogPost, #BlogPosting, #BoltsofLovingThunder, #BoxOffice, #CarnegieHall, #ChamberMusic, #ChicagoSymphonyOrchestra, #ClevelandOrchestra, #ConcertStage, #ConsortLoanProgram, #Contrast-and-Compare, #CoronavirusPandemic, #COVID-19, #DavidandKatoPerlmanChamberMusicSeries, #DramaticStructure, #ElizabethSnodgrass, #EmailAddress, #FacebookPost, #FacebookPosting, #Fridaynight, #FrontPage, #GeniusGrant, #HomeWebsite, #husband-and-wife, #InstagramPost, #JacobStockinger, #JeremyDenk, #JohannesBrahms, #LastYear, #LosAngeles, #LosAngelesPhilharmonic, #LoveTriangle, #MacArthurFellow, #MacArthurFoundation, #MeadWitterSchoolofMusic, #MissyMazzoli, #MusicalStyle, #NewMusic, #NewYorkCity, #NewYorkPhilharmonic, #NewYorkTimes, #NewYorkTimesBookReview, #NonesuchRecords, #OnlineConcert, #PersonalRelationship, #PianoIntermezzi, #PianoMusic, #RecordedMusic, #RobertSchumann, #RoyalAlbertHall, #SanFranciscoSymphony, #StartTime, #TheEar, #TheGuardian, #TheNewRepublic, #TheNewYorker, #TheU.S., #TheUW, #ThinkDenk, #UnitedStates, #UniversityofWisconsin-Madison, #VirtualConcert, #WiscnsinUnionTheater, #World-famous, #YouTubevideo, Academy of St Martin in the Fields, access, Actor, American, American Academy of Arts and Sciences, Arts, audience, Avery Fisher Prize, basis, BBC, BBC Proms, beautiful, best, blog, Bolts of Loving Thunder, Book, box office, Brahms, butterflies, Carnegie Hall, centuries, Chamber music, champion, Chicago, Chicago Symphony Orchestra, Clara Schumann, Classical music, Cleveland, Cleveland Orchestra, clip, compare, composer, compositions, Concert, concert stage, concerto, contemporary, contrast, coronavirus, David and Kato Perlman Chamber Music Series, Denk, discussion, display, drama, dramatic, Early music, eclectic, Elizabeth Snodgrass, email, event, evident, exceptional, exploration, Facebook, Facebook post, Facebook posting, fascinating, form, forthcoming, forward, Friday, front page, generation, genius grant, German, great, greatest, handful, hear, home website, husband, information, innovate, innovative, Instagram, interesting, interests, intermezzo, international, introspective, intuition, investigation, Jacob Stockinger, Jeremy Denk, Johannes Brahms, Kato Perlman, Keyboard, last year, late, learn, like, link, Los Angeles, Los Angeles Philharmonic, Love, love triangle, lover, loving, lyrical, MacArthur Fellow, MacArthur Foundation, Madison, Mazzoli, Mead Witter School of Music, member, minutes, Missy Mazzoli, Music, musical, musical style, narrative, New Music, New York City, New York Philharmonic, New York Times, New York Times Book Review, night, Nonesuch Records, omnivore, online, original, pandemic, Papillons, particular, Passion, perform, performance, period, personal, personal relationship, Pianist, Piano, piano music, pieces, playing, post, posting, precede, probing, program, programming, public, purchase, Q&A, question-and-answer, receive, recital, record, recorded music, reject, relationship, rhapsody, Robert Schumann, Romance, Royal Albert Hall, sample, sampling, San Francisco, San Francisco Symphony, Schumann, sense, share, solo, spans, specialist, specialize, start, story, structure, Student, style, suitor, tag, talent, The Ear, The Guardian, The New Republic, The New Yorker, Think Denk, thoughtful, time, timing, tour, triangle, Twitter, U.S., unerring, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Madison, view, virtual, want, Website, well-planned, wife, Wisconsin, Wisconsin Union Theater, writing, WUT, you, YouTube

