The Well-Tempered Ear

Classical music: What music would celebrate Super Bowl XLIX – that’s 49 in plain English – that takes place this afternoon? Plus, the Con Vivo chamber music concert this afternoon in Stoughton has been POSTPONED until next Sunday night.

February 1, 2015
3 Comments

ALERT: The administration of the Stoughton Opera House has decided to postpone the chamber music concert by Con Vivo (below) scheduled for this afternoon, Feb. 1, due to the anticipated snow storm.

The new concert date and time is: next Sunday, Feb. 8, at 7:30 p.m. at the Stoughton Opera House. Please help spread the word to anyone you know who might have been planning to come to the concert. Says the group: “We look forward to seeing you next week! Stay safe and warm. Thank you.”

Con Vivo core musicians

By Jacob Stockinger

Today, Super Bowl XLIX — or 49 to most of us — will be played between the Seattle Seahawks and the New England Patriots in Glendale, Arizona.

Super Bowl 49 social media logos

Kickoff time is 5:30 p.m., CST.

It will be broadcast on NBC.

The game is billed as the world’s largest single sports event.

Given the number of people it will reach via TV and other social media, and given the advertising price of $4.5 million for a 30-second spot, that description sounds pretty accurate.

Super Bowl XLIX no cactus

Here are some suggestions from past years:

Super Bowl 48 in 2014:

https://welltempered.wordpress.com/2014/02/02/classical-music-what-classical-music-goes-best-with-the-nfls-super-bowl-48-football-championship-today-plus-university-of-wisconsin-madison-singers-and-instrumentalists-movingly-celebrate-franz-s/

https://welltempered.wordpress.com/2014/02/02/classical-music-what-classical-music-goes-best-with-the-nfls-super-bowl-48-football-championship-today-plus-university-of-wisconsin-madison-singers-and-instrumentalists-movingly-celebrate-franz-s/

football

Super Bowl 47 in 2013, which drew a lot of reader suggestions and comments:

https://welltempered.wordpress.com/2013/02/03/classical-music-what-classical-music-goes-best-with-super-bowl-47-today-since-there-are-fewer-live-concerts-to-attend-that-conflict-with-the-football-game/

Let us know what you think.

The Ear wants to hear.

 


Classical music: What classical music goes best with the NFL’s Super Bowl 48 football championship today? Plus, University of Wisconsin-Madison singers and instrumentalists movingly celebrate Franz Schubert in death as he was in life – with a “Schubertiade” birthday party.

February 2, 2014
11 Comments

READER POLL: The Ear wants to know what piece of classical music — if any — goes well with today’s NFL Super Bowl 48 national football championship between the Denver Broncos and the Seattle Seahawks? Maybe Aram Khachaturian‘s “The Gladiators” from “Spartacus”? Leave your suggestions, with a link to a YouTube video if you can, in the COMMENTS section.

Super Bowl 48

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

January 31, 1797 was the birthdate of Franz Schubert (below), who died at only 31 on Nov. 19, 1828. So Friday night, January 31, 2014, was the 217th anniversary of his birth.

Franz Schubert writing

With her opportunity of giving a faculty recital, University of Wisconsin-Madison pianist (and singer) Martha Fischer (below, in a photo by Karin Talbot) decided to do a very Schubertian thing to mark the anniversary: Have a party. (Event photos are by The Ear.)

Martha Fischer color Katrin Talbot

In the last years of his short life, Schubert was sustained socially as well as financially by a devoted circle of friends, drawn from the cultural classes of Vienna in his day. Their spontaneous parties, which they came to call “Schubertiades” (depicted below, with Schubert at the piano, in a painting by Julius Schmid) were lively social gatherings with their focus on Schubert’s latest compositions.

Schubertiade in color by Julius Schmid

Accordingly, backed by her pianist husband, Bill Lutes, Fischer invited a number of colleagues from the UW School of Music to pay tribute to the beloved composer with a facsimile of a Schubertiade,

And so, the stage of Mills Hall (below) was fitted out with a large carpet, a standing floor lamp and circles of chairs welcomed members of the audience, to be close presences to the fun. (Alas, though, no free beer was included!)

Schubertiade 2014 stage in MIlls Hall

The constantly shifting lineup of singers involved four voice-faculty members (sopranos Mimmi Fulmer and Elizabeth Hagedorn (below top), tenor James Doing, baritone Paul Rowe) and three graduate students in voice (soprano Sarah Richardson, below bottom on the left), tenor Thomas Leighton (below bottom on the right) and baritone Jordan Wilson).

Schubertiade 2014 Elizabeth Hageborn

Schubertiade 2014 Sarah Richardson  soprano and Thomas Leighton tenor

Assuming her mezzo-soprano hat, Fischer sang two items herself, and she and Lutes rotated as piano accompanists, each demonstrating the talent and skill it takes to be a fine collaborative musician. Both of them tightly controlled the balance between voice and modern concert grand piano, never allowing the piano to drown the singers. And both pianists also matched the moods of the songs and the singers. That’s important because this concert had a lot of high-quality vocal talent, and it must be said that the student singers held their own splendidly with their faculty partners.

When one thinks about it, a great proportion of Schubert’s compositions is social music, meant for parlors and domestic music-making rather than concert situations.

That is most particularly true of his songs, and part-songs, with piano. The program offered 14 songs (with each singer having at least two solo assignments), one duet, and two part songs. The program was divided into two halves, with the general themes of “Night and Dreams” and “Love and Death.” While a couple of the songs were among Schubert’s more familiar ones (like the famous  “Die Forelle or The Trout, below as sung by baritone Jordan Wilson and also heard at the bottom in a YouTube video with baritone Dietrich Fischer-Dieskau and pianist Gerald Moore) most were chosen artfully from among the less often-heard ones.

