The Well-Tempered Ear

Classical music: “I like tunes,” says Academy Award-winning composer Thomas Cabaniss, who talks about his “Double Rainbow” piano concerto. The Wisconsin Chamber Orchestra and guest soloists will give the world premiere of the work this Friday night.

April 24, 2017
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By Jacob Stockinger

Even for the Wisconsin Chamber Orchestra (below), which likes to mix things and up during its winter season, the concert this Friday night is something special to close out the current season.

The WCO will give the world premiere of the “Double Rainbow” Piano Concerto by Thomas Cabaniss, which was commissioned for the WCO.

The performance will also feature husband-and-wife duo-pianists Michael Shinn and Jessica Chow Shinn.

The concert is Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.

Also on the program is Maurice Ravel’s Neo-classical homage to World War I, “Le Tombeau de Couperin,” and the Symphony No. 2 by Robert Schumann.

Tickets are $10 to $80.

For more information about the program, the soloists and tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-2/

Composer Thomas Cabaniss recently did an email Q&A for The Ear:

Can you briefly introduce yourself and your career to the reader?

I’m Thomas Cabaniss (below). I am a composer and teaching artist from Charleston, South Carolina. I have lived in New York for the last 30 years, and so I greedily claim both places as home. I teach at the Juilliard School — where I met Michael and Jessica Shinn — and I also lead arts education projects at Carnegie Hall.

After graduating from Yale in 1984, I was an assistant conductor on a variety of projects including Leonard Bernstein’s opera A Quiet Place at La Scala and the Kennedy Center. Setting out to forge a career as a composer, I moved to New yolk City, which had the added benefit of being the same city where my girlfriend was attending medical school. A few years later we married and settled in Manhattan.

To start, I worked primarily as a theater composer, but I was also writing piano and chamber music on the side, and doing arts education work in between shows. In 1990 I scored and arranged a short film called The Lunch Date, which won the Palme D’Or and the Academy Award. In 1995 I joined the New York Philharmonic education programs, eventually becoming the orchestra’s Education Director.

I kept composing, and wrote a chamber opera called The Sandman, which was premiered in New York in 2002 and revived again the following season. In 2004 I was appointed to special education position with the Philadelphia Orchestra, and at the same time I wrote a series of evening length dance scores that were premiered in New York.

In 2009, I began working as composer-in-residence for the LinkUp program at Carnegie Hall, which has grown in that time to serve over 95 orchestras around the world and across the U.S. – including the Madison Symphony Orchestra.

I also helped to create the Lullaby Project at Carnegie Hall, which serves young parents in shelters, hospitals and prisons, and we are working hard to extend that work across the country through a series of partnerships.

How would you describe your musical style in general and the style of the new two-piano concerto specifically? Accessible? Tonal or atonal? Modernist or Neo-Classical? Melodic or percussive? Are there composers or works that have influenced your style?

I like tunes. I like to write songs, and I like to sing, so my music tends to value melody. My works are generally tonal, often spiked with cluster chords and other atonal devices, but I am always interested in the musical gravity of tonal centers. (You can hear a sample of Thomas Cabaniss’ music in the YouTube video at the bottom.)

This piece is inspired by its soloists, Michael and Jessica Shinn (below), and by the image of a Double Rainbow (also the work’s title). I have written Michael and Jessica pieces for piano-four hands, and there is one piece they have championed called Tiny Bits of Outrageous Love. Something about the chemistry of their relationship as musicians (and as husband and wife) has inspired me to create music that is particularly exciting and intimate.

And yes, I suppose most composers embed hints of the music they love in the music they write, and I am no different. Tiny Bits was a kind of homage to the Brahms Waltzes for piano-four hands, and Double Rainbow nods to Leonard Bernstein, Olivier Messiaen, Leos Janacek and John Adams. I’m sure listeners will hear other influences, too.

What would you like listeners to know about and listen for in the piano concerto? What were the special challenges of writing for duo-pianists?

