The Well-Tempered Ear
Classical music: The Madison Symphony Orchestra opens its 94th season this weekend with the sonic sensuality of music by Wagner, Dvorak, Debussy and Barber
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By Jacob Stockinger
It has been warmer than the usual fall weather, so why not go sultry?
That’s what the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) will do when it opens its 94th season this coming weekend.
The program “Love, Lust and Redemption” will combine the power of the Klais organ (below top) with MSO principal organist and curator of the Overture Concert Organ Greg Zelek who opens the season with Samuel Barber’s Toccata Festiva.
The all-orchestral program also features the Madison Symphony Orchestra exploring the sonic sensuality of Wagner’s “Tannhäuser”Overture, Debussy’s “Prelude to the Afternoon of a Faun” and Dvorak’s Symphony No. 7.
Performances will are in Overture Hall, 201 State Street, on Friday, Sept. 27, at 7:30 p.m.; Saturday, Sept. 28, at 8 p.m., and Sunday, Sept. 29, at 2:30 p.m.
Tickets are $19 to $95. For more information, see below.
MSO music director and conductor John DeMain (below) says of the program:
“Our opening concert is both festive and gorgeously romantic as we present our star organist Greg Zelek (below) in his MSO concerto debut.
“We open with one of the most beautiful overtures ever written, Wagner’s Overture to the opera Tannhäuser and then, after intermission, the great Symphony No. 7 in D Minor by Dvorak.
In between is the little jewel by Debussy, his quintessential impressionistic masterpiece, Prelude to the Afternoon of a Faun. All are favorites of mine, and I look forward to making them favorites of yours, if they aren’t already.”
“Tannhäuser: Overture and Venusberg Music” by Richard Wagner (below) is frequently performed as a separate work in orchestral concerts, the first such performance having been given by Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra in February 1846.
Wagner began revisions to the opera immediately, which resulted in two more versions: the Paris version in 1861 and the Vienna version in 1875. Members of the Madison Symphony Orchestra Chorus also perform in this piece.
TheToccata Festiva was written by the American composer Samuel Barber (below) as an occasional work for the Philadelphia Orchestra and Eugene Ormandy. It pairs organ and orchestra, and celebrated the inauguration of a new organ for the Academy of Music in Philadelphia, a gift from longtime patron Mary Curtis Zimbalist who had also commissioned the new piece.
Prelude to the Afternoon of a Faunby French composer Claude Debussy (below) is a musical evocation of Stephane Mallarmé’s poem “Prelude to the Afternoon of a Faun,” in which a faun — a half-man, half-goat creature of ancient Greek legend — awakes to revel in sensuous memories of forest nymphs. Debussy begins the piece with a sinuous and well-known flute melody evocative of a graceful female form.
Symphony No. 7 by Czech composer Antonin Dvorak was greatly influenced by Johannes Brahms. Dvorak decided to compose this symphony after hearing Brahms’s new Symphony No. 3.
The piece is distinguished for its somber and dramatic atmosphere and its lack of Slavic-inspired melodies, a characteristic with which the composer’s style is usually associated. (You can hear the vivacious Scherzo in the YouTube video at the bottom.)
TICKETS AND EVENT DETAILS
The lobby opens 90 minutes prior to each concert. One hour before each performance, Randal Swiggum (below) 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 that 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/msosept19programnotes.
- Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/love-lust-redemptionthrough 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 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
- Subscriptionsfor 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.
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Classical music: Charismatic Russian baritone Dmitri Hvorostovsky is dead at 55
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By Jacob Stockinger
The charismatic Russian baritone Dmitri Hvorostovsky (below, in a 2006 photo by Richard Termine of The New York Times) had it all.
Most importantly, the great opera singer, concert singer and recitalist possessed a superb voice with wonderful tone and breath control that allowed him to even beat out Bryn Terfel to win Singer of the World at a competition in Cardiff, Wales.
But he also had handsome face and fit beefcake body that made him a believable actor in so many roles and proved a pleasure to watch on stage.
And what about that fabulous mane of prematurely white hair that became his signature?
But on Wednesday, the acclaimed Siberian singer Dmitri Hvorostovsky — who was well on his way to becoming a superstar — lost a two-year bout with brain cancer.
