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

April 9, 2022
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By Jacob Stockinger

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

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

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

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

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

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

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

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

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

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

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

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

75. Best Engineered Album, Classical

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

76. Producer Of The Year, Classical

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

CLASSICAL

77. Best Orchestral Performance

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

78. Best Opera Recording

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

79. Best Choral Performance

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

80. Best Chamber Music/Small Ensemble Performance

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

81. Best Classical Instrumental Solo

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

82. Best Classical Solo Vocal Album

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

83. Best Classical Compendium

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

84. Best Contemporary Classical Composition

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

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From Beethoven to today: The next five days at the UW-Madison are busy with FREE online concerts of new music, string music, brass music and more

April 8, 2021
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By Jacob Stockinger

From now through Monday, April 13, there are many FREE online concerts – virtual or pre-recorded – at the UW-Madison’s Mead Witter School of Music.

The schedule includes three different concerts on Saturday, April 10, alone. (All times are central and many concerts will be available for longer than a day.)

The variety of music is terrific and features all kinds of instruments and genres of music.

Here is a link to all of them, which will appear on YouTube. If your click on “Show More,” you will see more information about the performers and the programs. You can also set a convenient Reminder Timer to help you remember to listen: https://www.youtube.com/channel/UCZZ2F66Bu2yAfccvsugEtsA

You can read all of them by yourself. But the Ear wants to single out several of special interest.

NEW MUSIC: TONIGHT

If you are a fan of new music, there are two concerts you should consider listenIing to.

TONIGHT, April 8, at 7:30 p.m. and then at 8:30 p.m. are two concerts of new music.

The first concert is by the Contemporary Chamber Ensemble.

Titled “Colors” (below is the poster) the concert features music by Debussy, Lang, San Martin, UW-Madison professor Laura Schwendinger and Edgard Varese.

The performance are by faculty performers violist Sally Chisholm, flutist Conor Nelson and pianist Christopher Taylor, as well as alumni and students Eric Tran, Eric Delgado, Heidi Keener, Ben Therrell and Ben Yats.

Here is a link: https://www.youtube.com/watch?v=t5Gxe7yTWpI

Then at 8:30 p.m., a studio recital by composition students (below) at the UW-Madison will take place. No names of performers or pieces are listed. But here is the link that is given: https://youtu.be/WmTBoLD9IQc

BEETHOVEN QUARTET CYCLE 7: FRIDAY NIGHT

At 7:30 p.m. is the seventh installment of the cycle, which is part of the Pro Arte Quartet’s yearlong retrospective of Beethoven’s string quartets to celebrate the 250th anniversary of the composer’s birth.

Members are David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

The program has two late quartets: the famous last one, Op. 135, in F major (1826) with the :”Muss es sein” (Must It Be?) motif, which can be heard in the YouTube video at the bottom of the final movement played by the Cypress String Quartet; and the famous “Grosse Fuge” quartet and ending in B-flat Major, Opp. 130 and 133 (1825-6).

The Ear — who particularly likes Beethoven’s return to clarity and classicism in his final quartet — has listened to all the installments and they have all been superb. There’s no reason to expect anything different with this installment.

UW professor of musicology Charles Dill will give short introductory talks before each quartet. You can find extended program notes about the quartet and the program here: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-7/

And here is the link to the live-streamed concert from the Mead Witter Foundation Concert Hall in the Hamel Music Center: https://www.youtube.com/watch?v=IIW_5NVgGaA

UNIVERSITY OPERA SINGS SONGS OF RACIAL AND SOCIAL JUSTICE: SATURDAY AND SUNDAY

This spring, University Opera follows up its groundbreaking video production on the life and times of composer Marc Blitzstein with another video.

What’s Past is Prologue: The Unfinished American Conversation, a program of staged and filmed songs and song cycles with social and racial justice themes, will be released on the Mead Witter School of Music YouTube channel at https://youtu.be/7Up_OXD6K2U this Saturday, April 10, at 7:30 p.m., with an encore stream this Sunday, April 11, at 2 p.m. David Ronis, Director of University Opera, is the director, and Thomas Kasdorf is the musical director, who accompanies the singers on piano.