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

November 28, 2020
3 Comments

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

Posted in Classical music
Tags: #AaronCopland, #AlexanderZemlinsky, #AmazonMusic, #AmsterdamTheNetherlands, #AnneFrank, #AntoninDvorak, #AppleMusic, #AspectsofAmerica, #AtlantaSymphonyOrchestra, #AugustinHadelich, #BabiYar, #BaroqueMusic, #BaroqueOpera, #Bestof, #BestPerformance, #BlantonAlspaugh, #BlogPost, #BlogPosting, #BostonSymphony, #CarlisleFloyd, #CarlNielsen, #CeciliaBartoli, #CedilleRecords, #ChamberMusic, #ChamberOrchestra, #CharlesIves, #ChicagoSymhonyOrchetsra, #ChoralMusic, #ChristmasGifts, #ChristopherRouse, #ChristopherTheofanidis, #ChristophWillibaldGluck, #CityofMadison, #ClassicalMusician, #CompactDisc, #CompleteCycle, #ConcertPianist, #ContemporaryVoices, #DaniilTrifonov, #DavidFrost, #DavidRobertson, #DeccaRecords, #DeutscheGrammophon, #DeutscheOper, #DmitriShostakovich, #DmitriyLipay, #DoverQuartet, #EighthBlackbird, #ElaineMartone, #EricOwens, #EricWhitacre, #EthelSmyth, #FacebookPost, #FacebookPosting, #Farley'sHouseofPianos, #FireandFlood, #FlorentineOpera, #FolkMusic, #FranzSchubert, #GeorgeFridericHandel, #GospelMusic, #GraduateStudent, #GrammyAwards, #GrammyNominations, #GuestArtist, #GustavHolst, #GustavoDudamel, #Hip-hopmusic, #HipHop, #HolidayGiftGuide, #HolidayShopping, #IcelandSymphonyOrchestra, #IgorLevit, #InstrumentalMusic, #JacobStockinger, #JesseLewis, #JoAnnFalletta, #JohnAdams, #JonathanBiss, #JoyceDiDonato, #JulesMassenet, #JulianWachner, #JustBach, #KaijaSaariaho, #KirillGerstein, #LaquitaMitchell, #LeonardSlatkin, #LiliBoulanger, #LiveStreaming, #LosAngelesCalifornia, #LosAngelesPhilharmonic, #LudwigVanBeethoven, #LunaPearlWoolf, #MadisonOpera, #MadisonSymphonyOrchestra, #MattHaimovitz, #MeadWitterSchoolofMusic, #MetropolitanOpera, #Mezzo-sopranoSinger, #MichaelTilsonThomas, #MilwaukeeSymphonyOrchestra, #MilwaukeeWisconsin, #MissyMazzoli, #ModernMusic, #NadiaBoulanger, #NashvilleSymphony, #NashvilleTennessee, #NewMusic, #NicoMuhly, #NormanDelloJoio, #OnlineConcert, #OrchestraofSt.Luke's, #PacificaQuartet, #PaulMoravec, #PhiladelphiaOrchestra, #PhiladelphiaPennsylvania, #PhilipGlass, #PianoConcerto, #PianoMusic, #PianoSonata, #PopMusic, #PorgyandBess, #PrinceofPlayers, #PulitzerPrize, #RainerMariaRilke, #RecordedMusic, #RhythmandBlues, #RiccardoMuti, #RichardDanielpour, #RichardStrauss, #RobertSchumann, #RobertSpano, #RockMusic, #SalonPIanoSeries, #SanctuaryRoad, #SanFranciscoSymphony, #SarahBrailey, #SeattleSymphony, #SergeiRachmaninoff, #SergeiRachmaninov, #ShaiWosner, #SonyClassical, #SopranoSinger, #SoundEngineer, #StringQuartet, #TedHearne, #TheEar, #TheMet, #ThePassionofYeshua, #ThePlanets, #ThePrison, #TheUW, #ThomasAdès, #TorontoCanada, #TorontoSymphonyOrchestra, #UniversalRecords, #UniversityofWisconsin-Madison, #ViolinMusic, #VirtualConcert, #VirtuosoViolinist, #VocalMusic, #WilliamBolcom, #WitoldLutoslawski, #WorldWarII, #YannickNezet-Seguin, #YouTubevideo, #YujaWang, Aaron Copland, Adams, Adès, African-Ameican, Agrippina, Album, Alexander Zemlinsky, Amazon Music, America, Amsterdam, Anne Frank, annual, Antichrist, Antonín Dvořák, Apple Music, Arts, Asia, Aspects of America, Atlanta Symphony Orchestra, Augustin Hadelich, Babi Yar, Baroque, Baroque music, Beethoven, Berlin, best, black, Blanton Alspaugh, blog, blues, Bolcom, Boston Symphony, Buffalo, California, Carl Nielsen, Carlisle Floyd, Carthage, CBS, CBS-TV, Cecila Bartoli, Cedille, Cedille Records, cellist, Cello, Chamber music, chamber orchestra, Chanukah, Charles Ives, Chicago, Chicago Symphony Orchestra, China, Chinese, choral, choral music, chorus, Christmas, Christoph Willibald Gluck, Christopher Rouse, Christopher Theofanidis, cirumstances, Classical music, classicalmusic, comment, Compact Disc, complete, composer, computer, Concert, concerto, conductor, connection, Contemporary Voices, Copland, Daniil Trifonov, David Frost, David Robertson, dead, Decca, Della Joio, Deutsche Grammophon, Deutsche Opera, DG, Dmitri Shostakovich, Dmitriy Lipay, Dover Quartet, Dudamel, Dvorak, Early music, eighth blackbird, Elaine Martone, engineer, ensemble, ERIC OWENS, Eric Whitacre, Ethel Smyth, example, Facebook, Facebook post, Facebook posting, Farinelli, Farley's House of Pianos, Fire and Flood, Florentine Opera, folk, Folk music, forward, founder, France, Franz Schubert, free, George Frideric Handel, George Gershwin, georgegershwin, German, Germany, Gershwin, gift guide, Glass, Gluck, gospel, graduate student, Grammy, Grammy Award, guest artist, Gustav Holst, Gustavo Dudamel, Handel, Hanukkah, Hearne, Hip hop music, hip-hop, Hitler, Holiday, holiday gift guide, Holst, Home, Hynes, Iceland, Igor Levit, instrumental, Ives, Jacob Stockinger, January, Jazz, Jesse Lewis, JoAnn Falletta, John Adams, Jonathan Biss, Joyce DiDonato, Jules Massenet, Julian Wachner, Just Bach, Kahane, Kaija Saariaho, Kastalsky, Kirill Gerstein, Kwanzaa, Laquita Mitchell, Leonard Slatkin, like, Lili Boulanger, link, list, livestream, local, Los Angeles, Los Angeles Philharmonic, Ludwig van Beethoven, Luna Pearl Woolf, Lutoslawski, Madison, Madison Opera, Madison Symphony Orchestra, marketing, Marnie, Massenet, Matt Haimovitz, Mazzoli, Mead Witter School of Music, Meditation, Metropolitan Opera, Mezzo-soprano, Michael Tilson Thomas, Milwaukee, Milwaukee Symphony Orchestra, Missy Mazzoli, modern, monthly, Muhly, Music, Nadia Boulanger, Nashville Symphony, Nazi, New Music, New York, New York City, Nico Muhly, Nielsen, night, nominations, Norman Dello Joio, online, opera, Orchestra, Orchestra of St. Luke's, orchestral, Pacifica Quartet, Paul Moravec, peculiar, Pennsylvania, percussion, performance, performer, Philadelphia, Philadelphia Orchestra, Philip Glass, Pianist, Piano, Piano concerto, piece, player, pop, Porgy and Bess, post, posting, Prince of Players, prison, producer, promotional, Pulitzer Prize, R&B, Rachmaninoff, Rachmaninov, Rainer Maria Rilke, recorded music, records, repertoire, repertory, Requiem, Rhythm and Blues, Riccardo Muti, Richard Danielpour, Richard Strauss, Rilke, Robert Schumann, Robert Spano, Rock, rock music, role, Rouen, Rouse, Saariaho, Salon Piano Series, San Francisco, San Francisco Symphony, Sanctuary Raod, Sarah Brailey, Schubert, Schumann, Seattle, Seattle Symphony, Sergei Rachmaninoff, Sergei Rachmaninov, service, Shai, Shai Wosner, share, Shopping, Shostakovich, singer, Singing, solo, soloist, Sonata, song, SONY, Sony Classical, soprano, Spotify, stereo, Strauss, stream, String quartet, sung, symphony, system, tag, Ted Hearne, Television, The Ear, the Met, The Passion of Yeshua, The Planets, Theofanidis, Thomas Ades, time, Toronto, Toronto Symphony Orchestra, trial, Trofonov, TV, United States, universal, Universal Records, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, useful, UW, UW-Madison, video, Viola, Violin, violin music, violinist, violist, virtual, vocal music, voice, Wang, WILLIAM BOLCOM, winner, Wisconsin, Witold Lutoslawski, work, World War II, Yannick Nézet-Séguin, Yuja Wang, Zemlinsky

The New York Times music critics pick 10 online concerts and operas to watch through the month of November

October 30, 2020
1 Comment

By Jacob Stockinger

Classical music critics for The New York Times have again listed their picks of virtual and online concerts that will be streamed during the month of November, starting this Sunday, Nov. 1, and running right through Nov. 30. In September, they did the same for the month of October.

The list of 10 highlights includes chamber music, orchestral music and operas as well as lots of new music, world premieres of commissions and even the Cliburn International Piano Competition, now known simply as The Cliburn.

Most of the events are posted and available for quite a while.

Note that all times are Eastern and that on this Sunday, Nov. 1, daylight saving ends.

As the critics point out, the list may be especially helpful and enjoyable now that the weather is turning colder, people are isolating at home during the nationwide spikes in coronavirus cases, and concert halls remain closed to the public.

Well-known institutions such as The Metropolitan Opera (below) and the Los Angeles Opera are featured. (You can sample an earlier Met production of Philip Glass’ “Satyagraha” – about the early life of Gandhi — in the YouTube video at the bottom.)

So are symphony orchestras from Detroit, Seattle, San Francisco and Cincinnati.