He died at 55 – but not after winning plaudits for unexpected appearances at the Metropolitan Opera (below) and Carnegie Hall even while he was ill.
Here are two obituaries.
The first comes from the Deceptive Cadence blog of National Public Radio (NPR) and features three samples of his singing as well as some memorable interview quotes, including the renowned singer’s unapologetic take on his own sex appeal (below) that landed him in People magazine:
And here is a longer obituary, also with samples, from The New York Times. It includes a lot of background about the singer’s early life and career:
https://www.nytimes.com/2017/11/22/arts/music/dmitri-hvorostovsky-dead.html
Did you ever see or hear Dmitri Hvorostovsky in person or perhaps in “Live From the Met in HD” broadcasts? (He sings two folk songs in the YouTube memorial video at the bottom.)
And for those of you can judge singers better than The Ear can, what was your opinion of the Russian baritone?
Did you have a favorite role or aria you liked him in?
The Ear wants to know.
Tags: Actor, appeal, aria, Arts, background, baritone, beefcake, believable, body, bout, Brain, breath, Broadcast, Bryn Terfeld, cancer, Cardiff, career, Carnegie Hall, charisma, choral music, Classical music, Competition, Concert, control, death, Dmitri Hvorostovsky, early, face, folk, folk song, hair, handsome, interview, Jacob Stockinger, life, Live From The Met in HD, Madison, magazine, mane, memorial, Metropolitan Opera, New York City, NPR, obituary, opera, People, plaudits, pleasure, praise, premature, quote, recital, role, Russia, Russian, sample, sex, sexy, Siberia, signature, singer, Singer of the World, superstar, tone, unexpected, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, voice, Wales, white, win, YouTube
Classical music: Meet the Chinese phenom pianist Yuja Wang in a New Yorker profile that has more details than you have ever seen before
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By Jacob Stockinger
Whether you focus on her virtuosic playing or her sensational and controversial use of sexy fashion in performances, the young Chinese-born and American-trained pianist Yuja Wang is a phenomenon that has both audiences and critics talking in superlatives.
True, she is no newcomer to the concert stage and has been in the mass media for years.
Yet the best profile that The Ear has yet seen was written by acclaimed journalist Janet Malcolm and appeared this month in The New Yorker magazine.
It is pegged to Yuja Wang’s recent performance at Carnegie Hall of the famously difficult “Hammerklavier” Sonata in B-flat major, Op. 106, by Ludwig van Beethoven. (You can see and hear it in the YouTube video at the bottom.)
Here is a link to the profile, which is chock full of personal and professional details:
http://www.newyorker.com/magazine/2016/09/05/yuja-wang-and-the-art-of-performance
Tags: America, Arts, Beethoven, Carnegie Hall, China, Chinese, Classical music, fashion, Hammerklavier, Jacob Stockinger, Janet Malcolm, Ludwig van Beethoven, Madison, Music, New Yorker, New Yorker magazine, Orchestra, Piano, sex, sexy, The New Yorker, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, US, YouTube, Yuja Wang
Classical music: Female classical musicians are coerced to sex up their image, says star violinist Nicola Benedetti
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By Jacob Stockinger
The Ear loves all the talk about female equality happening at the Democratic National Convention this week.
It seems only fitting, after all, given that Hillary Rodham Clinton last night became the first female presidential nominee of a major political party in the U.S.
Now, you might think that culture and especially the arts lead the way in such progressive matters.
And sometimes they do.
But not always.
In a story in the newspaper The Daily Mail, published in the United Kingdom, Scottish star violinist Nicola Benedetti (below) says that female classical musicians are still coerced to “sex it up” to have major careers. (Y0u can hear another interview with her in the YouTube video at the bottom. She seems both charming and candid.)
NIcola Benedetti
PIcture:- Decca/Simon Fowler
Hmmm. Sounds almost like an appropriate story at a time when conservative political genius and news director Roger Ailes was forced to leave his Fox News job because of multiple allegations of sexual harassment.
Benedetti cites her own career as an example, and also the case of singer Charlotte Church (below), who had to wear sexy lingerie in a crossover video.
It sure sounds like sexism is alive and well in the world of classical music.