This is from the program note I wrote for the Wisconsin Chamber Orchestra:

DOUBLE RAINBOW is based on an experience I had with my family on the Isle of Palms, South Carolina, about 20 years ago. On this particular August day, there was a huge rain in the early afternoon, many dark clouds, thunder (but no lightning). After the storm, from the porch of our beach rental house, we saw not one, but two rainbows (below). My sister-in-law is an avid photographer, and so she coaxed us all down onto the beach so she could get a pristine angle. That alone might have been enough inspiration for a piece of music, but when we got to the water’s edge, as Julia was snapping her photos, a dolphin jumped out of the water in a vertical launch, the tail clearing the water’s surface. It was one of those moments that seemed so unbelievable that none of us said a word. 

I have always been fascinated by the search for the elusive “perfect moment,” and DOUBLE RAINBOW is a sort of study of that kind of exploration. It is all bound up in the idea of “doubleness,” represented by the two pianos. It is divided into three movements: “Surfaces” (exploring the accumulation of drops of water from tiny, atomized particles), “Disturbances” (exploring imbalances and the storms that result from them), and “Revelation” (of the Double Rainbow). Not surprising in a double concerto, there is a great deal of dialogue between the pianos, and the orchestra has more of an accompanying role in the first two movements. The final movement is different, though. Everybody is in, and the music pulses with magic. The movement seems to be headed for a big climax, but at the last moment, it suddenly slows down and there are stars.

The main challenge for me in writing a double piano concerto is all those fingers! Twenty of them, and they are capable of so much. The music I write does not usually focus on virtuosity, and yet I also wanted it to be a vehicle for them to be expressive and dynamic. I worked hard to achieve a balance between the lyricism and the fireworks – we’ll see how audiences experience it.

What else would you like to say?

I am especially excited to be able to visit Madison for the premiere. I’ll get to meet members of the family of Jessica Chow Shinn (below, she is a Madison native), and I have a former student in the orchestra (Midori Samson, Second Bassoon). My Carnegie Lullaby Project collaborators include another Madison native (Ann Gregg) and Elizabeth Snodgrass, who is originally from Appleton (I think) but recently moved to Madison. I will get to meet WCO music director Andrew Sewell (below) in person. We have been doing some Skype rehearsals and phone consultations. It will be great to watch Andrew in action.

While we are here, my wife Deborah will be giving Grand Rounds at the Department of Psychiatry at the University of Wisconsin, and my son Will leads an a cappella group at University of Chicago (Voices In Your Head), and this year they have been singing frequently with a wonderful University of Wisconsin group (Fundamentally Sound).

The last few seasons the Madison Symphony Orchestra has been offering Carnegie Hall LinkUp concerts to kids in grades 3-5, and this year is no exception. They will perform The Orchestra Moves in May, for which I wrote two of the works (Come To Play and Away I Fly) and arranged another (Cidade Maravilhosa).

This project has been a few years in the making, and so for Michael and Jessica and me, this is a kind of celebration. We can’t wait to share DOUBLE RAINBOW with you.


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Classical music: String quartets, African-American spirituals and a farewell faculty flute recital plus many graduate student recitals are FREE highlights this week at the UW-Madison

April 10, 2017
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By Jacob Stockinger

Only about a month of classes remains in the academic year, so concerts by faculty members, guest artists and students are backing up at the University of Wisconsin-Madison School of Music.

But quantity does NOT preclude quality — or variety.

Just take a look at the highlights this week:

TUESDAY

At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet will perform its spring concert.

Members of the graduate student ensemble are (below, from left, in a photo by Katrin Talbot): Kyle Price, cello; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; and Chang-En Lu, violin.

The program is: String Quartet in G Major, Op. 77, No. 1 by Franz Joseph Haydn; String Quartet in F minor “Serioso,” Op. 95, by Ludwig van Beethoven; and the String Quartet No. 2, Op. 90, by Sergei Prokofiev. (You can hear the riveting Prokofiev quartet in the YouTube video at the bottom.)

The Hunt Quartet is sponsored by Dr. Kato Perlman and the Madison Symphony Orchestra.

For more information about the quartet and its individual members, as well as a SoundCloud audio sample of the Hunt Quartet playing a 1924 piece by Joaquin Turina, go to:

http://www.music.wisc.edu/event/the-hunt-quartet-spring-concert/

WEDNESDAY

At 7:30 p.m. in Morphy Recital Hall, guest artist Emery Stephens (below), faculty collaborative pianist Martha Fischer and UW students will perform African-American spirituals, songs and instrumental works.