For more background, go to: https://www.music.wisc.edu/event/university-opera-presents-whats-past-is-prologue-the-unfinished-american-conversation/

For the performance, go to: https://youtu.be/7Up_OXD6K2U

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The eighth annual UW Schubertiade is this Sunday afternoon. It features a FREE online retrospective of the past seven years plus a new four-hand piano performance

January 29, 2021
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By Jacob Stockinger

The University of Wisconsin has posted the following announcement:

For the eighth consecutive year, the University of Wisconsin-Madison’s Mead Witter School of Music will present its annual Schubertiade — a special concert celebrating the music of Franz Schubert (below).

Traditionally these concerts have been held around the composer’s birthday. This year’s concert will in fact occur on his birthday — this Sunday, Jan. 31, at 3-4:30 p.m. CST. The pre-recorded premiere is at: https://youtu.be/7sshhKiFPAg

You can also use the link to prepare for the concert before or during the concert. You will find the program with song titles, the original German texts and English translation, and biographies of the performers by simply clicking on “SHOW MORE” on the YouTube website and follow the links to PDFs.

BECAUSE THERE ARE NO COPYRIGHT ISSUES, ACCORDING TO UW OFFICIALS, THE POST SHOULD BE UP AND AVAILABLE INDEFINITELY AFTER ITS PREMIERE.

As in past years, founders and performers Martha Fischer (below left), professor of piano and head of the collaborative piano program at UW-Madison, and her husband Bill Lutes (below right), an independent piano teacher, and UW emeritus artist-in-residence, will host the program.

These concerts have been presented in the sprit of the first Schubertiades (below, in a painting by Julius Schmid) that took place during the composer’s lifetime (1797-1828) in the homes of his friends and fellow artists, poets and fans.

These were social as well as musical occasions with Schubert himself presiding at the piano, giving his audience a chance to hear his latest songs, piano duets and chamber music, as well as pieces that had already become favorites.

This year’s Schubertiade will be different in response to the restrictions imposed by the Covid-19 pandemic. It will be an online look back — or Rückblick — at past concerts, with songs chosen from performances that have been preserved in the audio and video archive.

The featured performers will include faculty members, students and alumni from the Mead Witter School of Music, along with special guests.

In addition, pianists Fischer and Lutes will give a “new” performance recorded for this occasion of the great Fantasie in F minor for piano duet. (In the YouTube video at the bottom, you can hear that work, performed by Dutch brothers Lucas and Arthur Jussen and recorded live in Seoul, South Korea.)

The songs have been chosen to reflect themes that were not only relevant to Schubert and his circle, but also to all of us in the midst of this challenging time: hope for a brighter future; the need for connection with others; remembrance of happier times; and the consolation to be found in nature.

Schubert left a vast and precious legacy of beauty — an enormous output of music that he composed in his short lifetime.

In a sense, each time his music is performed and heard, it is a journey from the past to our own time, the sounds speaking to us today as vividly and consolingly as they did when they were created 200 years ago.

Performers

Martha Fischer and Bill Lutes, pianists

Alumni:

Jamie-Rose Guarrine, soprano (below, in a photo by Peter Konerko)
Emily Birsan, soprano
Michael Roemer, baritone
Jennifer D’Agostino, soprano
Daniel O’Dea, tenor
Wesley Dunnagan, tenor
Sarah Brailey (alumna and current DMA student)
Sara Guttenberg

Guests:

Marie McManama, soprano
Cheryl Bensman-Rowe, mezzo-soprano

Faculty:

Mimmi Fulmer, soprano
Paul Rowe, baritone (below)
Julia Rottmayer, soprano

Staff

David Alcorn, videographer, editor, etc.
Katrin Talbot, images for audio only tracks

Posted in Classical music
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Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?

September 19, 2020
8 Comments

By Jacob Stockinger

Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others.

At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.

In some ways, it all seems inevitable.

Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom) – fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.

That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.

The assertion is food for thought. But not much.

In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:

https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/

https://nypost.com/2020/09/17/canceling-beethoven-is-the-latest-woke-madness-for-the-classical-music-world/

The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.

Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.

Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.

Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.

No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.

Of course, there is elitism in the arts. People may be equal, but creative talent is not.

And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.

If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.

And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?

But these days being provocative can become its own reward.

You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.

Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop

What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?

Did you ever feel alienated from classical music because of Beethoven or know others who have?