And pianist Igor Levit (below top), who this past year released the highly praised, award-winning complete cycle of 32 piano sonatas by Beethoven and who was named Artist of the Year by Gramophone magazine, is also featured, as is the outstanding Chicago-based violinist Jennifer Koh (below bottom, in a photo by the Los Angeles Times).

Here is a link to the story: https://www.nytimes.com/2020/10/28/arts/music/classical-music-stream.html

What do you think of the choices?

Do you have other concerts or classical music events to add to the list?

The Ear wants to hear.

Posted in Classical music
Tags: #18thCentury, #African-AmericanComposer, #AnthonyDavis, #AnthonyMcGill, #BangonaCan, #BeethovenPianoSonatas, #BeethovenYear, #BerlinGermany, #BlackComposer, #BlogPost, #BlogPosting, #BostonModernOrchestraProject, #BrettDean, #CarlVine, #CassieWieland, #CelloConcerto, #CelloSonata, #ChamberMusic, #ChamberOpera, #ChevalierdeSaint-Georges, #ChoralMusic, #CincinnatiOhio, #CincinnatiSymphonyOrchetsra, #ClaudeDebussy, #CommissionedMusic, #CoronavirusPandemic, #COVID-19, #DavidRobertson, #DaylightSaving, #DetroitMichigan, #DetroitSymphonyOrchestra, #ElectionDay, #EllenReid, #Esa-PekkaSalonen, #FacebookPost, #FacebookPosting, #FerruccioBusoni, #FlorencePrice, #folksongs, #FranzSchubert, #FredericRzewski, #GramophoneMagazine, #IgorLevit, #JacobStockinger, #JamesConlon, #JohannSebastianBach, #JohnAdams, #JordanNelson, #JosephBoulogne, #JuliaHagen, #JuliaPerry, #KevChoice, #LiveStreaming, #LosAngelesCalifornia, #LosAngelesOpera, #LouisLangree, #LudwigVanBeethoven, #MeredithMonk, #MetropolitanOpera, #MinimalistMusic, #Mirandawarning, #MusicCritic, #MusicDirector, #NewMusic, #NewYorkCity, #NewYorkPhilharmonic, #NewYorkTimes, #NicoMuhly, #OnlineConcert, #OrchestralMusic, #PhilipGlass, #PianoMusic, #PianoSonata, #PulitzerPrize, #RoscoeMitchell, #SanFranciscoSymphony, #SeattleSymphony, #SethParkerWoods, #SocialDistancing, #SouthAfrica, #SouthAsia, #SouthKorea, #StandardTime, #StevenLin, #SteveReich, #StringQuartet, #SymphonyOrchestra, #TheAnonymousLover, #TheCliburn, #TheEar, #TheMet, #ThomasKocheff, #TrackMusic, #TyshawnSorey, #UnfinishedSymphony, #VanCliburn, #VanCliburnInternationalPianoCompetition, #VickyChow, #ViolinConcerto, #ViolinMusic, #VirtualConcert, #VocalMusic, #WigmoreHall, #WorldPremiere, #XianZhang, #YouHavetheRighttoRemainSilent, #YouTubevideo, 18th century, acclaimed, African American, Anthony Davis, Anthony McGill, arrangement, Arts, asian, audience, available, award, Bach, Bang on a Can, Beethoven, Beethoven piano sonatas, Beethoven Year, Berlin, birthday, black, blog, Blog post, blog posting, Boston, Boston Modern Orchestra Project, Brett Dean, Busoni, California, cancel, Carl Vine, Cassie Wieland, cellist, Cello, Cello Concerto, Chamber music, chamber opera, Chevalier de Saint Georges, China, Chinese, choral music, Cincinnati, Cincinnati Symphony Orchestra, clarinet, clarinetist, clarinettist, Classical music, classicalmusic, Claude Debussy, colder, commissions, company, Competition, composer, Concert, concerto, conductor, coronavirus, counterpoint, David Robertson, Daylight Saving, Debussy, December, Detroit, Detroit Symphony Orchestra, early, Election Day, Ellen Reid, enjoyable, Esa-Pekka Salonen, event, Facebook, Facebook post, Facebook posting, Fantasia, Ferruccio Busoni, Florence Price, forward, Franz Schubert, Frederic Rzewski, Gandhi, Germany, Gramophone (magazine), helpful, highlight, Home, hymn, Igor Levit, improvisatory, India, institution, instrumentalist, insurrection, isolating, Jacob Stockinger, James Conlon, Johann Sebastian Bach, John Adams, Jordan Nelson, Joseph Boulogne, Julia Hagen, Julia Perry, Kev Choice, known, Korea, Korean, Korean musician, life, like, link, list, livestream, Los Angeles, Los Angeles Opera, Louis Langrée, Ludwig van Beethoven, masterpiece, Meredith Monk, Met, Metropolitan Opera, Michigan, minimalist music, Miranda warning, monk, month, music critic, Music director, nationwide, New Music, New York City, New York Philharmonic, Nico Muhly, October, Ohio, online, opera, option, Orchestra, orchestral music, pandemic, People, performer, Philip Glass, Pianist, Piano, piano music, Piano sonata, pick, Politics, postpone, production, program, Pulitzer Prize, resident, Roscoe Mitchell, running, San Francisco, San Francisco Symphony, Satyagraha, Schubert, Seattle, Seattle Symphony, Septemeber, Seth Parker Woods, share, singer, social distance, soloist, Sonata, song, South Africa, South Asia, spike, spriritual, standard time, starting, Steve Reich, Steven Lin, stream, String quartet, subscriber, symphony, symphony orchestra, tag, testament, The Anonymous Lover, The Cliburn, The Ear, the Met, The New York Times, Thomas Kocheff, time, track record, turn, Tyshawn Sorey, Unfinished Symphony, United States, Van Cliburn, Van Cliburn International Piano Competition, Vicky Chow, Violin, Violin concerto, violinist, virtual, vocal music, weather, well-known, Wigmore Hall, winner, world premiere, Xian Zhang, YouTube

Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison

August 9, 2020
2 Comments

By Jacob Stockinger

Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.

Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.

That is as it should be. If any musician deserved it, Fleisher did.

Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.

But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.

In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin’s Pro Arte String Quartet (below bottom).

Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.

Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.

Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)

Here is a this blog’s review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher

Fleisher liked performing with the Pro Arte, and therein lies another historical tale.

His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert’s “Trout” Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.

Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography “My Nine Lives” (below).

Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky’s “The Rite of Spring” in Paris — called Fleisher the “musical find of the century.” Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.

Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.

Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. “I pounded ivory six or seven hours a day,” Fleisher later said.

After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.

There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)

Here is an inspiring overview of Fleisher’s life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/

And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher

Here are three especially noteworthy obituaries:

NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92

The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html

The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html

The Ear has always found Fleisher’s playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.

Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.

The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.

Did you ever hear Leon Fleisher play live or in recordings? What did you think?

Do you have a comment to leave about the legacy of Fleisher?

