The Well-Tempered Ear
Here are the classical music nominations for the 63rd annual Grammy Awards in 2021
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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
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Classical music: Here are many more FREE online and streamed concerts to follow and listen to as you quarantine during the COVID-19 pandemic
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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
During the COVID-19 public health crisis and coronavirus pandemic, live streaming of concerts has taken off. It started with daily broadcasts of past productions by the Metropolitan Opera and the Berlin Philharmonic.
Local organizations have followed suit. They include the Madison Symphony Orchestra; the “couchertos” of the Wisconsin Chamber Orchestra; the twice weekly “tiny desk concerts” by the Bach Dancing and Dynamite Society sent to email newsletter subscribers and other recorded audiovisual performances; and local recordings made by Rich Samuels and aired on WORT-FM 89.9.
Here is a compilation, from the British radio station Classic FM with many other FREE listings that also get updated: https://www.classicfm.com/music-news/live-streamed-classical-music-concerts-coronavirus/
Here is another listing of FREE live streams and archived performances from Minnesota Public Radio (MPR): https://www.classicalmpr.org/story/2020/03/16/free-online-classical-concerts
And below are several more that The Ear has checked out and recommends:
CARNEGIE HALL LIVE
Carnegie Hall (below), America’s premier concert venue, has started a series of live streams that include world music, jazz and of course classical music.
The format includes conversation and remarks from homes as well as first-rate live performances from the past. (You can also hear many of the concerts on radio station WQXR in New York City: https://www.wqxr.org)
This past week, The Ear heard an outstanding concert with three pianists, all of whom appeared in Madison last season: Emanuel Ax, who performed an all-Beethoven recital at the Wisconsin Union Theater, played the piano and acted as host; Orion Weiss, who performed a Mozart concerto with the Wisconsin Chamber Orchestra; and Shai Wosner, who gave a terrific master class and a memorable recital on the Salon Piano Series at Farley’s House of Pianos. If you missed it, it is still archived and accessible.
On this Thursday, April 30, at 1 p.m. CDT you can hear violinist Joshua Bell with pianist Jeremy Denk and cellist Steven Isserlis.
DEUTSCHE GRAMMOPHON
Deutsche Grammophon, the world oldest record label, which was established in 1898, has several online series of live streams and archived concerts.
They include “Moment Musical” (Musical Moment) by Daniel Barenboim and guest artists, broadcast from the Pierre Boulez Saal (concert hall) in Berlin.
Barenboim, who started as a child prodigy pianist and ended up being a world-class conductor who once headed the Chicago Symphony Orchestra, has done solo piano and chamber music concerts with the Piano Quintet and two solo pieces by Robert Schumann; the epic Diabelli Variations by Beethoven; and an all-Chopin program of encores. You can also find individual ones on YouTube.
Along more promotional lines, DG also offers a “Best of” series that features movements and excerpts from their newer recordings by some of the best known artists – including pianists Lang Lang, Danill Trifonov, Yuja Wang, Vikingur Olafsson, Jan Lisiecki and Seong-Jin Cho; conductors Gustavo Dudamel, Yannick Nézet-Séguin and Andris Nelsons; opera singers Anna Netrebko and Elina Garanca.
Here is a link to DG’s homepage from where you can get to the various series: https://www.youtube.com/channel/UC34DbNyD_0t8tnOc5V38Big
MILWAUKEE SYMPHONY ORCHESTRA
Closer to home, every Friday you can listen to weekly concerts by the Milwaukee Symphony Orchestra called “Musical Journeys.”
Performers include the MSO’s new music director Ken-David Masur as well as guest conductors like Jeffrey Kahane and the past conductor Edo de Waart.
You can hear the past five episodes, and join new ones. You can also hear past concerts by the Milwaukee Symphony Orchestra (below) on Wisconsin Public Radio. Broadcast time is Sunday at 2 p.m.
Here is a link to Musical Journeys: https://www.mso.org/about/music/mso-musical-journeys-5/
VIOLINIST DANIEL HOPE AT HOME
British violinist Daniel Hope – who has performed with the Madison Symphony Orchestra — has been streaming chamber music concerts from the living room of his home in Berlin.
A prolific concert artist and 25 recordings and four Grammy Award nominations to his credit, Hope (below) has many invited guests and offers a wide range of repertoire.
Here is a link with past episodes. You can also click in upcoming episodes: https://www.arte.tv/en/videos/RC-019356/hope-home/
Are there other sites and streamed performances that you recommend?
Please leave the name and a link in the Comment section.
The Ear wants to hear.
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Classical music: This Sunday afternoon at Farley’s, pianist Shai Wosner performs sonatas by Beethoven, Schubert, Scarlatti and Rzewski. On Saturday afternoon, he gives a FREE public master class
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ALERT and CORRECTION: Earlier this week, The Ear mistakenly said the concert by UW Concert Band is Wednesday night. He apologizes for the error.