For more about the visit by scholar-performer Stephens, see this blog posting done just before he cancelled the last date, which fell on a Tuesday rather than a Wednesday:

https://welltempered.wordpress.com/2017/03/13/classical-music-singer-scholar-returns-to-coach-students-about-and-perform-a-free-recital-of-african-american-songs-and-spirituals-on-tuesday-night-at-uw/

THURSDAY

At 7:30 p.m. in Mills Hall, retiring professor of flute Stephanie Jutt (below) will perform her farewell faculty recital.

Jutt will be joined by faculty colleagues violist Sally Chisholm, clarinetist Amy McCann and pianist Christopher Taylor.

Sorry, no word about the program.

Jutt (below), who has been teaching and performing at the UW-Madison for 28 years, is also the principal flutist of the Madison Symphony Orchestra and the co-founder and co-artistic director of the Bach Dancing and Dynamite Society. Jutt says she will continue with MSO and BDDS after she retires.

This week also features a plethora of degree recitals by students, most held in Morphy Recital Hall (below). The Ear counts 11 in fields from voice to percussion. For more information, check out these links:

http://www.music.wisc.edu/events/

And for the full lineup for April, visit:

https://uwmadisonschoolofmusic.wordpress.com


Classical music education: Concerto contest winners perform at the Wisconsin Youth Symphony Orchestras winter concerts this Saturday

March 16, 2017
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By Jacob Stockinger

WYSO will hold its second concert series of the year with the Diane Ballweg Winterfest Concerts on this Saturday, March 18.

Nearly 500 young musicians will display their great talents to the community during the concerts, which are dedicated to music teachers. (See below for times and programs. And listen to WYSO members talk about WYSO in the YouTube video at the bottom.)

The concert series will feature all five orchestras including the debut performance of WYSO’s newest string orchestra, Opus One.

Under the direction of Geri Hamilton, Opus One consists of string players ages 8 to 12. This ensemble focuses more on technique than on performance, incorporating instruction on fundamentals of scales, shifting and bowing, in addition to formative ensemble skills experience.

The Youth Orchestra concert will also feature two of the winners from the Youth Orchestra Concerto Competition: Violinist, Mary Deck and Percussionist, Adam Goren.

Mary Deck (below), age 16, is a junior at Madison West High School, and has been a part of WYSO since 2011. She will be performing the first movement of the Violin Concerto No. 4 in D minor, Op. 31, by Henri Vieuxtemps.

Adam Goren (below), age 18, is a senior at Middleton High School and has been a part of WYSO since 2013. He will be performing the third movement of Concertino for Marimba by Paul Creston.

The Diane Ballweg Winterfest Concerts will be held in Mills Concert Hall in the UW-Madison George Mosse Humanities Building, 455 North Park Street.

WYSO concerts are generally about an hour and a half in length, providing a great orchestral concert opportunity for families.

Tickets are available at the door, $10 for adults and $5 for youth 18 and under.

For more information about WYSO, go to: https://www.wysomusic.org

This project is supported by Dane Arts with additional funds from the Endres Manufacturing Company Foundation, the Evjue Foundation, Inc., a charitable arm of The Capital Times, the W. Jerome Frautschi Foundation and the Pleasant T. Rowland Foundation. Generous funding was also provided from the American Girl’s Fund for Children. This project is also funded in part by a grant from the Madison Arts Commission with additional funds from the Wisconsin Arts Board.

SCHEDULE AND PROGRAMS

Opus One and Sinfonietta – 11:30 a.m.

Sinfonietta (below)

Longfield (b.1947), Black Diamond

Smetana (1824-1884), Themes from The Moldau, arr. Frost

Mosier, Kirt N., American Reel

Traditional Irish, The Salley Gardens

Richard Stephan (b. 1929), Variations On A Well-Know Sea Chantey,

Grundman  (1934-1996), Kentucky 1800

Leyden (1917-2014), Serenade for String Orchestra: Prelude, Fugue, Nocturne, Cakewalk

Dvorak (1841-1904), Themes From The New World Symphony arr. Gruselle

Opus One

Richard Meyer (b.1957), Night Shift

Follow the Drinking Gourd – African-American Folk Song arr. Carrie Lane Gruselle

Ewazen (b.1951), Four Royal Dances: The Lord

Brian Balmages (b.1975), A Beethoven Lullaby

For the Star of County Down –

Richard Meyer (b.1957) Dragonhunter

Concert Orchestra and Harp Ensemble (below top)  – 1:30 p.m.