Posted in Classical music
Tags: #AndréWatts, #AnneMidgette, #ArturSchnabel, #BaltimoreMaryland, #BaroqueMusic, #BlogPost, #BlogPosting, #ChamberMusic, #ChamberMusician, #ChildProdigy, #CityofMadison, #Classicalera, #ClevelandOrchestra, #CriticalAcclaim, #CriticallyAcclaimed, #CriticalReview, #DeutscheGrammophon, #EmersonStringQuartet, #FacebookPost, #FacebookPosting, #FacultyMember, #FocalDystonia, #FranzSchubert, #FrenchConductor, #FrenchMusician, #GeorgeFridericHandel, #GeorgeSzell, #HandelVariations, #HighStandard, #IgorStravinsky, #InPerson, #JacobStockinger, #JohannesBrahms, #JohnsHopkinsUniversity, #JohnW.Barker, #JonathanBiss, #KatherineJacobson, #KennedyCenter, #LeonFleisher, #LiveMusic, #LudwigVanBeethoven, #MadisnSymphonyOrchestra, #MadisonWisconsin, #MusicalInterpretation, #Musicfaculty, #MyLi, #MyNineLives, #NationalPublicRadio, #NewYorkPhilharmonic, #ParisFrance, #PeabodyInstitute, #PianoConcerto, #PianoMusic, #PianoQuintet, #PianoVirtuoso, #PierreMonteux, #ProArteQuartet, #RiteofSpring, #RomanticMusic, #SanFrancisco, #StringQuartet, #TheEar, #ThemeAndVariations, #TheNewYorkTImes, #TheU.S., #TheUW, #TheWashingtonPost, #TroutQuintet, #UnitedStates, #UniversityofWisconsin-Madison, #Wikipediabiography, #WisconsinPublicRadio, #WisconsinUnionTheater, #WorldPremiere, #YefimBronfman, #YouTubevideo, acclaim, affable, air, Amazon, amazon.com, America, American, André Watts, Anne Midgette, appearance, Arts, Artur Schnabel, audience, autobiography, available, balance, Baltimore, Baroque, Beethoven, Biss, blog, Book, born, Brahms, Bronfman, California, cancer, career, catalogue, cause, century, Chamber music, channel, child prodigy, clarity, Classical, Classical music, Cleveland Orchestra, comment, concerto, conductor, critic, critical review, day, dead, death, debut, depression, deserve, determination, Deutsche Grammophon, devite, DG, diagnoses, diagnosis, die, early, Emerson String Quartet, engineering, entertaining, Europe, exacting, exceptional, exemplary, Facebook, faculty, famed, famous, favorite, finale, find, Finger, flexible, fluency, focal dystonia, forward, France, Franz Schubert, French conductor, frequent, George Frideric Handel, George Szell, Handel, Handel Variations, hands, hear, high standard, historical, History, Home, honor, hour, husband, Igor Stravinsky, in person, informative, innate, inspirational, inspire, inspired, interpretation, interpreter, ivory, Jacob Stockinger, Johannes Brahms, John W. Barker, Johns Hopkins University, joint, Jonathan Biss, Katherine Jacobson, Kennedy Center, Keyboard, landmarks, left hand, legacy, Leon Fleisher, life, like, link, live music, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, manage, masterpiece, media, member, memoir, modern, Music, musical, musicality, Musician, My Nine Lives, name, National Public Radio, natural, New York Philharmonic, New York Times, Newspaper, noteworthy, NPR, obituaries, obituary, obstacle, octave, Orchestra, outlet, overcome, overview]life, paralysis, paralyzed, Paris, Peabody Institute, perform, performer, personal, photo, Pianist, Piano, Piano concerto, piano music, Piano Quintet, Pierre Monteux, playing, pleasure, post, posting, pound, practice, Pro Arte Quartet, prodigy, Radio, receive, recital, recording, relationship, remarkable, remember, remembering, remembrance, review, rhythm, right hand, Rite of Spring, Romantic, San Francisco, Schubert, see, sense, serve, setback, share, soul, soul-searching, station, Stravinsky, String quartet, study, Sunday, symphony, tag, tale, Teacher, teaher, technical, technique, Television, The Ear, The Rite of Spring, The Washington Post, theme and variations, time, Titan, together, tribute, Trout Quintet, TV, U.S., uncurl, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW, UW-Madison, various, virtuoso, virtuoso pianist, Waltz, Watts, wife, Wikipedia, Wisconsin, wisconsin public radio, Wisconsin Union Theater, work, world premiere, write, writing, years, Yefim Bronfman, young, YouTube

Classical music: Here are the world premieres of the sixth and seventh pieces of “pandemic music” commissioned by the U.S. Library of Congress

June 24, 2020
1 Comment

By Jacob Stockinger

The project has is now heading towards it end.

Last week was when the world premieres of the 10 short pieces — written for the U.S. Library of Congress’ “Boccaccio Project” — started going public and began being posted on various social media sites as well as the Internet.

This week will see the last five compositions and complete the project.

One performance is released each weekday night starting at 8 p.m. EDT.

The project, funded by the federal government, is intended to capture some aspect of the unique culture brought about by the coronavirus pandemic and COVID-19.

The first piece was “Sequestered Thoughts,” a solo piano work by composed Damien Sneed and performed by Jeremy Jordan.

The second was “shadow of a difference/falling” by composer Richard Drehoff Jr. and solo oboist Andrew Nogal of the Grossman Ensemble.

The third was “Intuit – a way to stay in the world” for solo cello composed by Miya Masaoka and performed by Kathryn Bates of the Del Sol String Quartet.

The first three were featured in two postings on this blog last week. Here are links:

https://welltempered.wordpress.com/2020/06/16/classical-music-here-is-the-world-premiere-of-the-first-piece-of-pandemic-music-commissioned-by-the-library-of-congress/

https://welltempered.wordpress.com/2020/06/18/classical-music-here-are-the-world-premieres-of-the-second-and-third-pieces-of-pandemic-music-commissioned-by-the-u-s-library-of-congress/

The fourth and fifth pieces were premiered last Thursday and Friday, bringing the project to the half way point before the Summer Solstice, Father’s Day and Make Music Madison weekend.

They were posted on this past Monday. Here is a link:

https://welltempered.wordpress.com/2020/06/22/classical-music-here-are-the-world-premieres-of-the-fourth-and-fifth-pieces-of-pandemic-music-commissioned-by-the-u-s-library-of-congress/

The fourth work is “Bridges,” a solo piano work composed by Cliff Eidelman and performed at home by Jenny Lin. The title refers to the composer’s focus on finding bridges from the coronavirus pandemic to normal life.

The fifth piece is “Hello World” by composer by Erin Rogers, an exploratory work for solo flute, and is performed by Erin Lesser of the Wet Ink Ensemble.

And now the second half of premieres has started.

The sixth piece is “1462 Willard Street,” composed for solo viola by Luciano Chessa (below top, in a photo by Melesia Nunez) and performed by Charlton Lee (below bottom, in a photo by RJ Muna) of the Del Sol String Quartet.

The address refers to a place in San Francisco where the composer was staying on March 16, 2020 – the day the city enacted orders to stay at home because of the pandemic.

https://www.loc.gov/concerts/boccaccio-project/chessa-lee.html

The seventh piece, premiered last night, is “Olcott Park” for solo piano composed by Aaron Travers (below top, in a photo by James Matthew Daniel) and performed by Daniel Pesca (below bottom, in a photo by Jay Morthland) of the Grossman Ensemble.

