The Well-Tempered Ear

Classical music: This weekend, the Madison Symphony Orchestra and other individuals and groups join forces to celebrate John DeMain’s 25th season with Mahler’s monumental “Symphony of a Thousand”

April 29, 2019
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By Jacob Stockinger

By any standard, it is epic music.

The stage in Overture Hall will have more than 500 participants on it this coming weekend when the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) partners with the Madison Symphony Chorus, the Madison Youth Choirs, the UW–Madison Choral Union and eight critically acclaimed vocal soloists to bring a performance of Gustav Mahler’s massive Symphony No. 8 — or “Symphony of a Thousand.”

For the first time since 2005, MSO music director and conductor John DeMain will conduct one of the largest undertakings in the classical music repertoire as the final concert marking his Silver Anniversary Season.

Performances will be held in Overture Hall of the Overture Center, 201 State St., on Friday night, May 3, at 7:30 p.m.; Saturday night, May 4, at 8 p.m.; and Sunday afternoon, May 5, at 2:30 p.m.

Information about tickets ($18-$93) is below.

Says DeMain (below, in a photo by Greg Anderson): “I have spent 25 years with this orchestra and chorus. In that time, our collaboration on Gustav Mahler’s monumental Symphony No. 8 in 2005 stands out as perhaps the most memorable. I feel a magnetic affinity with Mahler, and began my career 25 years ago with his first symphony. I am honored and moved to conduct this work and feel it is the perfect conclusion to my 25th season.”

Composed in December 1906, Symphony No. 8 is the last work by Mahler (below) to be premiered in his lifetime. It is one of the largest-scale choral works in the classical concert repertoire, and because it requires huge instrumental and vocal forces, it is frequently called the “Symphony of a Thousand.” (Below is a photo of the final rehearsal for the world premiere performance in Munich in 1910.)

The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts.

Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe’s Faust.

The two parts are unified by a common idea: redemption through the power of love, a unity conveyed through shared musical themes.

Symphony No. 8 is revered as one of the greatest achievements of classical concert repertoire and expresses the composer’s confidence in the eternal human spirit. (You can hear Sir Simon Rattle conduct the Berlin Philharmonic in the famous finale of the Symphony No. 8 in the YouTube video at the bottom.)

ABOUT THE PERFORMERS

The distinguished solo singers are: soprano Alexandra LoBianco; soprano Emily Birsan (below), who just last weekend sang the title role in the Madison Opera’s production of Antonin Dvorak’s “Rusalka”; soprano Emily Pogorelc; mezzo-soprano Milena Kitic; mezzo-soprano Julie Miller; tenor Clay Hilley; baritone Michael Redding; and bass-baritone Morris Robinson.

For photos and impressive biographical information about the soloists, go to:

https://madisonsymphony.org/event/symphony-of-a-thousand/

The Madison Symphony Chorus (below top, in a photo by Greg Anderson) gave its first public performance on Feb. 23, 1928 and has performed regularly with the Madison Symphony Orchestra ever since.

The chorus is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent under the direction of Beverly Taylor (below bottom), who is the director of Choral Activities at the UW-Madison’s Mead Witter School of Music.

Inclusive of members of all skill levels, the Madison Youth Choirs (below), Michael Ross director, incorporate singers from ages 7-18 into their orchestration.

The choirs aim to introduce youths interested in musical performance to collaborative forms of self-confidence and responsibility in the atmosphere of musical training. Randal Swiggum is conducting rehearsals preparing members of the choir for the MSO’s May Symphony of a Thousand concerts.

With 150 members, the UW-Madison Choral Union (below) fuses university and non-university members. Under the direction of Beverly Taylor, former associate conductor of the MSO who also teaches at the UW-Madison, the Choral Union is another testament to the musical outreach in the Madison arts.