It is TONIGHT at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave. In addition, the School of Music website has updated information about the program to be played under director and conductor Corey Pompey. Go to: https://www.music.wisc.edu/event/uw-concert-band-3/
By Jacob Stockinger
This coming Sunday afternoon, one of the today’s most interesting and creative concert pianists will return to Madison to make his solo recital debut.
His name is Shai Wosner (below, in a photo by Marco Borggreve) and he is an Israeli-American who is acclaimed for his technique, his tone and his subtle interpretations.
But what also makes Wosner especially noteworthy and one of the most interesting musical artists performing today is his eclectic, thoughtful and inventive approach to programming.
For more information about Wosner, go to his home website: http://www.shaiwosner.com
Wosner returns to Madison to perform his first solo recital here at 4 p.m. this coming Sunday afternoon, Feb. 23, on the Salon Piano Series at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.
Born in Israel and now teaching in Boston while touring, Wosner will play sonatas by Beethoven, Scarlatti, Rzewski and Schubert.
He has performed with orchestras throughout the U.S. and Europe, and records for Onyx Classics. “His feel for keyboard color and voicing is wonderful,” said The Washington Post.
The Madison program is: Beethoven’s Sonata No. 15 in D Major (“Pastoral”), Op. 28; Scarlatti’s Sonata in D minor, K. 141, Allegro, with Rzewskis’ Nanosonata No. 36 (“To A Young Man”); Scarlatti’s Sonata in D minor, K. 9, Allegro, with Rzewski’s Nanosonata No. 38 (“To A Great Guy”); Scarlatti’s Sonata in C minor, K. 23, with Rzewski’s Nanosonata No. 12; and Schubert’s last Sonata in B-flat Major, D. 960.
An artist’s reception will follow the concert.
Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets are also for sale at Farley’s House of Pianos. Call (608) 271-2626.
Student tickets can only be purchased online and are not available the day of the event.
To purchase tickets, go to: https://www.brownpapertickets.com/producer/706809
For more information about Wosner’s FREE public master class at 4:30 p.m. on Saturday, Feb. 22, including the names of local students and their teachers plus the titles of works by Mozart, Debussy and Ravel to be played, go to: https://salonpianoseries.org/concerts.html
Wosner (below) recently did an email Q&A with The Ear:
In concerts and recordings, you like to mix and intersperse or alternate composers: Brahms and Schoenberg; Haydn and Ligeti; Schubert and Missy Mazzoli; and Beethoven, Schubert, Chopin, Liszt, Dvorak, Ives and Gershwin. Why do you pair sonatas by Domenico Scarlatti (1685-1757) and the American composer Frederic Rzewski (1938-) in this program?
I like to pair together composers from very different periods in ways that, hopefully, bring out certain things they have in common in spite of the differences.
Perhaps it is a way of looking for the underlying principles that make music work, for the ideas that go beyond styles and time periods and that stimulate composers across centuries.
In the case of Scarlatti (below top) and Rzewski (below bottom), it is the extreme conciseness of their sonatas and also their almost impulsive kind of writing with ideas and twists and turns kept unpredictably spontaneous, almost in the style of stream-of-consciousness.
Their sonatas are closer to the literal meaning of the word – “a piece that is played” as opposed to sung (which was more common in Scarlatti’s time perhaps). They are also very much about treatment of the keyboard and gestural writing rather than the more essay-type sonatas that were the dominant idiom for Beethoven and Schubert.
Why did you pick these particular sonatas by Beethoven and Schubert to bookend the program?
The sonata by Beethoven (below top) is quite unusual for him, without many contrasts and very lyrical, which perhaps is a certain parallel with the Schubert sonata. (You can hear Wosner playing an excerpt from another Beethoven sonata in the YouTube video at the bottom.)
But they are also very different. Beethoven’s sonata looks around it and is about idyllic nature — the title “Pastoral” isn’t by Beethoven but it is written in that kind of style — and the sonata by Schubert (below bottom) is more introspective, perhaps about human nature.
What would you like the public to know about specific works and composers on your Madison program?
I think it’s always stimulating to challenge preconceptions we have about composers.
Beethoven is often associated with a certain “heroic” style and bold, dramatic gestures while this piece is quite understated in many ways.
Schubert’s last sonata is often seen as a farewell to the world. But at the same time Schubert himself may not have been aware of his impending death as much as we think – he made some plans right near the end that may suggest otherwise.
I prefer to let everyone find in this music what they will, of course. But I think these works reveal other aspects of these composers that we don’t always think of. Is Schubert’s piece really about his own tragedy? It is probably much broader than that.
Now that your acclaimed Schubert project is completed, what are your current or upcoming projects?
I am currently working with five other composers on a project that is a collection of five short pieces written as “variations” for which the theme is a quote from a 1938 speech by FDR: “remember, remember always, that all of us… are descended from immigrants and revolutionists.”
Each composer chose a figure of an immigrant — some famous, some not — to write about. The composers are Vijay Iyer, Derek Bermel (below top), Anthony Cheung, Wang Lu and John Harbison (below bottom).