It is a recollection of the forest and birds the composer knows in a park near his home but which he hasn’t’ visited much during the pandemic.

https://www.loc.gov/concerts/boccaccio-project/travers-pesca.html

On the same page as the performance you can read what the composer and sometimes the performer have to say about the new work and what it strives to mean or express.

You can use links to go to the past performances and premieres.

You can also follow links on the bottom of the page to see more information about both the composer and the performer, and to general background of the project.

If you would like some more background, along with some commentary and questions from The Ear, go to https://welltempered.wordpress.com/2020/06/13/classical-music-the-library-of-congress-has-commissioned-new-music-about-the-coronavirus-pandemic-you-can-listen-to-the-premieres-from-this-monday-june-15-through-june-28/

What do you think of the individual pieces?

Do you have one or more favorites?

What do you think of the project?

How successful is it?

Will you like to hear more of the commissioned music?

The Ear wants to hear.

Posted in Classical music
Tags: #AaronTravers, #AndrewNogal, #BlogPost, #BlogPosting, #BoccaccioProject, #CliffEidelman, #CommissionedMusic, #CoronavirusPandemic, #COVID-19, #DamienSneed, #DanielPesca, #DelSolQuartet, #DelSolStringQuartet, #ErinLesser, #ErinRogers, #FacebookPost, #FacebookPosting, #Father'sDay, #FederalGovernment, #GrossmanEnsemble, #InstrumentalMusic, #JacobStockinger, #JennyLin, #JeremyJordan, #KathrynBates, #LibraryofCongress, #LucianoChessa, #MakeMusicDay, #MakeMusicMadison, #MiyaMasaoaka, #NewMusic, #NormalLife, #OboeMusic, #OlcottPark, #RichardDrehoffJr., #SanFrancisco, #Self-Isolation, #SocialMedia, #Stayathome, #StringQuartet, #SummerSolstice, #TheEar, #TheU.S., #WetInkEnsemble, #WilliamStreet, #WorldPremiere, Aaron Travers, American, Andrew Nogal, bird, blog, Boccaccio Project, Boccacio, bridge, capture, Cello, city, Cliff Eidelman, commission, complete, composer, Composition, Congress, coronavirus, culture, Damien Sneed, Daniel Pesca, date, day, Del Sol Quartet, Del Sol String Quartet, difference, Erin Lesser, erin rogers, Facebook, fathers day, favorite, federal, federal government, fifth, flute, flutist, forest, forward, fourth, fund, government, Grossman Ensemble, half way, halfway, hello, Home, individual, instrumental, Intuit, isolation, Jacob Stockinger, Jenny Lin, Jeremy Jordan, Kathryn Bates, library, Library of Congress, life, like, link, Luciano Chessa, Make Music Day, Make Music Madison, Miya Masaoka, New Music, night, normal, Oboe, Olcott Park, one, pandemic, Park, perform, performance, Pianist, Piano, piece, place, post, posting, premiere, project, Richard Drehoff Jr., San Francisco, second, seventh, shadow, share, sixth, social media, solo, stay at home, String quartet, successful, summer, Summer solstice, tag, The Ear, think, third, trees, two, U.S., unique, week, weekday, weekend, Wet Ink Ensemble, Willard Street, work, world, world premiere

Classical music: The Library of Congress has commissioned new music about the coronavirus pandemic. You can listen to the world premieres from this Monday, June 15, through June 26

June 13, 2020
Leave a Comment

By Jacob Stockinger

The U.S. Library of Congress (LOC, exterior is below top and interior is below bottom) has started a new artistic project relevant to a public health crisis in both a historical era and the current times.

The LOC has commissioned 10 different short works, experienced in 10 different performance videos recorded at their homes — that pertain to the coronavirus pandemic and COVID-19 from American composers and performers.

It is called The Boccaccio Project after the Renaissance poet Giovanni Boccaccio (below), a 14th-century Italian writer who wrote “The Decameron,” a series of stories told by 10 people who fled from Florence, Italy, to find refuge in the countryside during the Black Plague.

The musical works will start being premiered on weekdays this coming Monday, June 15, at the Library of Congress website. The works will also be broadcast on social media including Facebook, Twitter and YouTube.

The website, which now has a complete list of performers and works, will soon have a complete schedule of world premieres, running on weekdays from Monday, June 15, to Friday, June 26. Then the manuscripts will be transferred to the LOC archives.

Here is a link: https://loc.gov/item/prn-20-038/

Many of the names will be unfamiliar to the general public. But an excellent story about the background and genesis of the project, including music samples, can be found on National Public Radio (NPR), which aired the story Friday morning.

Here is a link to that 7-minute story (if you listen to it rather than read it, you will hear samples of the music): https://www.npr.org/2020/06/12/875325958/a-new-library-of-congress-project-commissions-music-of-the-coronavirus-pandemic

And here are some of the participants, who are noteworthy for their ethnic and geographic diversity:

Flutronix (below) includes flutist Allison Loggins-Hull, left, and composer Nathalie Joachim.

The work by composer Luciano Chessa (below top) will be performed by violist Charlton Lee (below bottom), of the Del Sol Quartet:

And the work by Damien Sneed (below top) work will be performed by Jeremy Jordan (below bottom):

The new project strikes The Ear as a terrific and timely undertaking — the musical equivalent of the photographic project, funded and staffed by the Farm Security Administration (FSA) during The Great Depression of the 1930s. That project yielded enduring masterpieces by such eminent photographers as Dorothea Lange and Walker Evans.

But several questions arise.

How much did the project cost?

Will the general public be able to get copies of and rights to these works to perform? One assumes yes, since it is a public project funded with public money.

And will this project give rise to similar projects in other countries that are also battling the pandemic? New art – literature, films, painting, dance and so on — arising from new circumstances seems like something that is indeed worth the undertaking.

Listen to them.

What works stand out for you?

What do you think of the project?

The Ear wants to hear.