CONCERT, TICKET and EVENT DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Wisconsin Public Radio host Anders Yocom (below, in a photo by James Gill) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msomay19programnotes

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/event/symphony-of-a-thousandthrough 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 10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Subscriptions for the 2019-2020 season are available now. Learn more at: https://madisonsymphony.org/19-20

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

Major funding provided by NBC15, Larry and Jan Phelps, Diane Ballweg, Carla and Fernando Alvarado, Johnson Financial Group, and University Research Park. Additional funding provided by DeWitt LLP, Kennedy Gilchrist and Heidi Wilde, Thomas E. Terry, Fred A. Wileman, Helen L. Wineke, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: Here are classical music winners — and nominees — of the 61st annual Grammy nominations for 2019.

February 17, 2019
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By Jacob Stockinger

This should have come out sooner since the Grammy Awards (below) were given out a week ago. But it has been such a busy week for Iive music in Madison – as will next week be – that this was the first occasion to post them.

In any case, for all their insider shortcomings they are a matter of interest to many, and can be helpful in understanding the contemporary classical scene and new music as you build your own playlists and recording library.

There are some points of interest including the fact that two Grammys were won by Canadian violinist James Ehnes for his performance of the Violin Concerto by the contemporary composer Aaron Jay Kernis.

Ehnes (below) is in town this weekend to play the Violin Concerto by Johannes Brahms with the Madison Symphony Orchestra (the last performance is this afternoon at 2:30 p.m. in Overture Hall. The Ear hopes he might return to perform the Kernis concerto with MSO.

Also, Apollo’s Fire, which won in the Best Solo Vocal category, will perform Baroque music by Johann Sebastian Bach, Antonio Vivaldi and Marco Uccellini at the Wisconsin Union Theater on Saturday, March 30.

Finally and unfortunately, some Madison nominees — including retired UW-Madison flute professor Stephanie Jutt and her co-director of the Bach Dancing and Dynamite Society pianist Jeffrey Sykes — got edged out in the Producer category, as did retired UW professor James P. Leary for his liner notes to “Alpine Dreaming.”

 In the orchestra category is John Harbison — who is in town marking his 80th birthday with many events, including the world premiere tonight at the W-Madison of his Sonata for Viola and Piano. In the Chamber Music category, Canadian pianist Marc-André Hamelin will solo in concertos by Maurice Ravel and Richard Strauss with the Madison Symphony Orchestra on April 12-14. 

Look at the winners carefully. Clearly, the recording industry is, by and large, skipping over the usual classical masters such as Bach, Beethoven and Brahms to focus instead on living composers and contemporary music or stories relevant to our times, such as the opera by Mason Bates about the late Apple wizard Steve Jobs.

One major exception is the third Grammy in a row for the cycle of symphonies by the famed Russian composer Dmitri Shostakovich being done by the Latvian-born conductor Andris Nelsons and the Boston Symphony Orchestra.

Here are the nominees and winners – the latter marked with an asterisk, a photo and the word WINNER — for the 61st Grammy Awards. Leave a comment with wa you think of the nominees and winners.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES. Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds).

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

*WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS. Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)

* WINNER — BLANTON ALSPAUGH (below)

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei)
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  • Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
    • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
    • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
    • Presentiment (Orion Weiss)
    • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus) 

ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
    • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN

  • Beethoven Unbound (Llŷr Williams)
    • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
    • Bolcom: Piano Music (Various Artists)
    • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
    • Love Comes In At The Eye (Timothy Jones, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt)
    • Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
    • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
    • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
    • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
    • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
    • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)
  1. Best Orchestral Performance Award to the Conductor and to the Orchestra
  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) 
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony) 
  • RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)
  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas, conductor (San Francisco Symphony) 
  • * WINNER — SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 Andris Nelsons, conductor (Boston Symphony Orchestra)

 76.  Best Opera Recording Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers) 
  • * WINNER –BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 
  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, Dmitri Hvorostovsky & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir) 
  1. Best Choral Performance. Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 
  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • * WINNER — MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing) 
  • RACHMANINOV: THE BELLS. Mariss Jansons, conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 
  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  1. 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.
  • * WINNER — ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet 
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Aizuri Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS. Leif Ove Andsnes & Marc-André Hamelin
  • VISIONS AND VARIATIONS. A Far Cry 