Here is a link to a story with Benedetti’s charges.
Read it and see what you think:
Then tell the rest of us what your opinion is.
And if you know of other examples.
The Ear recalls a sexed up album cover for American violinist Lara St. John (below) who, on a recording of solo works by Johann Sebastian Bach, used her instrument to conceal her bare breasts.
Let us know what you think.
The Ear wants to hear.
Tags: Arts, Bach, Baroque, breast, Chamber music, Classical music, Compact Disc, conservative, crossover, Democratic, Democratic National Convention, England, Fox News, Hillary Clinton, Hillary Rodham Clinton, Jacob Stockinger, Johann Sebastian Bach, Lata St. John, lingerie, Madison, Music, Nicola Benedetti, progressive, Roger Ailes, Scotland, Scottish, sex, Sexism, sexual harassment, sexy, singer, The Daily Mail, UK, United Kingdom, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, Violin, vocal music, YouTube
Classical music: Don’t miss tango weekend at the Bach Dancing and Dynamite Society
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By Jacob Stockinger
If there was ever a genre of music created specifically for the talented, eclectic and fun-loving musicians of the Madison-based Bach Dancing and Dynamite Society, it is surely the tango.
It is hard to imagine a more perfect kind of music because it seems so suited to the temperament of the BDDS and its participants. The tango and BDDS simply seem made for each other.
The sexy and sensual tango has become both a popular and populist form of South American dance music. It started in brothels and then went mainstream. Then it crossed over into the classical repertoire, thanks to composers Astor Piazzolla, Carlos Guastavino and others.
If you have heard the BDDS perform tangos before, you know how captivating the performances are.
This weekend, the BDDS Silver Jubilee season will feature two programs with tangos, arranged by Pablo Zinger (below), a Uruguayan native who now calls New York City home.
Last time they performed, Zinger and his BDDS colleagues were absolutely terrific. The Ear will never forget the BDDS version of Piazzolla’s “Oblivion,” a fantastic, soulful and heart-breaking piece of music. (You can hear another version of “Oblivion” in the YouTube video at the bottom.)
Here are links to the program with tango this weekend to be performed at the Playhouse in the Overture Center and in the Hillside Theatre (below) at Frank Lloyd Wright’s Taliesin compound in Spring Green:
http://www.bachdancinganddynamite.org/schedule.php
Besides tangos, there will also be music by Maurice Ravel (Piano Trio); Arnold Schoenberg (Chamber Symphony); Franz Schubert (Piano Trio No. 1); Joseph Haydn (Piano Trio No. 25, “Gypsy Rondo”); and movie music by Nino Rota, Henry Mancini and Luis Bacalov.
But featured prominently are tangos by Uruguayan composer Miguel del Aguila (below top) and by Argentine composer Astor Piazzolla (below bottom), who turned to the tango of his native land at the advice of Nadia Boulanger, the famous French teacher of Aaron Copland, Philip Glass and others.
If you are looking for a preview sample, you can of course go on YouTube. But you could also listen to the new CD of South American tangos by BDDS co-founder and co-artistic director Stephanie Jutt, who teaches at the University of Wisconsin-Madison School of Music and who is also principal flute of the Madison Symphony Orchestra.
Not long ago, Jutt (below) spent a sabbatical year in Argentina, if The Ear recalls correctly. She clearly fell in love with tango music and is anxious to share her enthusiasm with others. That enthusiasm and her flair for the dance form show in the terrific performances on the CD.
The new CD (below), on the Albany label, features pianists Elena Abend and the versatile arranger-pianist Pablo Zinger, whom you can hear live this weekend. It features 20 modern Latin American and Spanish works by Piazzolla and Guastavino as well as by Angel Lasada, the Brazilian composer Heitor Villa-Lobos and the Basque composer Jesus Guridi. (It is on sale at BDDS concerts for $15.)
Dance has always inspired classical music. Historically, the tango seems a natural modern progression from the Baroque minuets and allemandes of Johann Sebastian Bach, the Classical landler of Haydn, the Romantic waltzes of Franz Schubert and Frederic Chopin, the Hungarian Dances of Johannes Brahms and the Slavonic Dances of Antonin Dvorak.
But don’t take The Ear’s word for it.
Go listen for yourself. And be captivated, be transported. You won’t be disappointed.
Tags: Aaron Copland, Albany Records, allemande, Angel Lasada, Argentina, Arnold Schoenberg, Arts, Ástor Piazzolla, Bach, Bach Dancing and Dynamite Society, Baroque, Basque, BDDS, Carlos Guastavino, CD, Cello, Chamber music, Chamber Symphony, Chopin, Classical, Classical music, Compact Disc, dance, film, Film score, France, Frank Lloyd Wright, Franz Schubert, Haydn, Heitor Villa-Lobos, Henry Mancini, Hungarian Dances, Jacob Stockinger, Jesus Guridi, Johann Sebastian Bach, landler, Latin America, Libertango, Luis Bacalov, Madison, Madison Symphony Orchestra, menuet, minuet, modern, movie, Music, Nadia Boulanger, New York City, Nino Rota, Philip Glass, Piano, Piano Trio, Ravel, Romantic, Schubert, sensual, sex, sexy, Slavonic Dances, Sonata, soul, South America, Spain, Spring Green, symphony, Taliesin, tango, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Uruguay, Villa-Lobos, Viola, Violin, vocal music, Waltz, waltzes, Wisconsin, YouTube
Classical music: YOU MUST HEAR THIS – the sensual sound and sexy music of Gabriel Faure’s Piano Quintet No. 1
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By Jacob Stockinger
The other night The Ear heard a recording of Gabriel Faure’s Piano Quintet No. 1 in D Minor, Op. 89.
He had forgotten quite how quietly and intimately sensual, even sexy, it is.
The Ear has never heard the work in a live performance because, unfortunately, it isn’t programmed often – a fate it shares with most of Fauré’s music save his Requiem. But Fauré also wrote beautiful chamber music, songs and solo piano music.
Just listen to the opening watery sounds of the piano and the luscious string sounds. Just listen to the melodies and harmonies. It is such seductive music, filled with yearning and softly stated passion.
See if you don’t agree when you listen to the first movement in the YouTube video at the bottom. (You can also find a complete performance of the work in YouTube.)
It offers more proof that Faure (1845-1924, below), who taught Maurice Ravel, is severely underestimated and underperformed in the non-French music world.
In The COMMENT section, tell The Ear if you agree and what other sexy pieces of chamber music you want others to listen to.
Tags: Arts, Cello, Chamber music, Classical music, Compact Disc, Faure, France, French, Jacob Stockinger, Madison, Maurice Ravel, Music, Passion, Piano, Piano Quintet, quintet, recording, Requiem, sensual, sex, sexy, solo, song, Sound, strings, water, YouTube
Classical music: Today is Valentine’s Day. What piece of music best celebrates love? Here are Limelight Magazine’s Top 10 Sexiest Moments in Classical Music. Leave some music and words for your Valentine right here. Plus, the University of Wisconsin School of Music has successfully reinvented the annual Concerto Competition Winners’ concert -– to loud approval and multiple standing ovations from a packed house.
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READER SURVEY: Today is Valentine’s Day. What is the best piece of romantic music you know of to listen to or to send to someone to celebrate this day? You can even leave a link to a YouTube video and a dedication in the COMMENT section. Here is a link to Limelight Magazine’s Top 10 Sexiest Moments in Classical Music:
http://www.limelightmagazine.com.au/Article/371934,the-10-sexiest-moments-in-classical-music.aspx
By Jacob Stockinger
Little things can add up to a big difference.
Take the annual concert given by the winners (below) of this year’s concerto competition at the University of Wisconsin-Madison School of Music.
Here are links to background of the event and the performers in the preview story that was posted on this blog and and a link to the performers’ biographies that appeared on “Fanfare,” the outstanding bog of the UW School of Music:
http://uwmadisonschoolofmusic.wordpress.com/2014/01/07/symphony-showcase2013-14/
Someone at the SOM (as the School of Music is referred to by insiders) rightly decided that the event deserved a higher public profile. (Except where noted, performance photos are by The Ear.)
So they made a few adjustments.
They booked Mills Hall for a Saturday night – last Saturday night, in fact — the best night of the week for entertainment events.