These “variations” will be paired with Beethoven’s “Diabelli” Variations.
What else would you like to say about your career and, after several concerto appearances with the Wisconsin Chamber Orchestra, about your solo recital debut in Madison?
Madison has a lovely audience that I was fortunate to meet in the past, and I certainly look forward to being back there!
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Classical music: Here are the best classical recordings of 2016 as chosen by critics for The New York Times. Plus, take a break from Christmas music when the Middleton Community Orchestra plays music by Dvorak, Mendelssohn and Brahms tomorrow night
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REMINDER: Had your fill of holiday music yet? The Ear sure has. Listening to too much Christmas music is a little like drinking too much eggnog or eating too much fruitcake.
So he is grateful to the Middleton Community Orchestra, a mostly amateur but very accomplished ensemble that performs tomorrow night, Wednesday, Dec. 21, at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School.
Happily, the MCO has a program that features conductor Kyle Knox and Madison Symphony Orchestra concertmaster Naha Greenholtz. The music runs counter-intuitive to most seasonal programming and offers a break from all things Christmas except for beauty and joy: some Slavonic Dances by Antonin Dvorak, the terrific Violin Concerto in E minor by Felix Mendelssohn and the sunny Symphony No. 2 by Johannes Brahms.
Admission is $15 (NOT $10 as mistakenly stated earlier); free to students.
For more information, go to:
By Jacob Stockinger
There is still time for giving and getting this holiday season.
So here are The Best Classical Recordings of 2016, as chosen by critics for The New York Times.
The Times listing has good discerning commentaries and even some audiovisual excerpts of the recordings named. And at least one of the recordings — a CD of Haydn and Ligeti by pianist Shai Wosner — has connections to Madison and the Wisconsin Chamber Orchestra.
One can also use this list as a starting point.
The Ear likes to package a recording with a book and even a ticket to a live performance. And these choices offer much food for thought. For example. the recording of the Symphony No. 1 by Edward Elgar, recorded by conductor Daniel Barenboim, will be performed at the Wisconsin Union Theater this spring by the Milwaukee Symphony Orchestra under its outgoing director Edo de Waart.
Here is a link:
https://www.nytimes.com/2016/12/15/arts/music/best-classical-music-recordings-2016.html?_r=0
And here is a link to two other gift guides.
The first is the post-Thanksgiving guide, which includes books and DVDs, by The New York Times:
The second is the list of nominations for the 2017 Grammy Awards:
Enjoy and leave word of your agreement or disagreement along with other selections in the COMMENT section.
The Ear wants to hear.
Tags: Arts, Bach, Baroque, beauty, Beethoven, Book, Brahms, Cello, Chamber music, choral music, Christmas, Classical music, Compact Disc, concertmaster, concerto, conductor, dance, Daniel Barenboim, Dvorak, Early music, Edo de Waart, Edward Elgar, Franz Schubert, gift, guide, Haydn, Holiday, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, Joy, Kyle Knox, Ligeti, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Mendelssohn, Mozart, Music, Naha Greenholtz, New York Times, Orchestra, Shai Wosner, Sonata, symphony, The New York Times, ticket, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Violin concerto, vocal music, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Union Theater, Wolfgang Amadeus Mozart
Classical music: Sequels come to classical music – centuries after the originals
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By Jacob Stockinger
Sequels are not just for books, movies and Broadway shows any more.
Classical music is also starting to generate them — centuries after the originals.
It may be hard to imagine writing sequels to masterpiece sonatas, chamber music, symphonies and concertos by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Igor Stravinsky and others.
But in a kind of musical postmodernism, that’s what is being done with more and more frequency.
The composer Timo Andres (below top, in a photo by Tawny Bannister for The New York Times) wrote a piano concerto based on Beethoven for the great young American pianist Jonathan Biss (below bottom), who has performed with the Madison Symphony Orchestra. Biss, along with the St. Paul Chamber Orchestra, has commissioned five piano concertos in the spirit of Beethoven’s five piano concertos.
And the great young American violinist Jennifer Koh (below top, in a photo by Loren Wohl for The New York Times) and her equally terrific recording partner, pianist Shai Wosner (below bottom) – who has performed several times in Madison with the Wisconsin Chamber Orchestra — have commissioned three sonatas based on the work of older composers from three modern composers.
But musicians and especially modern composers, including the important composer John Adams (below), have mixed feelings about such derivative projects.
Here is a fine story about the phenomenon of sequels that appeared in The New York Times:
Tags: Arts, Bach, Baroque, Beethoven, Classical music, concerto, Jacob Stockinger, Jennifer Koh, Johann Sebastian Bach, John Adams, Jonathan Biss, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Mozart, Music, musical, New York Times, opera, Orchestra, original, Piano, Piano concerto, postmodernism, sequel, Shai Wosner, Sonata, St. Paul Chamber Orchestra, symphony, Timo Andres, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Violin Sonata, vocal music, Wolfgang Amadeus Mozart
Classical music: After hearing pianist Shai Wosner play two Haydn concertos with the Wisconsin Chamber Orchestra, The Ear asks: When will Wosner return for a solo recital?