Posted in Classical music
Tags: #14thCentury, #AllisonLoggins-Hull, #AmericanComposer, #BlackPlague, #BlogPost, #BlogPosting, #BloomingtonIndiana, #ChamberMusic, #CharltonLee, #ChicagoIllinois, #ClassicalMusician, #CommissionedMusic, #CoronavirusPandemic, #COVID-19, #CulturalDiversity, #DamienSneed, #DelSolQuartet, #DelSolStringQuartet, #DorotheaLange, #FacebookPost, #FacebookPosting, #FarmSecurityAdministration, #GiovanniBoccaccio, #GreatDepression, #JacobStockinger, #JeremyJordan, #LibraryofCongress, #LucianoChessa, #NaionalPublicRadio, #NathalieJoachim, #NewMusic, #NewYorkCity, #OnlineConcert, #PerformingArts, #PublicHealth, #RecordedMusic, #SanFrancisco, #SocialMedia, #StringMusic, #StringQuartet, #TheDecameron, #TheEar, #TheRenaissance, #TheU.S., #U.S.Government, #VisualArts, #WalkerEvans, #WindMusic, #WorldPremiere, #YouTubevideo, 10, 14th century, 1930s, air, Allison Loggins-Hull, America, American, archive, arise, Arts, Audio, background, battle, Black Plague, blog, Bloomington, Boccaccio, Broadcast, cellist, Cello, Chamber music, Charlton Lee, Chicago, circumstances, classicalmusic, commission, complete, composer, copy, coronavirus, countries, country, countryside, Damien Sneed, dance, Del Sol Quartet, Del Sol String Quartet, depression, diversity, Dorothea Lange, eminent, enduring, equivalent, era, ethnic, excellent, exterior, Facebook, Farm Security Administration, film, flautist, Florence, flute, flutist, Flutronix, forward, Friday, FSA, funded, general, Genesis, geographic, Giovanni Boccaccio, government, Great Depression, historical, History, Home, Indiana, interior, Italian, Italy, Jacob Stockinger, Jeremy Jordan, Joachim, Library of Congress, like, link, list, listen, literture, LOC, Luciano Chessa, manuscript, masterpiece, minute, Monday, money, morning, Music, Musician, name, Nathalie Joachim, National Public Radio, new, New Music, New York City, noteworthy, NPR, Oboe, oboist, online, painting, pandemic, participant, People, performer, Performing arts, photography, Pianist, Piano, poet, premiere, premieres, project, public, Public health, Quartet, read, recorded, refuge, Renaissance, rights, sample, San Francisco, schedule, series, share, short, social media, something, staff\, start, stay at home, stories, string music, String quartet, tag, ten, terrific, The Decameron, The Ear, timely, transfer, Tweet, Twitter, U.S., undertaking, unfamiliar, United States, video, Viola, Violin, violinist, violist, visual arts, vocal music, Walker Evans, Website, weekday, wind music, work, works, world, world premiere, worth, Writer, yes, yield, YouTube

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
1 Comment

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, PLEASE 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

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

Posted in Classical music
Tags: #20thCentury, #AaronJayKernis, #AcademicFestivalOverture, #AndersYocom, #AsianComposer, #AveryFisher, #BestPerformance, #BlogPost, #BlogPosting, #BoxOffice, #ChamberMusic, #ChicagoIllinois, #ChicagoSymphonyOrchestra, #ClaraSchumann, #ClaraWieck, #ContemporaryComposer, #ContemporaryMusic, #FacebookPost, #FacebookPosting, #FoleyandLardner, #Fridaynight, #GrammyAward, #GrammyNominations, #HearingLoss, #husband-and-wife, #JohnDeMain, #JoyceYang, #KeyboardMusic, #LifeInsurance, #LincolnCenter, #LivingComposer, #LorinMaazel, #MadisonMagazine, #MadisonSymphonyOrchestra, #MeadWitterSchoolofMusic, #MelodicMusic, #MusicalInterpretation, #MusicDirector, #NationalEndowmentfortheArts, #NationalGuardianLifeInsurance, #NewMusic, #NewWork, #NewYorkCity, #NewYorkPhilharmonic, #OrchestralMusic, #OvertureCenter, #OvertureHall, #PianoCompetition, #PianoConcerto, #Pre-concertLecture, #PreludeDiscussion, #Prize-Winning, #ProgramNotes, #PulitzerPrize, #RadioHost, #RaviniaFestival, #RobertSchumann, #RomanticMusic, #RussianRomanticism, #SaturdayNight, #SeniorCitizen, #SeoulSouthKorea, #SergeiProkofiev, #SergeiRachmaninoff, #SergeiRachmaninov, #SilverMedal, #SouthKorea, #SouthKorean, #Sovietcomposer, #SovietUnion, #StateOfWisconsin, #StephenD.Morton, #StringQuartet, #StringSection, #StudentRush, #SubscriptionTicket, #SummerNight, #Sundayafternoon, #TakacsQuartet, #TheEar, #TheWashingtonPost, #TomPyle, #UniversityofWisconsin-Madison, #VanCliburnInternationalPianoCompetition, #Wikipediabiography, #Wikipediaentry, #WindSection, #WisconsinArtsBoard, #WisconsinPublicRadio, #WisconsinUnionTheater, #WorldPremiere, #YaleSchoolofMusic, #YaleUniversity, #YouTubevideo, 20th-century, Aaron Jay Kernis, afternoon, Anders Yocom, Arts, Asia, audience, Avery Fisher, Avery Fisher Hall, award, beautiful, Beethoven, Beethovenian, best performance, biography, blog, box office, bravura, brilliant, Canon, career, central, Chamber music, Chicago, Chicago Symphony Orchestra, children, chord, chords, chromatic, Clara Schumann, Clara Wieck, Classical music, classicalmusic, color, composer, Composition, Concert, concerto, conclude, conductor, contemporary, contestant, Creation, debut, depressing, depression, despair, discount, discussion, donor, drawn, dusk, early, element, experience, Facebook, favorite, favorite composers, Foley and Lardner, forward, Friday, funding, funds, Grammy Award, group, haunting, healing, hearing, hearing loss, hometown, husband, interpretation, interpretive, Jacob Stockinger, John DeMain, Joyce Yang, Keyboard, kids, Korean, lecture, life insurance, like, Lincoln, LIncoln Center, link, listening, living, Living composer, lobby, local, Lorin Maazel, loss, Love, Ludwig van Beethoven, lyrical, lyricism, Madison, Madison Magazine, Madison Symphony Orchestra, Maestro, majority, Marriage, Mead Witter School of Music, melodic, modern, MSO, Music, Music director, musical, National Endowment for the Arts, National Guardian Life Insurance, NEA, New Music, new work, New York City, New York Philharmonic, newly, night, note, ocean, Orchestra, orchestral music, Overture Center, Overture Center for the Arts, Overture Hall, perform, performance, performer, pessimism, Pianist, Piano, Piano concerto, piece, poetic, popular, post, posting, pre-concert, premiere, prize, process, program notes, Prokofiev, Pulitzer Prize, Rachmainoff, Rachmaninoff, Rachmaninov, Radio, radio host, Ravinia, Ravinia Festival, read, recital, reflective, reminiscence, Robert Schumann, Romantic, Romanticism, rush, Russia, Russian, San Francisco, Saturday night, Schumann, seats, security, senior, sense, sensitive, Seoul, Sergei Prokofiev, Sergei Rachmaninoff, Sergei Rachmaninov, share, silver medal, sky, Soviet Union, speak, State of Wisconsin, Stephen D. Morton, string music, String quartet, strings, Student, subscription, summer, summer night, Sunday, support, symphonies, symphony, tag, Takacs Quartet, The Ear, The Washington Post, tickets, Tom Pyle, tour, transfer, triumph, trouble, tune, tuneful, twin, understanding, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, uplifting, USSR, Van Cliburn, Van Cliburn International Piano Competition, video, virtuosity, virtuoso, voice, weekend, wife, Wikipedia, wind section, winds, Wisconsin, Wisconsin Arts Board, wisconsin public radio, Wisconsin Union Theater, work, world premiere, WPR, Yale, Yale School of Music, Yale University, Yang, young, YouTube, YouTube video

Classical music: The 10th anniversary concert of the Middleton Community Orchestra hit all the right notes – including a surprise of high beauty

October 13, 2019
3 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE 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

Last Wednesday night at the Middleton Performing Arts Center, the mostly amateur but critically acclaimed Middleton Community Orchestra (below, in a photo by Brian Ruppert) celebrated its 10th anniversary.