Then they rechristened the event the Symphonic Showcase, since the UW Symphony Orchestra (below with graduate student and assistant conductor Kyle Knox) is the common denominator and accompanies all the concerto winners and also premieres the winning piece by a student composer. The Ear likes that emphasis on collective or collaborative music-making.
They started the concert early, at 7 p.m.
That was because they also added a small and informal dessert reception from 9 to 11 p.m. — with all the proceeds of a $10 ticket going to a student scholarship fund — at the nearby Tripp Commons in the UW Memorial Union.
And what were the results?
Nothing short of a spectacular success.
Mills Hall was packed just about full (see the photo below by Michael R. Anderson).
And the big, enthusiastic audience greeted each performer with cheers and a standing ovation. And they deserved that. All of the winners played well and all chose great works to perform.
Here a rundown by contestant.
If you weren’t there -– well, you probably should regret it, You missed out on a lot of fun and a lot of beautiful music-making by a very impressive group of talented students. Maybe some state legislators were in the audience and will stop clowning around trying to micro-manage and ruin the UW while they say they’re really trying to fix it.
The evening started out with an orchestral showpiece, a kind of Romantic tone poem-concerto grosso that highlighted each section. That might be expected since the “Russian Easter” Overture came from Nikolai Rimsky-Korsakov, a master orchestrator who taught Igor Stravinsky the craft of scoring music.
Graduate student Kyle Knox (below) conducted and did a fine job of bouncing the music around to various sections and keeping a clear line.
Violinist Madlen Breckbill (below) confidently commanded the stage with an appropriately lyrical and heart-breaking reading of the first movement of Samuel Barber’s masterful Violin Concerto. It was a thoroughly convincing rebuff to those people and critics who say you need to hear a new piece of music several times to know it is great. This kind of greatness you get from the first notes.
Saxophonist Erika Anderson (below left) played and projected with absorbing conviction the new “Poema” (2014) by student composer 24-year-old Russian-born composer Daria Tennikova (below right), who writes in an impressively accessible yet thoroughly modern idiom.
Clarinetist Kai-Ju Ho (below top) brought both lyricism and swing to Aaron Copland’s underperformed Clarinet Concerto, pleasing conductor James Smith (below bottom right), himself a very accomplished clarinetist who performed the same concerto five times under the composer.
SeungWha Baek (below top, playing; below bottom by Michael R. Anderson) brought out the sizzle and virtuosity in the dazzling first movement of Sergei Prokofiev’s Piano Concerto No. 3, with its ingenious Hanon-like five-finger exercise motif – except that this is no work for beginners, as you can see and hear at the bottom in a YouTube video with pianist Martha Argerich and conductor Andre Previn.
Flutist Mi-Li Chang brought beautiful tone and playfulness, even Gallic charm, to the Concerto for Flute by Jacques Ibert.
And pianist Sung-Ho Yang brought the show to a close with a surprising subtle reading of Franz Liszt’s flashy and bombastic Piano Concerto No 1. The whole work is like one long cadenza – not one of the Ear’s favorites — so it was refreshing to hear Yang emphasize the quiet passages and subtlety, all the while bringing out the dialoguing back and forth between the piano and the orchestra.
And after the music, we went to a quiet but friendly reception that featured coffee and tea as well as chocolate cake and pumpkin bars (below), set out much like a Wayne Thiebaud painting. It was a chance to meet the musicians and thank them for a splendid evening.
Bravo to all.
The Ear is betting and hoping that next year will find the new format repeated.
Tinkering with failure is one thing.
But why tinker with success?
Tags: Aaron Copland, Andre Previn, Arts, Barber, blog, clarinet concerto, Classical music, composer, Fanfare, flute, flute concerto, Franz Liszt, Igor Stravinsky, Jacques Ibert, Kyle Knox, Limelight magazine, Liszt, Martha Argerich, Nikolai Rimsky-Korsakov, Orchestra, Overture, Piano, Piano concerto, Prokofiev, Rimsky-Korsakov, Romantic music, Russia, Russian Easter Overture, Samuel Barber, Saturday, Saxophone, Sergei Prokofiev, sex, sexy, Stravinsky, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Valentine, Valentine's Day, Wayne Thiebaud, YouTube
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The Well-Tempered Ear 