What is your favorite Beethoven composition?

The Ear wants to hear.

Posted in Classical music
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Classical music: It’s clear to The Ear: It will be at least another full year before audiences in the U.S. can safely attend live concerts. What do you think?

August 11, 2020
7 Comments

By Jacob Stockinger

All the signs point to the same conclusion: It will be at least the fall of 2021 before we can safely attend concerts again – if we are lucky.

These past two weeks, The Ear answered questionnaires sent out by the Madison Symphony Orchestra (below top), which has already canceled the season through January, and the Wisconsin Union Theater (below bottom is Shannon Hall).

If you read between the lines, both questionnaires seemed to suggest the same two things: that the entire 2020-21 concert season will be canceled or postponed; or else that it will feature virtual online performances — for ticket prices (perhaps called a “donation”) that have not yet been announced and may not be acceptable to a lot of any group’s core audience.

Perhaps you disagree. If so, The Ear would like to hear in the comment section what you think and why you think it.

Here is what The Ear, who has talked with other season subscribers and various musicians, has seen and heard.

The United States has now surpassed 5 million coronavirus infections and 163,000 Covid-19 deaths with no sign of slowing down and many signs of accelerating. One widely cited model now predicts 300,000 deaths by this Dec. 1.

Plus, too many Americans refuse to wear masks or to maintain social distancing or to shelter at home to help prevent the spread of the virus.

Add in that we will be fortunate if enough vaccines are found to be safe, efficient and approved for use by Jan 1.

Then – despite federal government’s “Warp Speed” development or fast-tracking of the search for vaccines — there is the time needed to manufacture enough of them.

Then it will take considerable time to distribute them equitably, which other countries and public health agencies around the world demand.

Then, if we hope to reach herd immunity, it will take time to convince enough people to get the vaccine, especially with the growing number of anti-vaxxers.

Then those who do get vaccinated will have to wait a month for the second shot that will be required.

Then we wait a few weeks to see if and how much the vaccine really works – if it is safe and prevents infection or at least lessens the damage of the disease if you do get infected.

Plus, it sees unreasonable to think all of these steps will go without a hitch. So maybe a few more weeks or even months should be added.

Add up the math, and the conclusion seems clear: Performing arts events, like sports and other large in-person gatherings, seem increasingly likely to be canceled or reconfigured for a full year.

Concerts are already taking place in China, and other countries in Asia and Europe seem likely to catch up soon. But music lovers in the U.S. will be lucky if they get to attend a live concert with 100 or 500 or 1,000 or 2,500 other people before the fall of 2021 – at least a full year away. Maybe more.

The Ear could well be wrong. Maybe you see a different conclusion, which we would all love to hear. Perhaps international readers will share estimates about when concerts will begin in their country.

One way or another, we will learn a lot more about how the new music season is being planned and changed in the next three weeks.

Posted in Classical music
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Classical music: University Opera announces a new season that is politically and socially relevant to today. The two shows are a virtual revue of Marc Blitzstein and a live operatic version of “The Crucible.”

August 7, 2020
4 Comments

By Jacob Stockinger

David Ronis (below), the director of the University Opera at the UW-Madison Mead Witter School of Music, has posted the following notice about its upcoming season on social media.

The award-winning Ronis is known for being creative both in programming and staging. The new season is yet another example of that. It features one virtual original production about an American composer to see and hear online, and two live performances of a mid-20th century American opera.

Both works seem especially pertinent and cautionary, given the times we currently live in in the U.S.

Here are the details:

FINALLY!!!

Things have fallen into place for the University Opera 2020-21 season and we are happy to announce our productions:

“I Wish It So: Marc Blitzstein — the Man in His Music”

“A biographical pastiche featuring songs and ensembles from Marc Blitzstein’s shows, spoken excerpts from his letters and working notes, and a narration.

“Oct. 23, 2020

8 p.m. Video Release

____________________________________________________________________________________

“The Crucible” (1961)

Music by Robert Ward

Libretto by Bernard Stambler

Based on the 1953 play by Arthur Miller

March 19 and 21, 2021

Shannon Hall, Wisconsin Union Theater

_____________________________________________________________________________________

We will post more information as we get it. For now, we are very excited about both projects! Stay tuned.”

(Editor’s note: To stay tuned, go to: https://www.facebook.com/UniversityOpera/)

_____________________________________________________________________________________

And what does The Ear think?

The revue of Marc Blitzstein seems a perfect choice for Madison since his papers and manuscripts are located at the Wisconsin Historical Society. For details, go to: http://digicoll.library.wisc.edu/cgi/f/findaid/findaid-idx?c=wiarchives;view=reslist;subview=standard;didno=uw-whs-us0035an

Focusing on Blitzstein (1905-1964) also seems an especially politically relevant choice since he was a pro-labor union activist whose “The Cradle Will Rock, directed by Orson Welles,” was shut down by the Works Progress Administration of the federal government.

For more about Blitzstein (below in 1938) and his career, go to: https://en.wikipedia.org/wiki/Marc_Blitzstein

“The Crucible” also seems an especially timely choice. In its day the original play about the Salem witch trials was seen as a historical parable and parallel of McCarthyism and the Republican witch hunt for Communists.

Read about the Salem witch trials here: https://en.wikipedia.org/wiki/Salem_witch_trials

Now that we are seeing a time when Democrats and others with progressive ideas are accused of being radical leftists, socialists and destructive revolutionaries, its relevance has come round again. Like McCarthy, President Donald Trump relies on winning elections by generating fear and denigrating opponents.

For more about the operatic version of “The Crucible” (below, in a production at the University of Northern Iowa) — which was commissioned by the New York City Opera and won both a Pulitzer Prize and the New York Music Critics Circle Award in 1962 — go to this Wikipedia entry: https://en.wikipedia.org/wiki/The_Crucible_(opera)

You can hear the musically accessible opening and John’s aria, from Act II, in the YouTube video at the bottom. For more about composer Robert Ward (1917-2013, below), go to: https://en.wikipedia.org/wiki/Robert_Ward_(composer)

What do you think of the new University Opera season?

The Ear wants to hear.

Posted in Classical music
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Classical music: Joel Thompson’s “The Seven Last Words of the Unarmed” is an eloquent and timely testament to Black victims of racism. It deserves to be performed in Madison and elsewhere

July 6, 2020
2 Comments

By Jacob Stockinger

A reader recently wrote in and suggested that fellow blog fans should listen to “The Seven Last Words of the Unarmed” by the Atlanta-based American composer Joel Thompson (below).

So The Ear did just that.

He was both impressed and moved by the prescient piece of choral and orchestral music. It proved both powerful and beautiful.

The title alludes to the Bible’s depiction of the crucifixion of Jesus Christ, but also to the musical setting of it that was composed by Franz Joseph Hadyn in the 18th century. But it stands on its own as a much needed and very accomplished updating, especially with the “last word” or phrase “I can’t breathe.”

It is hard to believe the work was written five years ago, and not last week or last month. But it couldn’t be more relevant to today.

It shows how deeply artists have been engaging with the social and political issues of the day, particularly the role of personal and structural racism in national life, and the plight of young Black men and women who face discrimination, brutality and even death at the hands of the police and a bigoted public.

The work was premiered by the Men’s Glee Club at the University of Michigan-Ann Arbor in 2015. This performance comes from the San Francisco Symphony Orchestra.

The SSO and featured guest University of Michigan-Ann Arbor Men’s Glee Club, led by conductor Eugene Rogers (below) – who directs choral music and teaches conducting at the UM — premiered a 2017 commissioned fully orchestrated version of “The Seven Last Words of the Unarmed.” You can hear it in the YouTube video below.

It is an eminently listenable and accessible, multi-movement work honoring the lives, deaths and personal experiences of seven Black men.

The seven last words used in the work’s text are: “Why do you have your guns out?” – Kenneth Chamberlain, 66; “What are you following me for?” – Trayvon Martin, 16; “Mom, I’m going to college.” – Amadou Diallo, 23; “I don’t have a gun. Stop shooting.” – Michael Brown, 18; “You shot me! You shot me!” – Oscar Grant, 22; “It’s not real.” – John Crawford, 22; “I can’t breathe.” – Eric Garner, 43.

The Ear thinks that once live concerts begin again after the coronavirus pandemic is contained, it should be programmed locally. It could and should be done by, among others, the Madison Symphony Orchestra and Choir; or the UW-Madison Symphony Orchestra and Choral Union; or the Wisconsin Chamber Orchestra with the Festival Choir of Madison; or the Wisconsin Chamber Choir.

They have all posted messages about standing in solidarity with Black Lives Matter and the protesters against racism. But will words lead to commitment and action?

It will be interesting to see who responds first. In addition to being timely, such a performance certainly seems like a good way to draw in young people and to attract Black listeners and other minorities to classical music.

Here is a link if you also want to check out the almost 200 very pertinent comments about the work, the performance, the performers and of course the social and political circumstances that gave rise to the work — and continue to do so with the local, regional, national and international mass protests and demonstrations.

https://www.youtube.com/watch?v=zdNXoqNuLRQ&app=desktop

And here is the performance itself:

What do you think of the work?

How did you react to it?

Would you like to see and hear it performed live where you are?

The Ear wants to hear.

Posted in Classical music
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Classical music: Here is music that asks for and then grants the peace we need now

June 2, 2020
2 Comments

By Jacob Stockinger

Is The Ear alone in being reminded of the year 1968 and its various social, political and personal upheavals?

What explains it?

What are the parallels, if any?

Is it the national and international protests against police injustice and racism (below, in a photo by Getty Images)?

Is it the violence and riots that followed the assassination of Martin Luther King Jr. and opposition to the Vietnam War?

Is it the isolation and deaths (below, in a photo by ABC News) brought about by the coronavirus pandemic and the more than 100,000 deaths in just the U.S. from COVID-19?

Whatever you think and whether you agree or not, we all can use some peace.

Here is some music that both asks for peace and grants it.

It is the “Dona Nobis Pacem” (Grant Us Peace) from the “Mass in B Minor” by Johann Sebastian Bach, performed in the YouTube video below by Robert Shaw conducting the Atlanta Symphony Orchestra and Chamber Chorus with soloists.

If there are other pieces of classical music that serve that same purpose and you would like to hear, leave your suggestion in the comment section.

Posted in Classical music
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Classical music: Trevor Stephenson announces the new season of the Madison Bach Musicians on YouTube. It features smaller concerts and familiar comfort music

May 15, 2020
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By Jacob Stockinger

At a time when so many concerts are being canceled, it is especially welcome when a local ensemble announces plans for the 2020-21 season.

To announce the 17th season of the Madison Bach Musicians — a period-instrument group that uses historically informed performance practices — the founder and artistic director Trevor Stephenson (below), who also plays the harpsichord, fortepiano and piano, has made and posted a 13-1/2 minute YouTube video.

The season will also be posted on the MBM website in early June, and will also be announced with more details about times and ticket prices via email and postal mailings.

In the video, Stephenson plays the harpsichord. He opens the video with the familiar Aria from the “Goldberg” Variations and closes with two contrasting Gavottes from the English Suite in G minor.

As usual, Stephenson offers insights in the programs that feature some very well-known and appealing works that are sure to attract audiences anxious to once again experience the comfort of hearing familiar music performed live.

One thing Stephenson does not say is that there seems to be fewer ambitious programs and fewer imported guest artists. It’s only a guess, but The Ear suspects that that is because it is less expensive to stage smaller concerts and it also allows for easier cancellation, should that be required by a continuing COVID-19 pandemic.

If the speculation proves true, such an adaptive move is smart and makes great sense artistically, financially and socially given the coronavirus public health crisis.

After all, this past spring the MBM had to cancel a much anticipated, expensive and very ambitious production, with many out-of-town guests artists, of the “Vespers of 1610” by Claudio Monteverdi. Nonetheless, MBM tried to pay as much as it could afford to the musicians, who are unsalaried “gig” workers who usually don’t qualify for unemployment payments.

“Hope and Joy” is a timely, welcome and much-needed theme of the new season.

The new season starts on Saturday night, Oct. 3, at Grace Episcopal Church downtown on the Capitol Square, and then Sunday afternoon, Oct. 4, at Holy Wisdom Monastery in Middleton.

The program is Haydn and Mozart: songs composed in English and German by Haydn plus songs by Mozart; the great violin sonata in E minor by Mozart; and two keyboard trios, one in C major by Haydn and one in G major by Mozart.

Only four players will be required. They include: Stephenson on the fortepiano; concertmaster Kangwon Kim on baroque violin; James Waldo on a Classical-era cello; and soprano Morgan Balfour (below), who won the 2019 Handel Aria Competition in Madison.

On Saturday night, Dec. 12, in the First Congregational United Church of Christ, near Camp Randall Stadium, MBM will perform its 10th annual holiday concert of seasonal music.

The program includes several selections from the “Christmas Oratorio” by Johann Sebastian Bach; a Vivaldi concerto for bassoon with UW-Madison professor Marc Vallon (below, in a photo by James Gill) as soloist; and the popular “Christmas Concerto” by Arcangelo Corelli.

On Saturday night, April 24, at Grace Episcopal Church and Sunday afternoon, April 25, at Holy Wisdom Monastery, the MBM will perform a concert of German Baroque masterworks with the internationally renowned baroque violinist Marc Destrubé (below).

The program features Handel and Bach but also composers who are not often played today but who were well known to and respected by Bach and his contemporaries.

Specifically, there will be a suite by Christoph Graupner (below top) and a work by Carl Heinrich Graun (below bottom).

There will also be a concerto grosso by George Frideric Handel and two very well-known concertos by Bach – the Brandenburg Concerto No. 3 and the Concerto for Two Violins.

Here is the complete video:

What do you think of the Madison Bach Musicians’ new season?

The Ear wants to hear.

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Classical music: Local groups stream videos to entertain home-bound listeners, and perhaps to promote their next seasons. Plus, the Madison Symphony Orchestra cancels and postpones its May concerts

April 4, 2020
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By Jacob Stockinger

Cancellations and postponements aren’t the only effects that the coronavirus and COVID-19 pandemic are having on the local classical music scene.

Many local ensembles – much like such national and international organizations as the Metropolitan Opera and the Berlin Philharmonic Orchestra — are also starting to offer free streamed performances, some of them archival and some of them are specially performed.

Bach Around the Clock even held a virtual festival this year that featured many different original recorded performances spread out over many days and continues.

Why are they doing so?

Certainly to help entertain the public while they weather the boredom and loneliness of social distancing and sheltering in place at home. Music can comfort.

Perhaps they are also doing so as a smart marketing move to stay in the public’s consciousness despite cancellations and to indirectly promote their upcoming seasons.

Here are some examples:

The Madison Symphony Orchestra (MSO) is offering a link to a YouTube performance — by the Prague Radio Symphony Orchestra below) — of the Dvorak Requiem, which the MSO orchestra and chorus were supposed to perform this weekend but had to cancel.

The video also has a message from music director John DeMain; texts and translations from the Czech; a special pre-concert talk and program notes for the Requiem by J. Michael Allsen; and a link to the MSO’s 2020-21 season.

Here is a link: https://madisonsymphony.org/experience-dvorak-requiem-virtually/

In other MSO news: The concerts with pianist Yefim Bronfman playing the Piano Concerto No. 1 by Brahms on May 1, 2 and 3 and the open rehearsal on April 30 are now canceled, and the May 5 organ performance has been postponed.

For those who hold tickets for May concerts, the MSO will be announcing options for donation, exchange and refunds sometime this weekend or next week.

The Wisconsin Chamber Orchestra (WCO), which recently streamed its December concert in the UW’s Hamel Center, has started a special “Coucherto” series – it’s a pun on concerto and couch – of special at-home concerts by individual musicians in the WCO for those listeners who are staying at home.

The project uses social media including Facebook, YouTube, Twitter, Vimeo and at the WCO’s home website. Also included is an invitation by music director Andrew Sewell.

The WCO’s next season hasn’t been announced yet, but should be soon.

Here is a link: https://wisconsinchamberorchestra.org/about/coucherto/

For its part, the Bach Dancing and Dynamite Society, which is facing uncertainty about its June concert series, which focuses on Beethoven’s piano trios – is offering selected chamber music performances from its past seasons that are on BDDS’ YouTube channel.

It too has comments and the program lineup for its season this summer.

Here is a link: https://bachdancing.org/watch-listen/video/

Have you seen any of these videos?

What do you think of them?

Dp you think they work as marketing strategies?

Have you discovered sites for streaming classical music that you recommend to others?

The Ear wants to hear.

Posted in Classical music
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