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By Jacob Stockinger
Last weekend brought a lot of conflicting classical music concerts to Madison.
But one of the best events proved to be the concert on Friday night in the Capitol Theater of the Overture Center by the Wisconsin Chamber Orchestra.
The program featured the supremely gifted but much under-publicized pianist Shai Wosner (below, in a photo by Marco Borggreve). He performed two contrasting keyboard concertos by Joseph Haydn — No. 4 in G Major and the better known No. 11 in D Major.
It was simply a sublime use of a modern instrument to make older music that was originally composed for the harpsichord. Never was the witty music by Haydn overpedaled or overly percussive or distorted for virtuosity’s sake. In every way, Wosner served Haydn — not himself.
The concert was also noteworthy because it featured the longtime music director and conductor Andrew Sewell. He led the Wisconsin Chamber Orchestra (below) to shine in an eclectic program that included the Samuel Barber-like neo-Romantic and neo-Baroque Prelude and Fugue by the 20th-century Italian-American composer Vittorio Giannini and especially the youthful Symphony No. 2 by Franz Schubert.
Plus, Sewell (below) proved a perfect accompanist in the Haydn concertos. Clearly, chemistry exists between Sewell and Wosner, who have also performed together concertos by Ludwig van Beethoven and Wolfgang Amadeus Mozart with the WCO.
It was, in short, a program that was beautifully planned and beautifully played – even down to Wosner playing an encore by Schubert (the late Hungarian Melody, a lovely bittersweet miniature) that set up the second half with the Schubert, whose musical attractions Wosner explains so insightfully in a YouTube video at the bottom.
For his part, Sewell brought out balance and voicing, along with the expressive, but not excessive, lyricism that befits the ever-songful Schubert. As he has proven many times with his readings of Haydn and Mozart symphonies and concertos, Sewell is a master of the Classical style.
Wosner’s subtle and suitably quiet playing — he always puts virtuosity at the service of musicality — was also a model of clarity and restraint, perfectly suited to Haydn. But it left me with only one question:
When will we in Madison get to hear Shai Wosner in a solo recital?
(Below, you can hear Shai Wosner perform the second and third movements of the “Appassionata” Sonata by Beethoven at the 92nd Street Y in New York City in a YouTube video.)
Three of Wosner’s four acclaimed recordings are solo recitals of difficult works. They feature the music of Johannes Brahms, Arnold Schoenberg, the contemporary American composer Missy Mazzoli and especially Franz Schubert, with whom Wosner obviously feels, and shows, a special affinity. The fourth CD is a violin and piano duo done with the gifted young violinist Jennifer Koh.
I don’t know what presenter, besides the Wisconsin Union Theater, would bring Wosner back — and benefit from the WCO audiences that already have heard him. Or maybe the Wisconsin Chamber Orchestra could sponsor a solo recital as a sideline. But we could use more solo piano recitals in Madison — especially if they offer playing of the scale of Wosner’s.
I don’t know how it would happen, but I sure hope it does happen.
Shai Wosner is a great pianist who deserves a wider hearing in a wider repertoire.
Tags: 92nd Street Y, Appassionata Sonata, Arts, Baroque, Beethoven, Chamber music, Classical era, Classical music, Compact Disc, concerto, Franz Schubert, Hungarian, Jacob Stockinger, Joseph Haydn, Ludwig van Beethoven, Madison, melody, Missy Mazzoli, Mozart, Music, neo-Baroque, neo-Classical, neo-Romantic, New York City, Orchestra, Piano, Romantic, Samuel Barber, Shai Wosner, Sonata, style, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Wisconsin, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, YouTube
Classical music: This will be an outstanding semester for piano fans in the area. But it starts with a “train wreck” this Friday night with dueling piano concerts by Christopher Taylor and Ilya Yakushev.
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By Jacob Stockinger
For piano fans, the first semester in Madison proved a bit underwhelming, even disappointing when compared to many past falls.
But that is about to change this semester, starting this weekend.
Of course this piano-rich week comes complete with the inevitable piano “train wreck,” as The Wise Critic terms such scheduling conflicts and competition.
CHRISTOPHER TAYLOR OR ILYA YAKUSHEV
For many area listeners, the big annual piano event is on this Friday night at 8 p.m. in Mills Hall. That is when the UW-Madison School of Music virtuoso Christopher Taylor (below) — whom The Ear hears other schools are trying to lure away from the UW — performs his annual solo faculty recital.
Taylor, famed for his prodigious technique and fantastic memory, has won praise nationwide and even internationally for his performances of all kinds of difficult music, from Johann Sebastian Bach and Ludwig van Beethoven to Olivier Messiaen and Gyorgi Ligeti as well as contemporary musicians like Derek Bermel.