The MCO hit all the right notes. And there were many of them, both big and small.

But perhaps the biggest one was also the quietest one.

It came during the repetition section near the end of the heart-rending slow movement of the Clarinet Concerto in A Major, K. 622, by Mozart.

The Ear knows the piece and considers it one of the most perfect compositions ever written. But suddenly he heard the familiar work in a fresh way and with a new appreciation, thanks to the talented guest soloist J.J. Koh, who is principal clarinet of the Madison Symphony Orchestra. (You can hear the slow movement in the YouTube video at the bottom.)

The movement was going beautifully when suddenly, Koh (below) brought the dynamics down to almost a whisper. It felt prayer-like, so quiet was the sound. Yet it was completely audible. The tone was rich and the notes on pitch, even though Koh sounded as if he were barely breathing. It was a heart-stopping, breathtaking moment of high beauty.

It takes a virtuoso to play that softly and that solidly at the same time. And Koh was backed up with the same subtlety by the fine accompaniment provided by the scaled-down orchestra under conductor Steve Kurr.

The sublime result was nothing short of haunting, a musical moment that The Ear will remember and cherish as long as he lives.

And he wasn’t alone. A complete silence fell over the appreciative audience as Koh and the MCO were playing, and at intermission it was what everybody was talking about and wondering at. You just had to be there. It was the kind of musical experience that makes a live performance so engaging and unforgettable.

That moment of communion between soloist and ensemble by itself was enough to tell you how very much the MCO, which improves with each performance, has accomplished in its first decade.

There were other noteworthy moments too.

Of course tributes had to be paid.

So the evening started off with some brief background and introductory words from the co-founders and co-artistic directors Larry Bevic and Mindy Taranto (below).

Then Middleton Mayor Gurdip Brar (below) came on stage to read his official 10th anniversary proclamation and to urge people to applaud. He proved a jovial, good-natured cheerleader for the large audience of “good neighbors” that included many children.

When the music finally arrived, conductor Kurr (below) raised the curtain with his own original 14-minute episodic composition celebrating the “Good Neighbor City” of Middleton. It proved a fitting work for the occasion that evoked both the Midwestern harmonies of Aaron Copland and the brassy film scores of John Williams.

After intermission, the full 90-member MCO under Kurr returned and turned in a performance of Antonin Dvorak’s popular “New World” Symphony that did them all proud.

The tempo was energetic with a strong, constant pulse that didn’t falter. As usual, the string and wind sections proved outstanding – and still seem to get better each time.

But the real star this time was the brass, whose prominent part in the Dvorak symphony is hard to play. Playing consistently on pitch and expressively – they were clearly well-rehearsed — the brass boosted the whole performance and raised it to a new level. Which is exactly what the anniversary concert demanded and received.

The Ear wasn’t alone in being impressed.

A professional musician visiting from San Francisco said simply: ”They are much better than our community orchestra.”

Is there better homage to pay to a 10th anniversary concert and to make listeners look forward to hearing more? If you aren’t going to MCO’s affordable and appealing concerts, you are only cheating yourself.

For more information about the complete season, including programs, performers, guest soloists and how to join or support the MCO, go to: http://middletoncommunityorchestra.org

If you went, what did you think of the opening anniversary concert?

Leave your opinions and good wishes in the comment section.

The Ear wants to hear.

Posted in Classical music
Tags: #AaronCopland, #AmateurMusicians, #AntoninDvorak, #ArtisticDirector, #BlogPost, #BlogPosting, #BlogReview, #BrassSection, #ClarinetConcerto, #CommunityOrchestra, #Curtain-Raiser, #FacebookPost, #FacebookPosting, #FilmMusic, #GoodNeighborCity, #GoodWishes, #GurdipBrar, #HomeWebsite, #J.J.Koh, #JohnWilliams, #LarryBevic, #LiveMusic, #MadisonSymphonyOrchestra, #MiddletonCommunityOrchestra, #MiddletonPerformingArtsCenter, #MiddletonWisconsin, #MindyTaranto, #MovieMusic, #MovieSoundtrack, #MusicalMoment, #MusicAppreciation, #NewMusic, #NewWorldSymphony, #PrincipalClarinet, #PrinicpalPlayer, #RightNotes, #SanFrancisco, #SlowMovement, #SteveKurr, #StringSection, #TheEar, #TheMidwest, #TonalBeauty, #WindSection, #WolfgangAmadeusMozart, #YouTubevideo, Aaron Copland, accompaniment, accomplish, amateur, anniversary, Antonín Dvořák, applause, appreciation, appreciative, Artistic director, audible, audience, background, beautiful, beauty, big, blog, boost, brass, brass section, breath, breathing, California, cheerleader, cherish, children, clarinet, clarinet concerto, co-founder, comment, communion, community, community orchestra, Composition, concerto, conductor, constant, decade, Dvorak, dynamics, engaging, ensemble, episodic, expressive, Facebook, falter, familiar, Fanfare, film, film music, forward, founder, fresh, From the New World, good neighbor, Good Neighbor City, good wishes, good-natured, Gurdip Brar, haunting, hear, heart-stopping, high, hit, homage, home website, John Williams, join, jovial, K, kids, know, Kochel, Larry Bevic, like, link, listener, live, live music, Madison Symphony Orchestra, mayor, member, Middleton, Middleton Community Orchestra, Middleton Performing Arts Center, Midwest, Midwestern, Mindy Taranto, minute, moment, movie, Mozart, musical, musical moment, new, New Music, New World Symphony, notes, noteworthy, occasion, official, opinion, Orchestra, original, outstanding, People, perfect, performer, piece, pitch, play, popular, post, posting, prayer, principal, proclamation, program, prominent, Pulse, quiet, raise, reader, real, rehearse, remeber, repetition, rich, right, right notes, San Francisco, score, Season, section, share, silence, Slow movement, small, soft, solo, soloist, Sound, star, Steve Kurr, string, string section, stroing, sublime, subscriber, suddenly, support, symphony, tag, talent, talented, Tempo, The Ear, think, tone, tribute, unforgettable, urge, warning, way, Website, whisper, wind section, winds, Wolfgang Amadeus Mozart, words, work, written, years, you, YouTube

Classical music: UW-Madison’s first countertenor Gerrod Pagenkopf returns to perform on Sunday night as a member of the acclaimed choral group Chanticleer. Here’s how he got from here to there. Part 1 of 2

September 30, 2019
1 Comment

ALERT: Madison Symphony Orchestra organist Greg Zelek did not announce his encore after he received a standing ovation at the MSO concert Sunday afternoon. It was the final movement from the Organ Symphony No. 1 by Louis Vierne.

By Jacob Stockinger

This coming Sunday night, Oct. 6, at 7:30 p.m. in the inaugural concert in the new Hamel Music Center’s main concert hall, the critically acclaimed a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.

Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/

Among the 12 members of the San-Francisco-based Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director. (You can hear Pagenkopf singing music by Henry Purcell in the YouTube video at the bottom.)

For a biography of Gerrod Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf

Pagenkopf (below) is a graduate of the UW-Madison. When he performed here as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each other. And so he has.

But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career. So today and tomorrow, The Ear is offering a longer-than-usual, two-part interview with Pagenkopf.