Concert Orchestra (below bottom)

Gounod (1818-1893), Funeral March of a Marionette ed. Rosenhaus

Holst (1874-1934) Jupiter, the Bringer of Jollity from The Planets arr. Leidig

M.L. Daniels (b. 1931) Contending

Tres Danzas de Mexico setting by Rhoads (b. 1918): El Pitayero (from Jalisco); El Café (Province unknown); El Curripiti (from Veracruz)

Montgomery (1771-1854), Angels, From the Realms of Glory, setting Robert W. Smith

Philharmonia Orchestra (below) – 4 p.m.

Wagner (1813-1883), Procession to the Cathedral, from the Opera “Lohengrin” arr. Kennedy

Grieg (1843-1907), Peer Gynt: Suite No. 1, Op. 46: Morning; Ase’s Death; Anitra’s Dance; In the Hall of the Mountain King

Weber (1786-1826), Tourandot, J.75: Overture and March

Hindemith (1895-1963), Symphonic Metamorphosis of Themes by Carl Maria von Weber: Fourth movement – March

Youth Orchestra (below) – 7 p.m.

Vieuxtemps (1820-1881) Concerto for Violin No 4 D minor, Op.31, first movement. Mary Deck, violin soloist

Creston (1906-1985) Concertino for Marimba, third movement. Adam Goren, marimba soloist

Prokofiev (1891-1953) Symphony No 7, op.131, C-sharp minor: Moderato, Allegretto, Andante espressivo, Vivace

Glinka (1804-1857) “Russlan and Ludmilla” Overture


Classical music: You’re invited to a FREE 12-hour marathon birthday party for Johann Sebastian Bach this Saturday. Plus, tonight’s concert of African-American music has been CANCELLED

March 14, 2017
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ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring. 

By Jacob Stockinger

Guess who turns 332 on March 21?

This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).

The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet  and the Madison Symphony Orchestra,  and to many sponsors.

The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.

Here is a link to the updated schedule of performances:

https://bacharoundtheclock.wordpress.com/concert-schedule/

Here is a link to an earlier post about the upcoming event:

https://welltempered.wordpress.com/?s=bach+around+the+clock

If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC  celebration.

The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.

Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).

The impressive program includes lots of variety.

There will be preludes and fugues.

Cantatas and concertos.

Sonatas and suites.

Obscure works will be performed.

But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1  from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.) 

There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.

Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.

NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.

For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:

https://bacharoundtheclock.wordpress.com

Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.

From 2010:

https://welltempered.wordpress.com/2010/03/20/classical-music-events-here-is-the-line-up-for-saturdays-bach-around-the-clock/

From 2011:

https://welltempered.wordpress.com/2011/03/21/classical-music-review-the-marathon-“bach-around-the-clock”-concert-is-now-officially-a-tradition-in-madison-wisconsin/

From 2012:

https://welltempered.wordpress.com/2012/03/23/classical-music-here-are-8-lessons-i-learned-from-my-day-of-berlitz-bach-at-wisconsin-public-radios-bach-around-the-clock-3-last-saturday/

See you there!


Classical music: Singer-scholar Emery Stephens HAS CANCELLED his return to coach students about and to perform a FREE recital of African-American songs and spirituals on Tuesday night at UW

March 13, 2017
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ALERT: Please IGNORE the posted dates and times below. Professor Emery Stephens has CANCELLED his appearances this week at the UW-Madison due to illness. According to the UW-Madison,  Stephens will try to reschedule his master classes and recital layer this spring. The Ear apologies for any misunderstanding or inconvenience, but he just heard about the cancellation.

By Jacob Stockinger

The last time Professor Emery Stephens (below) visited the University of Wisconsin-Madison School of Music, it was in 2015 and he lectured about “African-American Voices in Classical Music.”

(You can hear Emery Stephens narrate “The Passion of John Brown” in the YouTube video at the bottom.)

Now this week – today and Tuesday – the acclaimed scholar and baritone singer returns to the UW.

This time he will spend Monday coaching UW voice and piano students.

Then on Tuesday night at 6:30 p.m. in Morphy Recital Hall, Stephens plus the voice and piano students and UW collaborative pianist Martha Fischer will perform a FREE recital of African-American songs and spirituals. Also included are some solo piano works by African-American composer Harry T. Burleigh (1866-1949, below).

Here is a link not only to more information about Stephens’ recital, including the program, but also to information about his last visit and about a performance on Wednesday from 1:20 to 3 p.m. in the Memorial Union by the Black Music Ensemble.

http://www.music.wisc.edu/event/emery-stephens-returns-african-american-songs-and-spirituals/2017-03-13/


Classical music: Here are the classical music winners of the 2017 Grammy Awards

February 18, 2017
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By Jacob Stockinger

This posting is both a news story and a shopping guide for recordings you might like to give or get.

It features the classical music winners for the 59th annual Grammy Awards that were announced last Sunday night.

grammy award BIG

Music about the famed American writer Ernest “Papa” Hemingway (below), writing while on safari in Kenya in 1953), with cellist Zuill Bailey, turned out to be a four-time winner for Naxos Records. You can hear the opening movement — titled “Big Two-Hearted River” after the famous short story by Hemingway — in the YouTube video at the bottom.

EH3541P

For more information about the nominees and to see the record labels, as well as other categories of music, go to:

https://www.grammy.com/nominees

On the Internet website, the winners are indicated by a miniature Grammy icon. On this blog they are indicated with an asterisk and boldfacing.

As a point of local interest, veteran producer Judith Sherman – who has won several Grammys in the past but not this year – was cited this year for her recordings of the University of Wisconsin-Madison’s Pro Arte Quartet centennial commissions, Vol. 2. So at least there was a local Grammy nominee, a rare event.

Of regional interest, the non-profit label Cedille Records of Chicago won for its recording of percussion music by Steve Reich.

And to those Americans who complain about a British bias in the Gramophone awards, this list of Grammy winners shows a clear American bias. But then that is the nature of the “industry” – and the Grammys are no less subject to national pride and business concerns than similar awards in the United Kingdom, France and Germany. At least that is how it appears to The Ear.

Anyway, happy reading and happy listening.

BEST ENGINEERED ALBUM, CLASSICAL

*“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)

“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)

“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)

“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)

“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

PRODUCER OF THE YEAR, CLASSICAL

Blanton Alspaugh

*David Frost (below)

Marina A. Ledin, Victor Ledin

Judith Sherman (pictured below with a previous Grammy Award. She came to Madison to record the two volumes of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)

Robina G. Young

david-frost-grammy

BEST ORCHESTRAL PERFORMANCE

“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony)

“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)

“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)

“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)

*“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)

nelsons-shostakovich-5-cd-cover

BEST OPERA RECORDING

*“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)

“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)

“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)

“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)

“Szymanowski: Król Roger” — Antonio Pappano, conductor; Georgia Jarman, Mariusz Kwiecień & Saimir Pirgu; Jonathan Allen, producer (Orchestra of the Royal Opera House; Royal Opera Chorus)

ghosts-of-versailles-cd-cover

BEST CHORAL PERFORMANCE

“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)

“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)

“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing)

*“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)

“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)

penderecki-conducts-penderecki-vol-1-cd-cover

BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

“Fitelberg: Chamber Works” — ARC Ensemble

“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene

“Serious Business” — Spektral Quartet

*“Steve Reich”— Third Coast Percussion

“Trios From Our Homelands” — Lincoln Trio

reich-third-coast-percussion-cd-cover

BEST CLASSICAL INSTRUMENTAL SOLO

“Adams, John.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)

*“Daugherty: Tales of Hemingway” — Zuill Bailey (below); Giancarlo Guerrero, conductor (Nashville Symphony)

“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)

“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout

“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)

Deluxe Photography / Diane Sierra

BEST CLASSICAL SOLO VOCAL ALBUM

“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)

“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)

*“Schumann & Berg” (below top) — Dorothea Röschmann; Mitsuko Uchida, accompanist (tied)

*“Shakespeare Songs” (below bottom) — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker) (tied)

“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)

uchida-and-roschmann-schumann-and-berg-cd-cover

bostridge-shakespeare-songs-cd-cover

BEST CLASSICAL COMPENDIUM

*“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer

“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer

“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer

“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)

“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers

tales-of-hemingway-cd-cover

BEST CONTEMPORARY CLASSICAL COMPOSITION

“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)

*“Daugherty: Tales of Hemingway” — Michael Daugherty (below), composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)

“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)

“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)

“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)

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Classical music: It’s Valentine’s Day. What piece of classical music would you give to your Valentine?

February 14, 2017
5 Comments

By Jacob Stockinger

It’s Valentine’s Day.

Cupid

If you want to celebrate, there is always chocolate or roses or champagne or a special dinner.

But there is music too.

Many composers come to mind: Johann Sebastian Bach, Antonio Vivaldi, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, Franz Liszt, Antonin Dvorak, Johannes Brahms, Peter Tchaikovsky, Gabriel FaureGiacomo Puccini, Claude Debussy, Maurice Ravel, Sergei Prokofiev, and  Sergei Rachmaninoff to name a few.

But The Ear thinks one of the most beautiful pieces is a short one, a miniature if you will.

It is the Romance in F-sharp Major, Op. 28, No. 2, by the Romantic German composer Robert Schumann (below with his wife Clara Wieck Schumann). Nobody wrote music about love, music filled with love and yearning, better than Schumann.

Schumann_Robert_and_Wieck_Clara

Not only does the piece sound intimate.

It IS intimate — with the two thumbs playing the melody a third apart much of the time. It is as if the two thumbs, left and right, are the two lovers.

Little wonder that the composer asked his virtuoso pianist-composer wife Clara to play it for him as he lay dying.

And to top it off, it is not all that difficult to play, so you could learn it and play it for your Valentine.

Here it is, performed in a YouTube video by the late Van Cliburn:

But what about you?

As radio stations like to say ”The Request Line is open!

What piece of classical music – big or small, old or new, hard or easy — would you play or dedicate to your Valentine?

Duets of all kinds seem especially appropriate. But so do songs and symphonies, operas and oratorios, and all kinds of chamber music.

So tell us about your musical gift for Valentine’s Day.

Leave a message in the COMMENT section, with a short explanation and dedicatory comment and perhaps with a YouTube link if possible — the forward it to your Valentine.

The Ear wants to hear.


Classical music: Jazz and classical music are closely related and work well together, says composer Daniel Schnyder. He discusses “Charlie Parker’s Yardbird,” which the Madison Opera stages in its Midwest premiere this FRIDAY night — NOT Saturday — and Sunday afternoon

February 6, 2017
7 Comments

By Jacob Stockinger

Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.

For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)

charlie-parkers-yardbird-logo-for-maidson-opera

The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)

Here is a link to more general information about the opera, tickets, the cast and the production:

https://welltempered.wordpress.com/2017/01/17/classical-music-madison-opera-will-present-the-midwest-premiere-of-charlie-parkers-yardbird-here-are-the-many-preparatory-events-for-the-public/

Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:

daniel-schnyder-2017

What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?

I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.

I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.

I do not see classical music and jazz as two completely different things. Jazz is by nature a synthesis of European music influences and African music.

The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.

lawrence-brownlee-as-charlie-parker-opera-philadelphia

How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?

In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.

The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.

The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts —  but there are a lot of R&B influences and jazz and Latin music grooves.

It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.

charlie-parker-1

In what ways do you see the characters and the story as offering lessons and being relevant to today?

I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.

If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.

We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.

The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.

In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.

He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”

The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.

charlie-parkers-yardbird-women-opera-philadelphia

Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?

There might be many different reasons for that:

1) There are very few operas using the modern jazz idiom.

2) There are very few operas in which the leading roles are African-American.

3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.

4) As mentioned above, the opera hits a nerve; it is about our time and about us.

5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.

6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.

7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.

The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.

8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.

I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.

9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.

charlie-parkers-yardbird-female-singer-opera-philadelphia

Is there something else you would like to say about yourself and the opera?

I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.


Classical music: The all-female Arbor Ensemble performs a concert of all-French chamber music this SATURDAY (NOT Friday) night

January 31, 2017
1 Comment

CORRECTION: In a recent post, The Ear used a wrong date and time for the Chopin and Debussy house concert by pianist Trevor Stephenson. The correct time is SATURDAY, FEB. 25, at 7 p.m. For more information, go to:

https://welltempered.wordpress.com/2017/01/27/classical-music-trevor-stephenson-is-offering-a-4-part-chopin-course-and-an-all-chopin-concert-on-feb-24-today-is-the-deadline-for-enrolling-in-the-course/

By Jacob Stockinger

The all-women chamber group Arbor Ensemble will perform a recital of all-French chamber music this weekend.

It will take place this SATURDAY (NOT Friday, as mistakenly reprinted form a faulty press release), Feb. 4, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.

Admission is $10 general, and $5 for students and seniors.

The group will perform rarely heard chamber works by French composers, featuring Madison soprano Rachel Edie Warrick (below).

rachel-edie-warrick-2017

The program includes the Trio Sonata by Claude Debussy; Prelude, Recitative and Variations by Maurice Duruflé; “Où voulez-vous aller?” (Where do you want to go?) by Charles Gounod; “Une Flûte Invisible” (An Invisible Flute) by Camille Saint-Saëns; and Trio No. 2 in A minor by Cécile Chaminade (below).

You can hear the Chaminade Trio No. 2 in the YouTube video at the bottom.

cecile-chaminade

Founding members of the Arbor Ensemble are flutist Berlinda Lopez (below top), violist Marie Pauls (below middle) and pianist Stacy Fehr-Regehr (below bottom).

berlinda-lopez

marie-pauls-2017

stacy-fehr-regehr

The ensemble often performs programs by female composers.

For more information, go to Arbor Ensemble’s website at www.arborensemble.com.


Classical music: The fourth annual Schubertiade at the UW-Madison takes place this Sunday afternoon – with some important changes

January 25, 2017
1 Comment

By Jacob Stockinger

The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)

Franz Schubert big

Schubertiade 2016 stage

Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.

Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.

But there are some important changes this year that you should note.

One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.

Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)

schubertiade-2017-painting-by-gustav-klimt

After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.

The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.

martha fischer and bill lutes

Usually there is a unifying theme. Last year, it was nature.

This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.

Schubertiade in color by Julius Schmid

Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.

Emily Birsan 2016

For more about the event, the performers and how to purchase tickets, go to:

http://www.music.wisc.edu/2016/12/19/schubertiade_birsan2017/

Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:

Performers

Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.

Program

Trost im Liede (Consolation in Song ), D. 546 (MF, BL)

Franz von Schober (1796-1882)

Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)

Kolumban Schnitzer von Meerau (?)

Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)

Josef von Spaun (1788-1865)

4 Canzonen, D. 688 (EB, BL)

No. 3, Da quel sembiante appresi (From that face I learnt to sigh) 

No. 4, Mio ben ricordati (Remember, beloved) 

Pietro Metastasio (1698-1782)

From the Theresa Grob Album (November, 1816)

Edone, D. 445 (WD, MF)

Friedrich Gottlieb Klopstock (1724-1803)

Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)

Johann Gaudenz von Salis-Seewis (1762-1834)

Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)

Matthias Claudius (1740-1815)

Mailied (May Song), D. 503 (DO, BL)

Ludwig Hölty (1748-1776)

Marche Militaire No. 1, D. 733 (MF, BL)

Viola (Violet), D. 786 (EB, BL)

Schober

Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)

Franz Grillparzer (1791-1872)

Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)

Intermission

Geheimnis (A Secret), D. 491 (EB, MF)

Johann Mayrhofer (1787-1836)

Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)

Franz Xavier von Schlechta (1796-1875)

An Sylvia, D. 891 (MF, BL)

Shakespeare, trans. Eduard von Bauernfeld (1802-1890)

Nachtstück (Nocturne), D. 672 (DO, BL)

Mayrhofer

Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)

Johann Anton Friedrich Reil (1773-1843)

8 Variations sur un Thème Original, D. 813 (MF, BL)

Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)

Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)

Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)

An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)

Schober

Everyone is invited to sing along. You can find the words in your texts and translations.

Schubert etching

Here is a link to a story in The Wisconsin State Journal with more background:

http://host.madison.com/entertainment/music/bringing-back-the-schubert-house-party/article_a0d27e9d-7bc7-5f32-bb57-590eb0bc7b91.html

And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:

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

https://welltempered.wordpress.com/2016/02/04/classical-music-the-third-annual-schubertiade-at-the-university-of-wisconsin-madison-school-of-music-was-so-popular-and-so-successful-it-should-serve-as-a-model-for-other-collaborative-concerts-feat/


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