Taylor’s program this time is an unusual one that mixes old and new.
It features another of the dazzling two-hand transcriptions by Franz Liszt of the symphonies by Ludwig van Beethoven, which Taylor has been performing elsewhere in a cycle. This time he will perform the famous Symphony No. 6 in F Major, “Pastoral.”
Also on the program are seven of the 12 etudes by the contemporary American composer William Bolcom, who taught at the University of Michigan-Ann Arbor, and the Sonata No. 3 in F minor, Op. 5, by Johannes Brahms — a wondrously dramatic and beautiful work that you can hear performed by Van Cliburn International Piano Competition winner Radu Lupu in a YouTube video at the bottom.
Tickets are $10 and benefit the UW-Madison School of Music Scholarship Fund.
For more information, including some national reviews of Taylor, here is a link to the UW website:
http://www.music.wisc.edu/events/christopher-taylor-piano-faculty-recital/
But, as I said, there is a problem.
At exactly the same time on Friday night, in the Capitol Theater of the Overture Center, is a terrific concert by the Wisconsin Chamber Orchestra with Russian pianist Ilya Yakushev (below), who last performed Prokofiev and Gershwin concertos with the WCO.
This Friday night’s program includes Yakushev in two well-known concertos: the keyboard concerto in D Minor by Johann Sebastian Bach and the Piano Concerto No. 1 in G minor by Felix Mendelssohn.
Also on the program – typically eclectic in the style that conductor Andrew Sewell (below) favors — is the English Suite for Strings by British composer Paul Lewis and the Chamber Symphony No. 2 by Arnold Schoenberg.
For information, go to: http://wcoconcerts.org/performances/masterworks/77/event-info/
But this piano weekend doesn’t stop there.
On Sunday afternoon at 4 p.m., Ilya Yakushev will open the new season of the Salon Piano Series when he plays a solo recital in the concert room (below) at Farley’s House of Pianos, on Madison’s far west side.
The program includes the famous Sonata in C minor “Pathétique,” Op. 13, by Ludwig van Beethoven; the Sonata No. 2 by Russian composer Sergei Prokofiev and “Carnival” by Robert Schumann. A reception will follow the recital.
Here is a link with more information:
http://salonpianoseries.org/concerts.html
And as background, here is a Q&A that The Ear did in 2011 with Ilya Yakushev:
MORE TO COME
Of course this is just the beginning of Piano Heaven.
There is still the concerto competition for the Wisconsin Youth Symphony Orchestras (WYSO) to come, along with the UW-Madison concerto competition, the Bolz “Final Forte” Concerto Competition of the Madison Symphony Orchestra and others.
Later this semester, the Wisconsin Chamber Orchestra will also feature two other returning pianists –- Shai Wosner (below top) and Bryan Wallick (below bottom). They will perform, respectively, two concertos by Franz Joseph Haydn and the Piano Concerto No. 5 in E-flat Major “Emperor” by Ludwig van Beethoven.
Here is a link to the WCO website:
http://wcoconcerts.org/performances/masterworks/
And let’s not forget the Madison Symphony Orchestra.
In addition to the above piano events and others, the Madison Symphony Orchestra will feature the Irving S. Gilmore Competition winner Ingrid Fliter (below), a native of Argentina, in the lusciously Romantic Piano Concerto No. 2 in F Minor by Frederic Chopin on Feb. 13-15 – perfect fare for Valentine’s Day weekend.
That program which also includes the Symphony No. 4 by Robert Schumann and British composer Benjamin Britten’s “Variations on a Theme by Frank Bridge” -– Bridge was Britten’s teacher — promises to be a memorable performance by a renowned Chopin specialist who last played a solo recital here ay the Wisconsin Union Theater.
And if you know of more. just add them in a Reader’s Comment for others to see,
Tags: Andrew Sewell, Ann Arbor, Arnold Schoenberg, Arts, Bach, Beethoven, Benjamin Britten, British, Bryan Wallick, Capitol Theater, chamber orchestra, Chopin, Christopher Taylor (pianist), Classical music, composer, concerto, concerto competition, Derek Bermel, Emperor Concerto, English music, etude, Farley's House of Pianos, Frank Bridge, Franz Joseph Haydn, Gilmore Compeititon, Great Britain, Haydn, Ilya Yakushev, Ingrid Fliter, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, Ligeti, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Mendelssohn, Messiaen, Music, Orchestra, Overture Center, Pastoral Symphony, Pathetique Sonata, Paul Lewis, Piano, Prokofiev, Radu Lupu, recital, Robert Schumann, Shai Wosner, Sonata, String Orchestra, University of Michigan, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Van Cliburn, Van Cliburn International Piano Competition, WILLIAM BOLCOM, Wisconsin Chamber Orchestra, Wisconsin Union Theater, YouTube
Classical music: The Wisconsin Chamber Orchestra opens its new winter season Friday night with masterpieces and rarities with guest violinist Rachel Barton Pine. Get there early, and check out the photographs of Paul Vanderbilt.