Here is Part 1:

When were you at the UW-Madison?

I was a student at the UW-Madison from the fall of 1997 until I graduated in May of 2002. Although I received a bachelor’s degree in music education, performing ended up being a huge part of my last few semesters.

Growing up in rural Wisconsin about 30 miles north of Green Bay, I always thought that if you liked music and were good at it, you were supposed to be a teacher. It wasn’t until I was a junior that my voice teacher, the late Ilona Kombrink, and I discovered that I had a viable solo voice. Although I received the music education degree, embarking on a solo career became more important to me.

What did you do and how well did your studies and performances here prepare you for the life of a professional musician?

I was very lucky to have ample opportunities for performing during my time at the UW. Singing in choirs was very important to me. For many years I sang in the Concert Choir under Beverly Taylor (below top) as well as in the Madrigal Singers under Bruce Gladstone (below bottom,, in a photo by Katrin Talbot). I think there was one semester where I sang in just about every auditioned choir.

Beverly Taylor also gave me a lot of solo opportunities in the large-scale works that the Choral Union performed: Bach’s “St. John” and “St. Matthew” Passions, and Handel’s “Israel in Egypt.” For a 23-year-old to have those masterworks, along with the B Minor Mass and “Messiah,” on his resume was very impressive.

I was also lucky enough to perform with University Opera, singing in the chorus at first, but then singing a solo role in Handel’s “Xerxes” my final semester, and then returning as an alumni artist to sing Public Opinion in Offenbach’s “Orpheus in the Underworld” and several years later Polinesso in Handel’s “Ariodante.” Director Bill Farlow took a lot of chances on my young, “raw” countertenor voice and gave me several opportunities to succeed.

I should also note the importance of the guidance and mentorship of Professor Mimmi Fulmer (below, performing at Frank Loyd Wright’s Hillside Theater at Taliesin in Spring Green) after I graduated from UW. She afforded me the opportunity to sing in recital with her numerous times — usually Brahms and Mendelssohn duets. But she also was a catalyst in bringing me back to Madison several years later to sing with the Wisconsin Baroque Ensemble. Our continued relationship is actually the primary reason Chanticleer is singing in Madison this fall.

How do you feel about returning to perform at your alma mater with Chanticleer?

I’m over the moon about it. It still feels like a dream that I’m singing in Chanticleer. To be able to bring a group that I’m so proud to be a part of back to Madison feels like a great personal triumph. And to be the opening performance in the new Hamel Center (below) is such an honor!

Throughout my studies at UW-Madison, I was torn between the solo performance track and the choral career. I managed to straddle both, but my dream was always to make ensemble singing my career. Way back in the early 2000s, I heard Chanticleer sing at Luther Memorial Church, and I thought, “That’s what I want to do!”

I went down several other paths since that concert — mostly in the realm of solo, operatic singing — but it’s incredibly rewarding to be able to say I achieved my dream, and I’m coming back to place where the seed of that dream was planted almost 20 years ago.

Tomorrow: How countertenors re-emerged and were treated, the “Trade Winds” program and Pagenkopf’s future plans

Posted in Classical music
Tags: #ACappella, #ACappellaMusic, #AlmaMater, #AppletonWisconsin, #Bachelor'sDegree, #BaroqueMusic, #BeverlyTaylor, #BillFarlow, #BlogInterview, #BlogPost, #BlogPosting, #BMinorMass, #BruceGladstone, #ChoralMusic, #ChoralUnion, #ChristianChurch, #ConcertChoir, #CriticalAcclaim, #CriticallyAcclaimed, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FrankLloydWright, #GeorgeFridericHandel, #GerrodPagenkopf, #GreenBay, #GregZelek, #GrowningUp, #HamelMusicCenter, #Handel'sMessiah, #HandelOpera, #HenryPurcell, #HillsideTheater, #IlonaKombrink, #IsraelinEgypt, #JacquesOffenbach, #JohannesBrahms, #JohannSebastianBach, #Large-scale, #LouisVierne, #LutherMemorialChurch, #MadisonSymphonyOrchestra, #MadrigalSingers, #MessiahOratorio, #MimmiFulmer, #MusicCritic, #MusicDirector, #MusicEducation, #OperaChorus, #OperaMusic, #OrpheusintheUnderworld, #PublicOpinion, #SanFrancisco, #SchoolofMusic, #SpringGreen, #St.JohnPassion, #St.MatthewPassion, #StandingOvation, #Sundayafternoon, #SundayNight, #Taliesincompound, #UniversityofWisconsin-Madison, #UniversityOpera, #VocalMusic, #WisconsinBaroqueEnsemble, #WisconsinUnionTheater, #YouTubevideo, a cappella, acceptance, acclaim, achieve, alma mater, alumni, alumnus, anniversary, artist, Arts, assistant, audience, audition, B Minor Mass, Bach, Bachelor's degree, Baroque, Beverly Taylor, Bill Farlow, biography, blog, Brahms, Bruce Gladstone, career, catalyst, celebration, centennial, cetennial, challenges, chance, chances, Chanticleer, Choir, choral music, Choral Union, chorus, Christian, church, Classical music, clear, composer, Concert, Concert Choir, concert series, countertenor, critically acclaimed, dream, duet, Early music, encore, experience, face, Facebook, faculty, fall, Felix Mendelssohn, final, forward, Frank Lloyd Wright, future, George Frideric Handel, Gerrod Pagenkopf, graduate, Green Bay, Greg Zelek, growing up, guidance, Hamel Music Center, Handel, Handel opera, Henry Purcell, high, Hillside Theater, Ilona Kombrink, impressive, interview, Israel in Egypt, Jacob Stockinger, Jacques Offenbach, Johann Sebastian Bach, Johannes Brahms, like, link, Lord, Louis Vierne, luck, lucky, Luther Memorial Church, Madison, Madison Symphony Orchestra, madrigal, Madrigal Singers, mass, masterwork, member, Mendelssohn, mentor, Messiah, Mimmi Fulmer, moon, movement, Music, music critic, Music director, Music education, new, night, Offenbach, opera, opinion, opportunities, oratorio, organ, organist, Orpheus in the Underworld, ovation, part, Passion, perform, performances, performer, performing, personal, plan, prepare, primary, program, public, public opinion, Purcell, raw, reason, reception, recital, rediscovery, relationship, resume, role, rural, Saint Matthew Passion, San Francisco, School of Music, seed, semester, share, sing, singer, Singing, solo, song, Spring Green, Spring Green Wisconsin, St Matthew Passion, St. John Passion, standing ovation, Student, studies, succeed, success, Sunday, Sunday afternoon, tag, Taliesin, Teacher, time, today, tomorrow, TradeWinds, triumph, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, UW Choral Union, UW-Madison, UW-Madison School of Music, viable, vocal music, voice, Wisconsin, Wisconsin Barque Ensemble, Wisconsin Union Theater, work, Xerxes, young, YouTube

	Bill Lane on The new Apple Music Classical…
	welltemperedear on The new Apple Music Classical…
	welltemperedear on The new Apple Music Classical…
	Bill Lane on The new Apple Music Classical…
	Augustine on The new Apple Music Classical…

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this:

Share this:

Like this: