The Well-Tempered Ear

Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison

August 13, 2020
8 Comments

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By Jacob Stockinger

The UW-Madison’s Mead Witter School of Music has a new flute professor who follows Timothy Hagen in taking the place of retired longtime predecessor Stephanie Jutt, who continues to perform locally with the Madison Symphony Orchestra and the Bach Dancing and Dynamite Society..

He is Conor Nelson (below) and he starts later this month at the UW-Madison’s Mead Witter School of Music.

Here is the biography — impressive for both his performing and his teaching –that the university released: 

“Praised for his “long-breathed phrases and luscious tone” by the Minneapolis Star Tribune, Canadian flutist Conor Nelson is established as a leading flutist and pedagogue of his generation.

“Since his New York recital debut at Carnegie Hall’s Weill Recital Hall, he has frequently appeared as soloist and recitalist throughout the United States and abroad.

“Solo engagements include concertos with the Minnesota Orchestra, the Toronto Symphony Orchestra, the Flint Symphony, and numerous other orchestras.

“In addition to being the only wind player to win the Grand Prize at the WAMSO (Minnesota Orchestra) Young Artist Competition, he won first prize at the William C. Byrd Young Artist Competition. He also received top prizes at the New York Flute Club Young Artist Competition, the Haynes International Flute Competition as well as the Fischoff, Coleman and Yellow Springs chamber music competitions. (Editor’s note: In the YouTube video at the bottom, you can hear Conor Nelson perform the second and third movements of the Flute Sonata by French composer Francis Poulenc.)

“With percussionist Ayano Kataoka (below left, with Nelson), he performed at Merkin Concert Hall, Tokyo Bunka Kaikan Hall and Izumi Hall. A recital at the Tokyo Opera City Hall received numerous broadcasts on NHK Television. Their CD entitled, “Breaking Training” was released on New Focus Recordings (NYC). His second CD, “Nataraja,” with pianist Thomas Rosenkranz, is also available on New Focus.

“He has collaborated with pianist Claude Frank on the Schneider concert series in New York City and appeared at numerous chamber music festivals across the country including the OK Mozart, Bennington, Skaneateles, Yellow Barn, Cooperstown, Salt Bay, Look and Listen (NYC), Norfolk (Yale), Green Mountain, Chesapeake, and the Chamber Music Quad Cities series.

“He is the Principal Flutist of the New Orchestra of Washington in Washington, D.C., and has performed with the Detroit, Toledo and Tulsa Symphony Orchestras. He also performed as guest principal with A Far Cry, Orquesta Filarmónica de Jalisco, and the Conceirtos de la Villa de Santo Domingo.

“A respected pedagogue, Dr. Nelson has given master classes at over 100 colleges, universities and conservatories.

“Prior to his appointment at UW-Madison, he served as the flute professor at Bowling Green State University for nine years and as the Assistant Professor of Flute at Oklahoma State University from 2007-2011.

“His recent residencies include Yonsei University in Seoul, Korea; the Sichuan Conservatory in Chengdu, China; the Conservatorio de Musica de Puerto Rico; and the Associacao Brasileira de Flautistas in Sao Paulo.

“He is also a regular guest of the Texas Summer Flute Symposium and has been the featured guest artist for 11 flute associations across the country. His former students can be found performing in orchestras, as well as teaching at colleges, universities and public schools nationwide. They have also amassed over 60 prizes in young artist competitions, concerto competitions and flute association competitions.

“Nelson received degrees from the Manhattan School of Music, Yale University and Stony Brook University where he was the winner of the school-wide concerto competitions at all three institutions. He is also a recipient of the Thomas Nyfenger Prize, the Samuel Baron Prize and the Presser Award.

“His principal teachers include Carol Wincenc, Ransom Wilson, Linda Chesis, Susan Hoeppner and Amy Hamilton. Nelson is a Powell Flutes artist and is the Assistant Professor of Flute at UW-Madison where he performs with the Wingra Wind Quintet.”

 


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Classical music: Can the annual Handel Aria Competition be improved? Here are two modest proposals from a fan. What do you think?

June 13, 2018
9 Comments

By Jacob Stockinger

Here is a guest posting by George Savage, a blog follower who is a self-described musical amateur. In his youth he sang in choirs and had a bit solo part of Morales in his college production of Bizet’s Carmen. Then, a long musical hiatus until his 60th birthday celebration, when he sang Leonard Cohen’s song “Hallelujah,” black hat in hand, knees on floor.

Most of his adult life was spent teaching literature and composition at the University of Wisconsin-Whitewater, specializing in the American Renaissance. To the extent he has stayed connected to the world of music, it is through his daughter Kelly Savage, who has a D.M.A in harpsichord from Stony Brook University and now teaches at the San Francisco Conservatory of Music.

By George Savage

As my bio indicates, I am a musical amateur, meaning simply that I am a lover (French amateur) of music. For the past three years, I have had this love rekindled through the annual Handel Aria Competition in Madison, Wisconsin.

The vocal quality has consistently been high — especially this year! — and it is fun to vote for the Audience Favorite, even when the judges disagree with your assessment.

(Editor’s note: This year the Audience Favorite was mezzo-soprano Lindsay Metzger, below top, while the three judges awarded First Prize to soprano Suzanne Karpov, below bottom. Here is a link to story about all the winners: https://welltempered.wordpress.com/2018/06/11/classical-music-here-are-the-winners-of-friday-nights-sixth-annual-handel-aria-competition/).

My heartfelt congratulations go to Dean and Carol “Orange” Schroeder (below) for establishing this annual competition in 2013 and for the many supporters who have made this competition a success.

I have two modest proposals, though, for improvement, one minor and one major.

A minor proposal: Unless you have an encyclopedic knowledge of opera — and I know that some people reading this have that knowledge — you will not know the context of the arias.

I propose that the program notes contain a brief context for each of the arias. Alternatively, the singers – below are the seven finalists this year — could introduce their songs with a similar brief context.

A major proposal: As I listened this year to Handel piece after Handel piece after Handel piece, I wondered: “Could there be some variation?”

I started to think of other festivals that started with a single-artist focus but then gradually expanded, such as the Shaw Festival in Niagara-on-the-Lake, Canada, or, closer to home, the American Players Theatre in Spring Green, Wisconsin.

Both summer theater venues began with a single focus – Shaw and Shakespeare — but then evolved while at the same time staying true to their precipitating muse.

There is still lots of Shaw at the Shaw festival and lots of Shakespeare at APT. The same is true of the Carmel Bach Festival, which started with Bach but now has expanded to include many other forms of classical music. The same holds true for the famous Mostly Mozart Festival in New York City, which continues to expand its repertoire beyond Mozart.

In that spirit, I wonder if the singers at the Handel Competition, back up by the period-instrument Madison Bach Musicians, could in future events sing two selections — the first an aria by Handel and the second a non-Handel Baroque aria of the singer’s choice.

I think many singers would welcome the expanded repertoire and the audience would appreciate the added variety. The judging would be murkier, but it would be a good kind of murky.

I hope these proposals will engender a discussion: Should the competition be tweaked, or should it stay the same?

Your thoughts on these two proposals would be appreciated as well as other suggestions of your own.


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