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ALERT: If you have a chance before attending a concert at the Overture Center, be sure to check out the impressive show of black-and-white landscape photos by Paul Vanderbilt (below), the former curator of photography at the Wisconsin Historical Society. It is a stunning exhibit that features single shots and also couplings with poetic commentaries by Vanderbilt.
The images are on show in the James Watrous Gallery of the Wisconsin Academy of Sciences, Arts and Letters, on the top floor of the Overture Center. The show runs through Sunday, Nov. 2. A FREE panel discussion will be held on Saturday, Oct. 18, from 1:30 to 3:30 p.m. in the auditorium at the State Historical Society, 816 State Street (NOT the museum on the Capitol Square).
Here is a link to more information and other related events:
http://www.wisconsinacademy.org/gallery/current-exhibition
By Jacob Stockinger
The Ear is all excited.
One of the major players on the Madison music scene will open its new season this coming Friday night.
The Wisconsin Chamber Orchestra, under the baton of its longtime music director and conductor, Andrew Sewell, will perform a concert of music by Henri Vieuxtemps, Camille Saint-Saens, Wolfgang Amadeus Mozart, Benjamin Britten and Franz Joseph Haydn. It takes place at 8 p.m. in the Capitol Theater of the Overture Center.
The new WCO season is heavy with three fine pianists (Shai Wosner, Ilya Yakushev and Bryan Wallick) -– which The Ear likes since he is himself an avid amateur pianist -– but the opening concert is special and an exception.
The guest soloist is Chicago violinist Rachel Barton Pine (below), who received a rave review when she performed the famous Violin Concerto by Johannes Brahms with the University of Wisconsin-Madison Symphony Orchestra last season for the Wisconsin Union Theater.
Here is a link to that review by John W. Barker:
Here is a link to a preview interview that The Ear did with Rachel Barton Pine:
Rachel Barton Pine will perform the Violin Concerto No. 5 in A minor by the 19th-century Belgian composer Henri Vieuxtemps (below top) and also the showpiece “Introduction and Rondo Capriccioso” by French composer Camille Saint-Saens (below bottom, at the piano circa 1900 in a Corbis photo). You can hear the flashy Saint-Saens piece at the bottom performed by Itzhak Perlman in a popular YouTube video.
Then she will be joined by the young Juilliard School-trained violist Mathew Lipman in a performance of the early and rarely heard Concerto for Violin and Viola by the 20th-century British composer Benjamin Britten (below bottom).
Bookending the program are Mozart’s Overture to “The Marriage of Figaro” and Haydn’s late Symphony No. 96 in D Major, “The Miracle” -– so-called because a chandelier fell during the premiere performance in London but didn’t injure anyone in the audience.
The program is typical for Andrew Sewell (below), an avowed Francophile who likes to combine well-known works with rarely heard works. And it should be even more memorable because the Classical-era style of Mozart and Haydn plays to Sewell’s strong suit.
Tickets are $15 to $75. Call the overture box office at (608) 258-4141.
For more information, including audio-video clips and artist biographies, for this opening concert, visit:
http://wcoconcerts.org/performances/masterworks/76/event-info/
For more information about the entire WCO Masterworks winter season, including an all-Beethoven concert, visit:
http://wcoconcerts.org/performances/masterworks/
Tags: Arts, Beethoven, Belgium, Benjamin Britten, Brahms, Cello, Chamber music, Chicago, Classical music, concerto, Franz Joseph Haydn, Henri Vieuxtemps, Itzhak Perlman, Juilliard School of Music, landscape, London, Madison, Mozart, Music, Overture, Overture Center, Paul Vanderbilt, photo, photography, Piano, Rachel Barton Pine, Saint-Saens, Shai Wosner, symphony, The Marriage of Figaro, The Miracle Symphony, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Vieuxtemps, Viola, Violin, Violin concerto, Wisconsin Chamber Orchestra, Wisconsin Historical Society, Wisconsin Union Theater, Wolfgang Amadeus Mozart, YouTube
Classical music: A major and long overdue revival of Franz Joseph Haydn seems at hand –- and The Ear applauds it.
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By Jacob Stockinger
The evidence just keeps on mounting, at least to The Ear’s ears.
What I hear tells me this: We are on the verge of a major rediscovery and revival of the works of Franz Joseph Haydn, who too often seems little more than a token inclusion or an afterthought in so much classical programming. The repertoire usually runs: Lots of Mozart, lots of Beethoven, some Schubert and far less Haydn.
Almost all classical musicians, historical and contemporary, concede that “Papa” Haydn -– a more complex personality than it would appear at first, especially if you read the authoritative biographies and essays by H.C. Robbins Landon — was one of the most inventive and creative, the most prolific and influential composers of all time.
Haydn was more or less the father of the symphony, as we know it; the string quartet as we know it; the piano trio as we know it; and the piano sonata as we know it.