  1. Best Classical Instrumental Solo. Award to the Instrumental Soloist(s) and to the Conductor when applicable. 
  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang; Simon Rattle, conductor (Berliner Philharmoniker) 
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque) 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • * WINNER — KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)
  1. 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.
  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble 
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles) 
  • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist 
  • * WINNER — SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles
  •  
  1. 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. 
  • * WINNER — FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer 
  1. 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.
  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • * WINNER — KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis (below top), composer (James Ehnes, Ludovic Morlot & Seattle Symphony). You can hear the first movement in the YouTube video at the bottom.
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)

December 22, 2018
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By Jacob Stockinger

Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday. 

In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.

They seem to be running late this year, probably too late for many shoppers.

But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).

This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.

This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)

It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.

Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.

So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:

Here is a link:

https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html

Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/

And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:

https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018

What recordings would you suggest? 

The Ear wants to hear.


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Classical music: Let us now praise flutist Robin Fellows, who has died. He played with the Wisconsin Chamber Orchestra and taught at the University of Wisconsin-Whitewater. Plus, this afternoon is your last chance to hear the Madison Symphony Orchestra’s all-French program with cellist Sara Sant’Ambrogio.

November 22, 2015
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ALERT: This afternoon at 2:30 p.m in Overture Hall of the Overture Center is your last chance to hear the acclaimed all-French program by the Madison Symphony Orchestra with guest cellist Sara Sant’Ambrogio. Here are links to two very positive reviews.

Here is the review written by critic John W. Barker for Isthmus:

http://www.isthmus.com/arts/stage/madison-symphony-orchestra-november-waltz/

And here is the review written by Jessica Courtier for The Capital Times and the The Wisconsin State Journal:

http://host.madison.com/ct/entertainment/arts_and_theatre/concert-review-madison-symphony-pushes-itself-with-its-all-french/article_1480b329-d313-5afb-9460-e54f40a0596d.html

And here is a link to an interview with more about the concert, the program and the soloist:

https://welltempered.wordpress.com/2015/11/16/classical-music-cellist-sara-sant-ambrigio-talks-about-the-human-quality-of-french-music-she-performs-saint-saens-cello-concerto-no-1-on-an-all-french-program-with-the-madison-symphony-orc/

By Jacob Stockinger

This news is old and dated, and it comes late, too late for you to attend the memorial service. The Ear apologizes for his tardiness.

But the past several weeks have been very busy with concerts, and therefore with previews and reviews. Plus, he didn’t hear about the news until later.

Putting excuses aside, The Ear wants to take a moment to recognize the passing of an extraordinary talent many of us heard in performance and deeply appreciated.

Flutist Robin Fellows (below) has died of cancer at 66. For many years, he was principal flute with the Wisconsin Chamber Orchestra. He was also a longtime music professor at the University of Wisconsin-Whitewater.

robin fellows with flute

And he performed his share of other dates, such as playing with the Ancora String Quartet (below, in a photo by John W. Barker)

robin fellows plays with ancora string quartet cr john w barker

Here is a link to his obituary:

http://www.wcoconcerts.org/in-memoriam-robin-fellows

Robin Fellows copy

In his memory, here — in a YouTube video at the bottom featuring flutist Emmanuel Pahud and Sir Simon Rattle conducting the Berlin Philharmonic — is a favorite work of The Ear with a major flute part: the Sarabande by French composer Gabriel Faure.

http://www.wcoconcerts.org/in-memoriam-robin-fellows

Please feel free to leave your personal memories and recollections in the COMMENT section for others and the family to see.


Classical music: Meet Kirill Petrenko, the unknown name who has just been appointed conductor of the famed Berlin Philharmonic.

July 11, 2015
2 Comments

By Jacob Stockinger

His name is Kirill Petrenko -– not to be confused with conductor Vasily Petrenko in Liverpool, to whom he is no relation.

Chances are you have never heard his name.

Yet the Russian native Kirill Petrenko (below) has just been appointed to succeed Sir Simon Rattle as the music director and conductor of the Berlin Philharmonic, which is often seen as the finest and most prestigious orchestra in the world.

kirill petrenko

Petrenko sounds like a maestro who is worth getting to know.

And Tom Huizenga allows you to do just that in a terrific interview he did with a musician of the Berlin Philharmonic (below) about the new maestro who, it turns out, is publicity shy.

It appeared on “Deceptive Cadence,” the classical music blog that he writes and edits for NPR or National Public Radio.

It will be interesting to see what his initial concert programs and recordings are.

DV177039

But while you wait, here is a link to the interview, which also includes some audio-video clips as samples of Kirill Petrenko’s music-making:

http://www.npr.org/sections/deceptivecadence/2015/07/07/419160254/why-conductor-kirill-petrenko-fits-the-berlin-philharmonic

 

 


Classical music: Behold Bruckner! Conductor John DeMain explains the monumental beauty and major technical and interpretative challenges of Anton Bruckner, whose mammoth Seventh Symphony he will perform this weekend with the Madison Symphony Orchestra.

April 8, 2015
2 Comments

By Jacob Stockinger

This weekend brings what, for The Ear, is the most interesting program of the season from the Madison Symphony Orchestra. The combination of Baroque, Romantic and Late Romantic music includes the long-awaited performance of a major symphony—the Seventh—by Anton Bruckner (below).

Anton Bruckner 2

The program, to be performed under the baton of longtime MSO music director John DeMain, includes the Keyboard Concerto No. 4 by Johann Sebastian Bach and the Piano Concerto No. 1 by Franz Liszt. The soloist for both works is the dynamic and versatile Christopher Taylor (below), the resident virtuoso at the University of Wisconsin-Madison School of Music. Here is a link to an interview with him that appeared here earlier this week:

https://welltempered.wordpress.com/2015/04/06/classical-music-uw-madison-pianist-christopher-taylor-says-bach-wouldnt-mind-being-played-on-the-piano-and-the-public-should-get-to-know-the-less-virtuosic-side-of-liszt-he-plays-concertos/

Christopher Taylor new profile

Performances are in Overture Hall in the Overture Center. Times are Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

Tickets are $12-$84.

For details, go to https://www.madisonsymphony.org or call the Overture Center Box Office at (608) 258-4141.

Maestro DeMain (below, in a photo by Prasad) recently agreed to do an email Q&A about Bruckner with The Ear:

John DeMain full face by Prasad

Why has the MSO gone so long without playing a Bruckner symphony? Why did you choose the Symphony No. 7 as the first Bruckner symphony to be performed by the MSO during your tenure?

When I first came to Madison, I was so focused on Mahler that I didn’t think much about Bruckner. Doing so much Mahler in a short season of seven classical concerts, I felt that adding Bruckner to the mix was too much for our audiences from this period.

Now I can focus on other composers from the late Romantic period, most notably Anton Bruckner. The MSO performed Bruckner’s Fourth Symphony (“Romantic”) in the mid-1980s. So I felt the Seventh would be the right symphony to perform after such a long hiatus, and one the audience would have enormous pleasure listening to.

Do you plan to program other Bruckner symphonies in future seasons? What is the next one you would like to conduct?

I’m certainly interested in a reload at the Fourth Symphony as well as the Eighth and Ninth in some future year.

What makes Bruckner great and how does his music differ from that of his contemporaries such as Gustav Mahler? What are his musical signatures?

Bruckner’s music is monumental in structure. The music basks in tonal beauty. His melodic lines are long, and he loves sequences, modulating as he goes along, building to temporary climaxes, until the big ones come along. The slow movement of the Seventh Symphony is achingly beautiful and moving.

At times, he sounds like Mahler (below), and why not? They were both writing at the same time, so musical trends are going to creep into the composers’ writing in any given era. The lilting waltz in the middle of the slow movement and the scherzo are two such examples that call to mind the music of Mahler.

For me, Mahler’s music struggles more, from the depths of human misery to the glories of newfound salvation. Bruckner doesn’t do that. His music is more architectural in its dramatic unfolding, relying on sequential melodic and harmonic tension, and powerful eruptions from the brass sections of the orchestra.

Gustav Mahler big

What are the major challenges, technical and interpretive, for you and the MSO players in doing Bruckner?

Bruckner is not as explicit as Mahler or Richard Strauss in his directions to the interpreter. Often a movement will have one, or, at the most, two or three general tempo indications. This leaves enormous leeway for the conductor to interpret Bruckner’s intentions. Listening to a variety of past performances by some of our greatest German and Austrian conductors of the past reveals enormous differences regarding tempo, consistency of tempo and general shaping. My influences will be more recent to reflect the scholarship and musical sensibilities of our time.

The challenge for the orchestra will primarily be endurance, particularly for the brass, as Bruckner the loves repetition during his big climaxes, literally embracing the audience with rapturous sound. Also, the strings are asked to play tremolo a lot, and that can be fatiguing. The effect, however, is wonderful. (Note: You can hear that for yourself in a YouTube video at the bottom that features an excerpt from the Scherzo movement of Bruckner’s Symphony No. 7 as performed by Sir Simon Rattle and the Berlin Philharmonic.)

The biggest challenge for me will be the shaping of the symphony. Finding the right tempo, and knowing when to depart from it, so the music can breathe, are additional challenges, as well as paying strict attention to the long crescendos, diminuendos and sudden dynamic changes.

I can’t wait to get to work on it. Other aspects of orchestral playing are always present, like the intonation of the Wagner tubas that we will be using and strict adherence to dynamic changes that are bold, frequent and often extreme.

MSO-HALL

John DeMain conducting 2

What would you like the audience to pay special attention to in the symphony and your performance of it?

I think the audience should let the power and beauty of this symphony take them on their own personal journey. The Wagnerian and Mahlerian influences, as well as the Germanic nature of the music, should be immediately apparent to the listener and put them on familiar territory.

Is there anything else you would like to say about Bruckner?

I would just like to say to the audience, that if they haven’t had a chance to hear Bruckner live, or much at all, this is the perfect choice and chance to get closer to this major composer of 19th-century German Romanticism.


Classical music: Pianists Peter Serkin and Julia Hsu will play works for piano-four hands by Mozart, Schubert, Schumann and Brahms this Saturday night at Farley’s House of Pianos.

March 31, 2015
2 Comments

By Jacob Stockinger

Our friends at Farley’s House of Pianos write to the blog with news of a noteworthy piano concert this Saturday night:

Renowned American pianist Peter Serkin (below top) and Julia Hsu (below bottom) will perform piano, four-hand pieces by Schumann, Bizet, Mozart and more, as part of the Salon Piano Series concerts held at Farley’s House of Pianos at 6522 Seybold Road on Madison’s far west side near West Towne.

Peter Serkin

Julia Hsu

The concert is at 7:30 p.m. this Saturday night, April 4 and will include an introduction by Karlos Moser (below), a retired University of Wisconsin-Madison professor of music and former longtime director of the University Opera at the UW-Madison School of Music.

Karlos Moser

The program includes: Six Etudes in the Form of Canons for Pedal-Piano, Op. 56, by Robert Schumann; Three Pieces from “Jeux d’Enfants” (Children’s Games) by Georges Bizet; the Sonata in B flat Major, K. 358, by Wolfgang Amadeus Mozart; the Allegro ma non troppo in A minor (the dramatic and lyrical “Lebenssturme” or “Lifestorms” that you can hear in a live performance in a YouTube video at the bottom), D.947, and the Rondo in A Major, D.951, by Franz Schubert; and Four Hungarian Dances by Johannes Brahms.

Tickets are $45 and are expected to sell quickly. They are available online at www.salonpianoseries.org and http://www.brownpapertickets.com/profile/706809 or at Farley’s House of Pianos, (608) 271-2626.

For more information about the Salon Piano Series, visit: http://salonpianoseries.org

The distinguished American pianist Peter Serkin has performed with the world’s major symphony orchestras with such conductors as Seiji Ozawa, Daniel Barenboim, George Szell, Claudio Abbado, Eugene Ormandy and James Levine. A dedicated chamber musician, Serkin has collaborated with artists including violinist Pamela Frank and cellist Yo-Yo Ma.

An avid exponent of the music of many contemporary composers, Serkin has brought to life the music of Arnold Schoenberg, Igor Stravinsky, Michael Wolpe, and others for audiences around the world. He has performed many world premieres written specifically for him, in particular, works by Toru Takemitsu, Oliver Knussen and Peter Lieberson. Serkin currently teaches at Bard College Conservatory of Music and the Longy School of Music. Serkin became friends with the Farleys in 1994 when he was in town for a concert and visited the Farley’s showroom (below).

Farley Daub plays

Originally from Taiwan, Julia Hsu received scholarships to study at The Purcell School for young musicians at the age of 14. She has also studied at the Royal Academy of Music, London and at the Hannover Hochschule für Musik und Theater, Germany. Julia has collaborated with conductors Fabio Panisello, Lutz Koeler and cellist Ivan Moniguetti. She was a Festival Fellow at Bowdoin Music Festival, and a scholar at the Banff Centre, Canada before she became a Piano Fellow at Bard College Conservatory of Music in 2013.

The Salon Piano Series is a non-profit founded by Tim and Renée Farley to continue the tradition of intimate salon concerts at Farley’s House of Pianos.

Upcoming concerts include the internationally acclaimed Czech pianist Martin Kasík (below top), who will play the “Moonlight” and “Les Adieux” Sonatas by Ludwig van Beethoven and Sonata No. 3 by Sergei Prokofiev, on Saturday, April 18, 2015 at 7:30 p.m. Jazz pianist Dick Hyman (below bottom) will perform on May 30 and 31, 2015, at 4 p.m. both days.

Martin Kasik w piano

dick hyman

For ticket information and concert details see www.salonpianoseries.org.

All events will be held at Farley’s House of Pianos, 6522 Seybold Road, Madison, on Madison’s west side near the Beltline, and plenty of free parking is available. It is also easy to reach by bicycle or Madison Metro.


Classical music: Are big changes ahead for British classical music? Conductor Simon Rattle heads back from Berlin to England to lead the London Symphony Orchestra.

March 7, 2015
1 Comment

By Jacob Stockinger

The big non-local news item this week was the announcement that the famed conductor Simon Rattle (below) will leave the prestigious Berlin Philharmonic and return to his native England to lead the London Symphony Orchestra starting in 2017.

On weekdays, The Ear generally puts the priority on local events – with previews taking precedence over reviews.

So the weekend provides a chance to catch up.

Simon Rattle close up

The 60-year-old Rattle, whose international career started in Birmingham, England, seems a musician for all seasons. He is known for championing contemporary composers. (You can listen to Simon Rattle talking about his new appointment at the bottom in a new YouTube video.)

But his prolific and eclectic discography also includes CD and DVD recordings of the great standards, the symphonies and concertos and other works by Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert and Johannes Brahms, Antonin Dvorak, Gustav Mahler, Jean Sibelius, Peter Ilyich Tchaikovsky, Arnold Schoenberg, Maurice Ravel, Igor Stravinsky, Sergei Rachmaninoff, Benjamin Britten, Sergei Prokofiev, Benjamin Britten and John Adams among many others.

And by all accounts, he is a generous mentor and masterful teacher — even though I have never heard anyone name Simon Rattle as their favorite conductor. Among his students are Andrew Sewell (below), the longtime music director and conductor of the Wisconsin Chamber Orchestra. The Ear thinks it would be interesting to know what Sewell has to say about Rattle.

Andrew Sewell BW

Here then, are some links to various aspects of the Simon Rattle story. Read one or a few or all of them. There is a lot to think and speculate about – a new concert hall, more contemporary programming and a higher status or respect for the London Symphony Orchestra are chief among them — as we wait and see what develops:

From the BBC news magazine:

http://www.classical-music.com

From the website of the famed Gramophone magazine:

http://www.gramophone.co.uk/classical-music-news/sir-simon-rattle-appointed-principal-conductor-of-the-london-symphony-orchestra

berlin philharmonic rattle

From The Guardian newspaper:

http://www.theguardian.com/music/2015/mar/03/simon-rattle-appointed-music-director-london-symphony-orchestra

From The New York Times, with an analysis:

http://www.nytimes.com/2015/03/04/arts/music/simon-rattle-to-return-to-his-roots-taking-over-the-london-symphony.html?_r=0

Here is an opinion piece from The Guardian about how the move could be good for the British music scene:

http://www.theguardian.com/commentisfree/2015/mar/03/simon-rattle-is-the-seismic-creative-shock-uk-classical-music-needs

And could Rattle’s move spark a rejuvenation of British classical music? That is the question in this post:

http://www.thelondoneconomic.com/2015/03/03/simon-rattle-prompt-rejuvenation-british-classical-music/

Simon Rattle conducting

And finally, despite all the hoopla and cheerleading, a note of skepticism has been sounded by The Arts Desk with some specific criticisms:

http://www.theartsdesk.com/classical-music/rattle-lso-great-or-just-good-news

 

 


Classical music: Can you sing? Famed diva Jessye Norman thinks you can -– and should try. She says it is good for your physical health and mental health.

December 26, 2014
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By Jacob Stockinger

We have just come through Christmas and the holiday season where the instrument of choice – quite appropriately – is the human voice, both solo and in choruses.

Do you sing?

Can you sing?

The famous Grammy Award-winning soprano diva Jessye Norman (below) thinks you can -– and should, or at least try to.

In an interview with the Deceptive Cadence blog for NPR (National Public Radio), Norman explains why all  people can sing.

She also explains why you should: Singing, she says, is healthy for your body and mind.

Jessye Norman

She may be 69, but Norman, who was born in Georgia but now lives in France, is not retiring from singing, even if she is cutting down on professional appearances. She is following her own advice and so continues to sing, as she recently did on The David Letterman Show in New York City.

The interview traces her career from her earliest years in Augusta, Georgia, through training at the famed Peabody Conservatory in Baltimore and the University of Michigan in Ann Arbor. It has samples of her fabulous voice, and also her remembrances of great voices she has admired in others, such as the great history-making African American contralto Marian Anderson (below, during her historic concert at the Lincoln Memorial).

anderson

She also names some favorite orchestral music and instrumental music, including a prelude from the opera “Lohengrin” by Richard Wagner, as conducted by James Levine (below top) of the Metropolitan Opera; a cello sonata by Johann Sebastian Bach performed by cellist Yo-Yo Ma (below middle); and a Beethoven piano concertos performed by pianist Alfred Brendel (below bottom) and the conductor Simon Rattle along with the Berlin Philharmonic.

James Levine conducting

yo-yo ma

Brendel playing BIG

Norman also singles out American jazz composer Duke Ellington (below) for praise.

Duke Ellington at piano

And the NPR interview includes some fine music audio samples.

Here is a link:

http://www.npr.org/blogs/deceptivecadence/2014/11/25/364758676/guest-dj-jessye-norman-from-augusta-to-valhalla

And here is one of my favorite and landmark or legendary performances by Jessye Norman: “Im Abendrot.” It is one of the “Four Last Songs” by Richard Strauss that was recently used in the movie “The Trip to Italy” to such great and repeated effect:


Classical music: How do the flu and classical music mix? What can be done now that the flu season is peaking here and in the concert hall. How should musicians and presenters deal with a sick and coughing audience?