Schubertiade 2014 barione Jordan Wilson

Fulmer (below top) was particularly expressive in her two solos. She was, in fact, absolutely gripping in Der Zwerg (The Dwarf), a Gothic-horror scene in which a court dwarf, betrayed by his former lover, the queen, kills her and sails into oblivion. (I unashamedly admit this grim masterpiece, so compellingly designed by Schubert, is one of my favorites among his songs.) James Doing (below bottom) had just the right range of gestures and expressions to make Lachen und Weinen (Laughter and Tears) a casual expression of ironic bafflement.

Schubertiade 2014 Mimmi Fulmer BIG

Schubertiade 2014 James Doing

And Paul Rowe (below) gave Totengräbers Heimweh (Grave-Digger’s Longing) a quality of dark probing into the very prospects of human mortality that Schubert himself was learning to fear when he wrote it. But perhaps it is unfair to single out individual performances, since they were all so lovely.

Scubertiade 2014 Paul Rowe baritone BIG

Each of the program’s two halves had its own instrumental intermezzo.

In the first half, it was the simple but moving Notturno (Nocturne) for violin, cello, and piano (below) — a discarded movement from one of Schubert’s piano trios, in which violin student Alice Bartsch and cello professor Parry Karp joined Fischer in a beautiful performance.

Scubertiade 2014 Notturno

For the second half, the dynamic duo of Fischer and Lutes plunged into the ambitious and late Fantasy in F minor for piano-four hands — surely among the supreme masterpieces of all music for piano duet.

Schubertide 2014 Bil Lutes and Martha Fischer

There was one added song, however, as the finale. All the singers gathered together to sing the sublime An die Musik (To Music), but with the audience invited to join in—sustained by a reproduction of the score on the back of the texts handout — and responded with a standing ovation for all the performers (below).

Schubertiade 2014 standing ovation

This kind of sing-along trick could have been cheap, but in fact it worked beautifully, with many in the audience adding their voices, obviously caught up in the spirit of that most social, most lovable and most astounding of great composers, Franz Schubert.

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Classical music: Opera diva Renee Fleming will sing the National Anthem to open the NFL Super Bowl XVIII (48) next Sunday. But WHY and HOW did that happen and WHAT does it mean for professional music and professional sports?

January 26, 2014
3 Comments

By Jacob Stockinger

What is THIS all about?

Next Sunday -– a week from today – is Superbowl XVLIII (that’s 48 in plain English numerals — does the NFL think Latin adds class to football?)) between the Seattle Seahawks and the Denver Broncos. It will be held in bad cold weather in New Jersey’s MetLife Stadium in the Meadowlands. That’s the football game where the best seats are going for more than $25,000. (Where are you now, Tony Soprano?) Not that a wealth gap exists between professional sports like football (below) and the rest of America. Oh, no — never that.

football

And guess who will sing the national anthem, the tricky “The Star-Spangled Banner,” to open the show – and it is a show. None other than superstar soprano Renee Fleming (below).

reneefleming

Yep, the lovely and gifted opera diva herself.

Now, I am not about to complain about a classical music star getting a chance for such exposure. But it does makes you wonder how it happened.

Did her agent approach the NFL?

Or did the billionaire-packed NFL decide on its own — somewhere in its posh 280 Fifth Avenue headquarters (below top is the exterior, below bottom is the interview its tacky half-Football Desk) that are tax-exempt – that it would buy some highbrow class and at the same time help the cause of classical music and maybe build a new audience?

NFL headquarters 280 Park Ave

Inside NFL headquarters

The Ear can’t imagine it was done by popular choice, under pressure from the fans.

And WHY was it done?

Did a lot of classical music presenters, who already realize that it is commercial suicide to hold a concert on Super Bowl Day, think to put some class into the Super Bowl and not risk bad attendance?

Was it just out of a taste for variety?

Fleming, who has a deep background in jazz and popular music, will probably nail it of course.

But will Renee Fleming create the same kind of rowdy, over-the-top atmosphere that is appropriate to the occasion as some bluesy-gospel, pop-rock or hip-hop star rendition would? Sure, Fleming sells a lot of records and tickets — but nowhere near as much as the superstars in those others genres of music do.

I guess we will see.

If she goes over well, maybe they can book her for the half-time act in a couple of years. But someone like superstar pianist Lang Lang (below), who will perform with metal rockers Metallica at this year’s Grammy Awards to be broadcast live tonight, seems a more likely candidate. Why book Rubinstein when you can get Liberace?

Lang Lang goofy

Well, at least folks at the Super Bowl can feel as classy as the Metropolitan Opera folks for a couple of minutes –- until the concussions start.

I don’t know if we will ever get the back story about the why and the how. But here is a link to the story that NPR’s excellent Deceptive Cadence blog had about Renee Fleming and the Super Bowl.

It is good, short and to the point, even if it doesn’t move beyond the headlines.

See what you think.

http://www.npr.org/blogs/deceptivecadence/2014/01/21/264553311/guess-whos-singing-the-national-anthem-at-the-super-bowl

And for True Fans, here is a link to the official NFL Super Bowl 48 site, loaded with information and complete with a clock counting down to the coin toss and kickoff:

http://www.nfl.com/superbowl/48

What would be a good, an appropriate opera aria to mark the Super Bowl? How about Puccini’s “Nessum dorma” (“No one sleeps”) from “Turandot,” below in a popular YouTube video with almost 9 million hits. It features tenor Luciano Pavarotti, who made it his signature aria, and it shows the last time he sang it in 2006 at the Winter Olympics in Torino, Italy. Look at the sets. Listen to the crowd going wild. It seems in keeping with the Super Bowl, no?

But if you can suggest another choice, The Ear wants to hear it.

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