But curiously, Haydn has never received the same intense attention that his more famous colleagues such as Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert, have enjoyed. And this is even despite the fact that he was a teacher or mentor to all of them.
And on what does The Ear base his hunch about a Haydn revival?
Well, this past season I heard many more of Haydn’s string quartets and piano trios than usual. I also heard one of his two cello concertos and a trumpet concerto.
The string quartets and piano trios came from the Pro Arte Quartet (below top), plus the Hunt Quartet (below middle) and the Perlman Trio (below bottom, seen with a guest pianist and guest cellist) at the University of Wisconsin-Madison School of Music as well as from chamber musicians in the Wisconsin Youth Symphony Orchestras (WYSO). Plus, the annual summer Token Creek Chamber Music Festival often likes to explore Haydn’s piano trios, although I don’t yet know this summer’s programs. (You can hear part of a great Piano Trio in a YouTube video at the bottom.)
I have also heard many more symphonies everywhere, from the University of Wisconsin-Madison campus concert halls to Wisconsin Public Radio and SiriusXM satellite radio. More importantly, I have heard far more of the 104 symphonies than the usual favorites such as “the Farewell,” “The Clock,” “The Drumroll” and “The Surprise,” including fine performances by the Wisconsin Chamber Orchestra and the Madison Symphony Orchestra under conductor John DeMain — which played Haydn’s Trumpet Concerto with soloist Tine Thing Helseth — as well as the UW Symphony Orchestra and UW Chamber Orchestra under conductor James Smith.
Then take a look at the concertos, which are relatively rare in the concert hall.
Next season the Wisconsin Chamber Orchestra will feature Shai Wosner (below, in a photo by Marco Borgrevve), a first-rate and sensitive musician, performing two of Haydn’s many piano concertos, the unheard No. 4 in G Major and the more popular No. 11 in D Major. This season, his Piano Concerto in D Major –- the most famous one — was also featured at Edgewood College, and it will again be programmed this summer by the Madison Area Youth Chamber Orchestra (MAYCO). That kind of repetition programming means something and bodes well.
One major disappointment of the revival so far is that local pianists don’t seem to be doing their part. They are not picking up on the 52 piano sonatas that are such a rich field of repertoire.
Too bad!
The Ear finds the piano sonatas of Haydn interesting and varied, and I am not alone: They were favorites of none other than the titanic talent Sviatoslav Richter (below top), who possessed a gigantic repertoire, but always spotlighted Haydn in performances and recordings. Alfred Brendel, Emanuel Ax, Leif Ove Andsnes, Andras Schiff and especially “super-virtuoso” Marc-Andre Hamelin (below bottom) -– all top names currently on the concert circuit –- have also championed Haydn through performances and recordings.
But perhaps those shortcomings will be overcome in time. After all, this past season, Archiv issued an outstanding CD of Haydn’s rarely played violin concertos with Giuliano Carmignola ad the Orchestra of the Champs-Elysees.
Another area that needs some catching up with is Haydn’s choral music. It has been quite a few years since we have heard either of his large and magnificent oratorios “The Seasons” or “The Creation.” And I am not even talking about his wondrous, smaller-scale late masses (“Mass in Time of War,” “The Lord Nelson Mass”) that deserve far more performances than they usually receive, maybe from the UW Choral Union.
Will Haydn ever displace or dethrone the bigger masters and more famous names? Probably not.
The Ear finds Mozart more beautiful, but Haydn more interesting.
Beethoven (below) is more dramatic, virtuosic and powerful, though much of what he learned about development, he learned from Haydn with whom he studied counterpoint, and whose work he knew intimately.
And except in some of the “Storm and Stress” symphonies, Haydn seems more formal and objective, and rarely expresses the kind of heart-wrenching empathy and soulful humaneness we find in Mozart (below top) and Schubert (below bottom), who were supreme melodists.
In fairness, we have to admit that Haydn did have his weak points. He wrote far too many works (123 trios!) for the outdated baryton (below) –- a kind of cello or viol with vibrating sympathetic strings -– simply because his royal patron at the Esterhazy Palace in Austria (now Hungary) played it. One can only imagine what would be the result if such energy had gone into other more important genres where Haydn excelled.
Also, Haydn’s many operas seem deservedly neglected when they are compared to Mozart’s. Haydn just didn’t seem to have the flair necessary to combine theater and music in an engaging and insightful or moving way. And perhaps Haydn didn’t really take to vocal music because he subconsciously resented how close he had come to being castrated to preserve his boy soprano voice. Still, it might be interesting to see the Madison Opera do one of the better Haydn operas as its winter offering, or to see the University Opera, which often does neglected repertoire, tackle one. (Below is the English Touring Opera performing Haydn’s opera “Country Matters.”
But make no mistake. Haydn’s life and career were very long and his enormous output constitutes an endless vein of precious ore to mine, as these approximate numbers show: 104 symphonies, 60 piano trios, 72 string quartets, 52 piano sonatas, dozens of concertos and operas, a dozen or two major choral works.