January 15, 2014
6 Comments

By Jacob Stockinger

As I remarked in blog posts of the past three days, the winter intermission is coming to an end with a recital at Arbco housing by the Madison-based Metropolitan Opera mezzo-soprano Kitt Reuter-Foss, with a concert this coming Friday by the Wisconsin Chamber Orchestra and with performances of Medieval and Renaissance English music by Eliza’s Toyes on Saturday and Sunday .

https://welltempered.wordpress.com/2014/01/12/classical-music-madison-and-metropolitan-opera-mezzo-kitt-reuter-foss-will-perform-a-song-journey-next-saturday-to-benefit-the-piano-restoration-at-arboretum-cohousing/

https://welltempered.wordpress.com/2014/01/13/classical-music-the-wisconsin-chamber-orchestra-kicks-off-the-second-half-of-this-concert-season-with-a-performance-this-friday-night-of-orchestral-music-by-mozart-and-bruckner-and-a-guitar-concerto/

https://welltempered.wordpress.com/2014/01/14/classical-music-the-early-music-group-elizas-toyes-celebrates-winter-with-medieval-and-renaissance-british-vocal-music/

So it is undeniable: The second half of the concert season is picking up.

So, unfortunately, is the flu season, according to the federal Centers for Disease Control.

Here is a link to a report on NBC-TV about how many states gave started to report serious cases of flu, including deaths, in the majority of states. And there is no sign of a let up. In fact, predictions are for it to get worse — including right here in Wisconsin.

http://www.nbc-2.com/story/24417052/flu-season-may-be-heading-toward-peak#.UtLEoXmKMds

So when you add in a major spike in flu cases to public events held in public spaces — like, say, concerts – you have a volatile and even dangerous risky mix.

BDDS Playhouse audience

Even in healthy times, The Ear finds it bad enough to sit next or near a chronic cougher — whether from allergies, sinus problems or illness — who simply will not leave the hall to hack but prefers instead to fight it out in the hall and ruin much of the music for others.

Coughers at concerts

But right now those same people are not just annoying. They pose public health risks.

One obvious solution is for people who feel ill to stay home. PLEASE. But that may be hard to do when you pay out big money for tickets and don’t want to lose out on the investment or the beauty of the music.

Some presenters offer free cough drops, which some audience members love to unwrap during the slow movement. But a lot of listeners apparently don’t avail themselves of them — or of taking cough medicine before the concert and during intermission.

Perhaps the YouTube video at the bottom about how to use how you breathe to stop coughing can help.

It might also be good if more performing arts organizations offered rebates or switches on tickets for people who need to cancel to protect their own health and the health of others – including, let us not forget, the musicians or performers themselves.

I wonder how realistic that solution is and how many presenters do offer or would offer such a deal for th eska elf public health. If they don’t, they should.

Recently, The New York Times ran a combined story-column, part humorous and self-deprecating and part serious, by Corinna da Fonseca-Wollheim about how musicians deal with coughing. Her examples included famous conductors (such as Michael Tilson Thomas, below top, when he conducted the Chicago Symphony Orchestra and instrumentalists (including pianist Andras Schiff, below bottom in a photo by Robert Torres, when he performed a monster concert of Johann Sebastian Bach‘s “Goldberg” Variations and Ludwig van Beethoven‘s “Diabelli” Variations back-to-back in Boston and then went on to play an encore) dealt with coughers in the audience.

Michael Tilson Thomas Hiroyuki Ito for NY TImes

Andras Schiff. Credit Robert Torres

I remember a concert years ago at the Wisconsin Union Theater during which pianist Alfred Brendel suddenly stopped playing and chastised the audience for spoiling his music with coughing and noise. He then started over again and – miracle of miracles – the audience was indeed quieter.

If many coughers can keep quiet when asked, why can’t they do so on their own? Silence is part of good concert etiquette.

Anyway here is the amusing yet totally serious Times story about how the performers themselves deal with coughing audiences:

http://www.nytimes.com/2014/01/01/arts/music/maestro-at-work-hold-that-cough.html

Is there more than can be done?

One world-famous musician thinks so.

And so does The Ear.

Tune in tomorrow.

 

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