Haydn, a humorous and good-natured man as well as a hard worker -– he always composed at the keyboard (below) — was a driving force behind all of them. And even though he developed and changed immensely over long life -– he was born in 1732 and died famous in 1809 -– all stages of his work offer masterpieces that deserve performances and acquaintance, and certainly far more attention than they generally receive.
That is especially so now that early music, period instruments and historically informed performance practices are the norm. But I personally find that Haydn, unke some other composers, sounds terrific on either period instruments or modern instruments.
Haydn’s early symphonies like the triptych “Morning, Noon and Night;” (Symphonies Nos. 6, 7 and 8) are rich; his middle-period “Storm and Stress” minor key symphonies from his middle period are extraordinary and surprising for a Classical era composer. His sophisticated late work, when he twice took London by storm, includes the “Paris” and “London” symphonies as well as the “Oxford,” to celebrate his receiving an honorary degree. Next season, the Wisconsin Chamber Orchestra will perform Symphony No. 96, “The Miracle.”
The Ear would love to see WCO music director and conductor Andrew Sewell (below) -– who has shown himself to be a masterful interpreter of Haydn – undertake either a major cycle or at least a major survey of Haydn’s symphonies in coming seasons. Maybe the UW’s Pro Arte Quartet could do the same with the string quartets.
So rich is Haydn’s work that even if a major revival happens -– if it indeed has already started – it can keep going for a very long time to come, and still keeps surprising us and pleasing us.
Does anyone else sense that a major Haydn revival is at hand?
Why do you think Haydn has been comparatively ignored?
What Haydn works do you like best?
And what Haydn works would you like to get to know better or to see better known by the general public and performed more often?
The Ear wants to hear.
Tags: Andrew Sewell, Arts, Beethoven, Cello, Chamber music, Classical music, Compact Disc, concerto, Franz Schubert, H.C. Robbins Landon, Haydn, Jacob Stockinger, John DeMain, Joseph Haydn, Ludwig van Beethoven, Madison Opera, Madison Symphony Orchestra, mass, Mozart, Music, opera, oratorio, Orchestra, Piano, Piano concerto, Piano sonata, Piano Trio, Pro Arte Quartet, Shai Wosner, Sirius XM Radio, Sonata, The Creation, The Seasons, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Violin concerto, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, Wolfgang Amadeus Mozart, WYSO, YouTube
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The Well-Tempered Ear 
Salon Piano Series cancels the rest of this season but offers a free monthly video from past concerts
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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
The Ear has received the following announcement from the Salon Piano Series that take place at Farley’s House of pianos:
Dear friends,
How we’ve missed seeing you, since last we were able to gather – in February, for pianist Shai Wosner (below, in a photo by Marco Borggreve) and his recital of heart-stopping Schubert, Scarlatti, Rzewski and Beethoven.
Since then, our pianos have sat silent, waiting for the day we can safely reopen and welcome you back.
For now, although it breaks our hearts, we do need to stay dark through the rest of the 2020-21 season, for everyone’s safety. Our highest priority is the well-being of our artists, audience and staff.
But rest assured that we are rescheduling all of our postponed performances:
Drew Petersen (below) (https://www.brownpapertickets.com/event/4275242) will perform next October.
Jazz great Bill Charlap (below) (https://www.brownpapertickets.com/event/4275248) will perform in June.
We are working to schedule Sara Daneshpour, violinist Rachel Barton Pine, Niklas Sivelov and John O’Conor over the next two seasons.
In the meantime, while we can’t gather in person, we’re pleased to announce the launch of a monthly video series featuring some of our past and upcoming artists.
December brings us the incomparable Shai Wosner and in January, Adam Neiman (below).
During these uncertain times, we appreciate remembering time spent together enjoying music.
Please take a break from your day to see and hear Shai Wosner (below) performing Domenico Scarlatti’s Sonata in C Minor, K. 230, and Frederic Rzewski’s Nano Sonata No. 12.
The video was recorded live at Farley’s House of Pianos as part of the Salon Piano Series on Feb. 23, 2020.
Click here or at the bottom for the YouTube video: https://www.youtube.com/watch?v=-MCxr5ioV4o&feature=youtu.be
Last March, Shai Wosner released a 2-CD album (http://www.shaiwosner.com/recordings.html) of Schubert late piano sonatas. The album’s producer is nominated for a Grammy Award for the album.
Over the years, you have supported the intimate Salon Piano Series with your attendance, individual sponsorships and donations (https://salonpianoseries.org/donate).
We look forward to bringing you more world-class musical performances in our unique salon setting again soon.
In the meantime, these performances are a way to recapture the live concert experience, including commentary from artistic director Tim Farley, with videography by Tom Moss.
Those on our e-newsletter list, available at our website at https://salonpianoseries.org/contact.html, will receive a video link each month, and the videos are also available on our social media channels.
Stay safe, stay healthy and keep listening.
Sincerely,
The Salon Piano Series Board of Directors
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